PEACE/SUPERFOOD @ THE FLEECE

Peace/Superfood

The Fleece, Bristol, Monday, April 22

It’s not often that I become fully obsessive about a new band, but Peace have joined my list of exceptions. I worry for some emerging bands that are over-hyped by NME magazine; often they later fail to produce the goods. However, after the release of Peace’s debut – In Love, it is clear, that they will not be disappearing anytime soon.

On Monday 22^nd, I yet again found myself at another of their gigs (my third in three months). I was once again filled with excitement and expressed this by babbling away and pissing people off with my great eagerness to get inside the venue. Whilst cueing outside, the sky was presenting us with some ‘fine’ British weather, but that couldn’t dampen the spirits of their beloved fans. As we waited outside in the cold drizzle, everyone was unexpectedly quiet, due to sound of the band’s warm ups. Riffs of Lovesick and melodies of Higher Than The Sun, trembled through each figure of the fan community.

I had been counting down for the past three months until this day, so when I found myself practically on stage, with my hands touching guitarist Doug Castle and lead singer Harrison Koisser’s guitars, I could hardly contain my emotions and was virtually in tears (this is not an exaggeration, as dramatic as it may seem).

The show started with the band’s support, fellow B’hamer’s – Superfood. Although the crowd failed to really make any attempt to respond, the band played a pleasantly explosive set. Their performance ran through pretty smoothly and finished off with their first single ‘Superfood.’ Having already heard and downloaded the debut track, I knew they promised a surprisingly grungy, punk-pop sound that pulled them away from the rest of the psychedelic movement of the big ‘B’town. After the last thirty seconds of the new song (that had been praised time and time again by none other than Radio 1 dj, Zane Lowe), Superfood’s guitarist leant over to our annoyingly energetic group and whispered “thanks for dancing.” The group trundled off stage with a couple of waves and awkward smiles, making way for the headliners techs.

With a rather unconventional beginning to the concert, this included Peace standing outside in full view of the crowd, helping to gee themselves up, the band positioned themselves on the tiny platform of a stage. Vocalist Harrison Koisser stood proudly at the centre wearing a rather funkadelic sailor shirt, giving a little hand-quiver to the audience. They began with Delicious, which isn’t to be confused with 1998, taken from EP Delicious. The track took off with its haunting intro and kicked into a product of full of carnage in the crowd. They left no room for 'a quick breather', as they headed straight into Follow baby, one of their slightly older songs. It's heavy guitar riffs and earth-rumbling bass lead to the crowd pushing and shoving so wildly, that the only way to keep myself upright was to balance my body on the stage itself. The newly announced single to-be, Lovesick lined up next. It's indie-pop vibes and lyrics, that see Koisser singing 'I wanna get lovesick with you' are so cutesy, but yet heartfelt that it evokes goosebumps and tears in my eyes. The band whisk the crowd away in a dream full of adventure and love, drifting through the album's chirpy but sultry echoes. Part one closes with Wraith (possibly one of the sexiest songs around) and the stadium sounding cover of Binary-Finary's1998. The audience continue to go wild as Peace wave and leave the stage for a very brief and pointless break. The foursome huddle behind the logo-printed backdrop, occasionally producing their hands out in front to wave and structure Peace signs with their fingers.

The "lads on lash" return to the stage, accompanied by more concoctions and beer bottles. Resetting themselves back in place, they take off once again with California Daze, a more delicate and slightly older song taken again from EP Delicious. It's tender harmonies and gentle, body-hugging guitar lines that aimlessly fade in and out, wobble through the crowd, as many audience members participate in gushy, youthful hugs and first-love stares, demonstrating hope and naivety. The song fades away, like many of these gropers romances will. "This is our last song, thanks for coming, this has been one of the best nights so far." Once again, the besotted devotees lose control, everyone in the sweaty horde knows exactly what's about to go down. Bloodshake. The song rises up with its haunting, psychedelic intro, until the band break out into full tropical rock. The song should be messy and all-over the place, but somehow it just comes together. Guitarist Doug Castle bobs around whilst carrying through the gritty guitar riffs, joined by the reverberating sounds of Sam Koisser's bass. As we arrive at the chorus, Harrison Koisser yells 'YOU VIBE SO HARD' but I think it's fair to reply, actually 'you vibe so hard.' Dom Boyce has now replaced the bongo sounding drums, by hitting harder and heavier than before. The crowd (including myself) are loving every second of it and going completely crazy, pushing and bouncing so continuously that I lose complete control of my legs. "WE'LL SPIT BLOOD IN THE SUN" the Peace enthusiasts shout over Koisser's vocals. Sam koisser and Dominic Boyce's voices join, providing beachy-melodies behind Harrison's harsh gruffle. The track trembles away, as the band float off in a mist of smoke and light.

Their shows share some similarities to those of Foals and Arctic Monkeys. Could sell out stadium tours be the future for the B'Town quartet? I think so.  http://peaceforeverever.co.uk/

 



 

THEME PARK ~ THEME PARK

THEME PARK

For about the last two years, Theme Park have been celebrated on many 'ones to watch' lists and been given the thumbs up by Radio 1 DJs, such as Zane Lowe and Huw Stephens, who; unlike many of their colleagues are renowned for having good radars on upcoming bands that are about to break. The band also being associated with artists such as Cajun Dance Party and Bombay Bicycle Club (their old school chums) presented them with big shoes to step into. However, I think it's fair to say that the greatly anticipated debut album from Theme Park isn't that much to celebrate.

The album first invites you in with 'Big Dream'; sure, the track isn't exactly going to set any concert venues on fire, neither is it the most spine-tingling song that 2013 has offered so far but it forms a low expectation for the rest of the album, which therefore enables you to receive a moderately pleasant surprise as you listen on. It begins with some simple drum taps and guitar strums but even when a reasonably funky bassline appears the track just fails to really get going. Miles Haughton's vocals seem somewhat languid and adds to the song's rather lethargic feel that presents a kind of 'can't be bothered' attitude.

 On the other hand, the album does occasionally show sparks of promise through tracks like 'Two Hours.' Again like many of the songs on the album Two Hours is quite slow to start. It begins with a beat that could make your shoulders dance and sway and maybe get your foot tapping then at 1:11 someone suddenly decides to hit the drums a bit harder and faster. This unexpected release of energy soon permits your whole body to get moving and you find yourself joining Miles as his voice strains "can you feel anything?" Another highlight comes from the recently released single 'Tonight' which provides a refreshing summery sound that is possibly well and truly needed throughout this miserable time of the season.

 To begin with Saccades (Lines We Delay) just sounds like an uninspiring attempt at an electronic sort of psychedelic backing track. Then at about 2:08 it's almost as if the song puts down it's cigarette, gets up off the couch and says "do you know what, I think I might actually make an effort." and starts to have a cheeky little dance. Then at 3:12 just fully decides to throw itself into a wild dance routine. Perhaps if Theme Park had just of been another new band with their quirky and welcoming groove they would of emancipated a breath of fresh air into the forever growing music industry. Unfortunately, at the moment it still seems that they are standing in the shadows of their old school mates, if only they could stop playing catch up on other artists' trails and lead a race of their own.

PEACE @ ROUGH TRADE EAST

PEACE

 

Rough Trade East, London Wednesday, March 27

On the late hours of Tuesday night, I discovered that Peace would be playing an intimate gig down Brick Lane. With a growing obsession with the band and having already had the privilege to watch them perform at the NME Tour Awards, I knew I just needed to see them again. We arrived at the store and made purchases enabling us to be presented with wristbands, that allowed us entry into the private performance. Wandering around the shop happily wearing my wristband, I walked past none other than the lead singer himself. His legend-like aura instantly made me feel star struck. Whilst my sister was purchasing her copy of 'In Love', Harrison Koisser also passed her declaring "you have good music taste." His sparkly eyes shining at her and with that goofy enticing smile.

At 7:00pm, we arrived back at the store. There can't of been many more than 100 people there, but with everyone already being fans; enough to buy the album, it was pretty noisy and packed with excitement. At five-past, Peace strutted onto the stage with their 'indie-swagger.' Harrison welcomed the crowd as the others posed with beer bottles. Looking around, rather amused he said "This is...shit, this is a record store isn't it?!" The band kick-started the show with the first track from the album, Higher Than The Sun, which got everyone wiggling about. The cosy concert moved rather swiftly and I was too busy getting soaked up in the atmosphere to remember fully the order of the set list, but I believe it consisted of: Higher Than The Sun, Follow Baby, Scumbag, Lovesick, Wraith, California daze, Toxic, Bloodshake and quite possibly delicious too. After announcing that they only had time for one more song, Harrison begged and was granted the permission to play two last songs, he chuckled, "Sweet, fuck." They finished off with Bloodshake, during which everyone seemed to be 'vibing hard.'

Later, after a long wait, we reached the signing booth. Douglas and Samuel were huddled up together, Sam smiling away and Doug looking chic as always in his leather jacket. Next, we approached Dominic, who was sat with that usual misty eyed stare, which has almost become his trade mark. He signed my Follow Baby vinyl and passed it onto Harrison who was dancing and miming to his own song, in his infamous brown suede coat (complete with the fur edging). Doug managed to hold a normal conversation whilst swigging his beer, with Harrison occasionally chipping in with replies such as, "Sweet" and "Sweet as fuck." We said bye and left as Harrison twirled about and high-fived my sister, Sam still smiling and Dom still starring into the distance. With songs that are already future classics and quirky 'rock star' natures, Peace are definitely the coolest up-and-coming band around and 2013 is theirs for the taking. I thinks it's fair to say, I am In Love with Peace.http://roughtrade.com/

ALT-J/STEALING SHEEP @ O2 ACADEMY OXFORD (2012)

 

ALT-J / STEALING SHEEP

O2 ACADEMY, OXFORD FRIDAY 2ND, NOVEMBER

Its 8:00pm, and the Oxford audience await Stealing Sheep. The recent release of their hugely impressive debut LP - Into The Diamond Sun, has shown a promising future for the female trio. The album, which is rather unashamedly folk-influenced, meant that they could of left it at just that, rough and edgy. However, their great ears for detail, have resulted in producing something rather special and unique.

Lights dim, spotlights light up the stage. Stealing Sheep dance on, all wearing at least one item completely covered in glitter. The set begins with the LP's first track - The Garden. A light tapping of Lucy on the drums enters, in synch with the sound of Rebecca's keys, then the sudden sound of Emily's haunting guitar, along with her deep bellowing vocals follows. At first it seems that the fans of the greatly anticipated headliners, aren't interested in the 'warm up' act, then halfway through the track, the heavy undertones kick in, instruments gradually become louder, and strangely violent. After the short period of doubt, the crowd begin to embrace the bands quirkiness, becoming fully involved, clapping in time, and echoing the bands lyrics. The cheery but threatening sounds of Circles, almost convinces me that it's summer. On Shut Eye, Rebecca leads the vocals. To begin with, the track has a ghostly feel, almost like someone creeping through an icy-winter forest. Unexpectedly, the song abruptly explodes, like a beautiful, yet aggressive firework, into loud clapping and drum rolls. Then, silence. The crowd seem overwhelmed, by the staggeringly beautiful noises of the LP, until, a sudden uproar of applause and shouts.  "Thank you. We hope you enjoy Alt-J." whispers Lucy, as they float off stage.

Fresh from winning the £20,000 Mercury Prize the night before, Alt-J strut onto the stage. The famous triangle symbol of delta glows bright white behind the drum set, coated in the An Awesome Wave album artwork. The band members perform a variety of geek-chic dance moves, not one naked of a grin that resembles more than just love and passion,  for not only their music, but their beloved fans. Gwil Sainsbury, the bassist, takes a giant leap for his petit figure onto a wooden block, throwing his arms around like an over-excited child. Then with a sheepish step forward, accidental front man Joe Newman (who wouldn't look out of place in a grubby pub) chuckles into the microphone "you may of heard, we were at the Mercury Awards last night". The dedicated fans of the tight-knitted Alt-J community go crazy. Throwing themselves about, shouting praises of love, and the occasional complimentary joke. It's fair to say that the amount of love in this one room, equates to that you would expect for young pop bands, the likes of One Direction, from swooning adolescent girls. It's truly astonishing. By the way in which Joe and the keyboardist Gus, glance at each other, giggling away, it's clearly obvious that conquering the industry hasn't changed nor phased them one bit.

Alt-J  kick-start their concert, with captivating tones of Intro, embarking the audience on a whirlwind journey through the depths of their debut album. The band flow through the sounds of each song, quite literally as if they are riding 'An Awesome Wave'. Ripe & Ruin brings us straight into one of the more known tracks, Tessellate. The smouldering guitar grooves, and tender drum taps, allow Tessellate to imitate an R&B love song.  However behind, the affectionate rhythms, lies Alt-J's intellectual roots, as they somehow manage to sneak in perhaps, the nerdiest sexual metaphor known to the music industry "Until morning comes, let's tessellate". The crowd love it, each person singing in time, swaying and wiggling to the music.

Highlights come from future classics such as, Fitzpleasure, centred around Hurbet Selby Jr's character, prostitute Tralala in the 1989 film adaptation of Last Exit To Brooklyn, goes down a complete storm. With striking vocals from Joe, drum beats from Thom, that are the heaviest to be found throughout the whole of An Awesome Wave , result in the crowd violently pushing and shoving,  whilst attempting to gracefully ripple their bodies. It's total carnage. Throughout the shivery, miserable sounds of Matilda, there seems to be no dry eyes in the cosy academy. The spine-tingled admirers, all with arms in the air, blub along to the lyrics based around Luc Besson's bitter child star - Matilda, in film Leon. When Gus finishes the final soothing keyboard beats, the audience are silent, seemingly completely stunned. How it is even possible for, four rather plain human beings to even create such incredibly blissful sounds and astonishing lyrics? The sinister shadows lurking beyond Breezeblocks, and its controversial drug-related lyrics, based loosely on the children's book;  Where The Wild Things Are, send the irrevocably devoted fans into an absolute frenzy. As Joe cries out the plea "please don't go - I love you so!", their followers roar along, relaying the lyrics to their beloved band, begging them to stay as they finish the song and swagger off stage.

"ALT-J, ALT-J" the crowd screech, clapping, stomping,  in desperation to perform a few more songs. An uproar of screams and shouts echo, as two band members shuffle onto the stage. Gus's hands elegantly float over the keys, and Joe's uniquely distinct voice haunts through the bodies of their devotees. As Handmade concludes, Thom and Gwil saunter on, joining their fellow masterminds. Then the ultimate song begins, wispy keyboard melodies rise up. Paying tribute to two of the iconic 20th century war photographers: Robert Capo, and Gerda Taro. The lyrics plus the music of Taro, creates quite possibly one of the most exquisite songs of the year. All the Alt-J supporters surrounding myself, appear to be covered in goose bumps, as I am too.  Not one person is standing still, "Hey Taro!" the entire audience yell. Then one by one, each musician fades out. The crowd are cheering so loud, not even the little soundproof arena can contain the calls of love and praise. Standing and waving together, suddendly the lights appear, as Alt-J vanish off stage. All that remains is a small dirty room, full of individuals, drenched in sweat and tears.

2012 has been a phenomenal year for the Leeds born band, and the future looks bright for the quartet. The question is, how much left have they got to give? Well, for now that remains a mystery. As the bands devoted fans trundle out of the building, I glance back into the darkening room. Standing proudly at the back, the triangular shape of a delta symbol glows.