Scala – and so she thinks

ISLAND – A Place You Like

admin — Mon, 31 Oct 2016 15:56:50 +0000

‘I’m walking on golden tainted skies’ sings Rollo Doherty on ISLAND’s new track A Place You Like. It’s yearning and searching, over what sounds like coconuts clapping together as gentle guitars roll together and leave space for his case for romance. Heartfelt and warm, sad and mournful, it still hits with pounding force as it ascends and builds – potentially unlike the relationship of which they speak. It’s a sort of sparse soundscape from the London four piece, but one that works given the content and emotion of the track, and feels more powerful than might appear. A Place You Like is the title track taken from their second EP, out early 2017, the band headline Scala on November 2nd.

Wolf Alice @ The Scala

admin — Mon, 02 Jun 2014 11:14:20 +0000

28th May 2014 with Superfood and Gengahr
Dolled up in glitter and resembling different aspects of Ziggy Stardust, Wolf Alice bound on to the stage at a packed out Scala. ‘It’s so good to be home’ beams Ellie, before they launch into latest single Moaning Lisa Smile, before quickly powering into the snarl of She. Playing with zeal throughout, the London four piece power through songs that certainly please the crowd, but could never be simply defined as ‘crowd pleasers’ – they are more instinctive than that, visceral in nature as well as being emotional. Fan power is evident here, and the crowd chant lyrics to even unreleased tracks, such as Pixies esque You’re A Germ, as both audience and band throw themselves into proceedings. Capable of powerful angst fuelled tunes and slower more contemplative scores, such as Blush, Wolf Alice always have a depth to their writing, although thankfully execute it without any self reflexiveness or introversion. Ravaging and revealing in equal measure, it’s hard not to read into the lyrics as they are pummelled towards you, this combination of the singular and the collective of course making some gigs the religious quasi-experiences they are. The set was short, streaking through a mere dozen songs, including the latest EP Creatures, but those 45 minutes wielded more than a hefty punch. The ‘final’ song before an inevitable encore was the camaraderie fuelling Bros, although the greatest pogo-ing game from real final track Fluffy, its final chords seeing an amusing and endearing failed attempt t crowd surf from bassist Theo.
Tonight surely shattered any delusions that Wolf Alice might be just another teenage band. Everything from the pensive haunting moments to frantic punk riffing was executed with perfect turbulence and attitude, and we lapped it up. Wolf Alice, it’s good to have you home.

50 words on…Golden Glow

admin — Tue, 23 Apr 2013 12:55:30 +0000

Golden Glow at The Scala, March 21st

by Jamie Malcolm

Pungent bass, snappy drums and the ‘fuzz’ knob on guitars turned up to 11. They bottle the late 90’s American college radio feeling far more than I felt Yuck managed. Honestly, if they were awful I would still give them top marks for the drummers staggeringly remarkable high-fade flat-top haircut.

Cloud Control @ Scala, 12th October 2011

admin — Sat, 12 Nov 2011 10:44:41 +0000

It was clear from the outset that this wasn’t going to be the folk-speckled love-fest I thought it would be. In fact, Cloud Control’s gig at Scala showed them in a whole new light. It revealed their dark side: seductive, compelling, arcane – and utterly unexpected.
Before the start of the gig, the stage was a haze of red. As the lights changed four dark figures emerged, pulsing with charisma. Frontman Alister Wright stood hooded and brooding while keyboardist Heidi Lenffer slinked silently into place. Given that Bliss Release is essentially the soundtrack to a woodland jaunt on a sun-dappled day, this couldn’t have been further from what I’d expected.
The Aussie quartet open with Meditation Song #2: a beautiful a-capella start that churns waves of enthusiasm through the room. But as the tambourine of Gold Canary becomes the beat under Alister’s spoken poetry; as There’s Nothing in the Water takes on a frantic tone; as the lyrics of Ghost Story are chanted beneath a single spotlight, something darker seems to rear its head.
The band themselves are mesmerising. While Alister stands rigidly, facing the crowd with a drugged-up-rockstar stare, Heidi sways, swinging her hair hypnotically. The disparity between the two is brilliant: it lends their songs a sense of unhingedness, a wide-eyed exhilaration that stays with you for days afterwards.
The final encore, a sunny cover of There She Goes, released so much tension that the crowd exhaled as one. From the vantage point of the stairs, looking out over the main floor, this decompression was striking. The sight 200 people sinking simultaneously was testament to the band’s power.
Despite their flaws, despite the vague feel of hipsterism, despite their slightly derivative influences, the sheer genius of this gig – note-perfect, intense, enthralling – puts Cloud Control way beyond reproach. This is a band who know darkness – and know how to use it.

Ain't No Heartbreak – The Heartbreaks chat to IAH

admin — Wed, 20 Oct 2010 20:48:10 +0000

Heartbreak is a horrible thing: Emotional turmoil, despair and a feeling of loneliness. The Heartbreaks, then, is surely an ironic name. The Morecambe foursome bring a joy to their music which is as quixotic as the seaside life that has influenced them. It’s All Happening were lucky enough to chat with Matt (lead vocalist) and Joe (drummer) ahead of their sizzling set supporting Carl Barat at the London Scala.
Matt and Joe are a chirpy pair, bouncing off each other with expressions and quips throughout the early evening interview. It’s clear from the off that these are two guys who are confident in their own ability but with their feet still firmly on the ground. Early on Joe states that ‘there’s been a lot of interest [from labels] in us recently, but I don’t tend to get too hung up on it really until something actually materialises. I’ve met that many A&R men!’ With coverage and hype surrounding The Heatbreaks increasing on a daily basis it surely won’t be long until a label snaps them up. When questioned about the recent trend for bands to take a DIY approach to touring and releasing records, and whether this is something they would consider, Matt responds ‘I love playing and I want to release music, if we need to sign to a major record label to facilitate that then we’d do it. We’d still need to have some artistic freedom though.’
During the interview, Matt reels off a number of musical influences ‘We listen to a lot of Motown. But we also love Phil Spector, Orange Juice and Jesus and the Mary Chain.’ Joe, however, states that ‘Morecambe has had by far the biggest influence on us’ with Matt rather helpfully adding ‘and Blondie!’. Despite their hometown’s influence, three of The Heartbreaks have now moved to Manchester, with only Ryan remaining in Morecambe. Matt, though, doesn’t feel part of the Manchester scene and doesn’t think that it will influence their music as Morecambe has. ‘We feel a togetherness that comes from not being from Manchester. We are outsiders but with a lot to prove.’ It may be due to the Manchester connection but The Heartbreaks have received endless comparisons to The Smiths in recent months. Matt is quick to comment on this ‘that’s really funny actually as I’ve never heard of the Smiths.’ After a moment’s pause he adds ‘I’m lying, of course!’ Phew.
The Heartbreaks, formerly named Seaside Riot, have a quintessentially British feel to them: their northern tones, seaside influence and cheeky smiles are a reminder of the mid-90s Cool Britannia era. However, Matt states that ‘we were too young for that really. We just missed out on Oasis… and The Libertines. I think we’re more influenced by American music and the ‘small town frustrations’ feeling.’
It is clear to see that The Heartbreaks love playing music. When questioned when they’ll next be on the road Joe is quick to state that ‘It won’t be long. And then when we finish that one we’ll be back out again, and again!’ Matt adds ‘Definitely. Our ultimate goal is a seaside tour…we’d play Morecambe. And Cleethorpes!’
Tonight’s performance at the Scala is the culmination of a 10 date tour supporting Carl Barat. But have The Heartbreaks had a chance to chill out with him backstage? ‘Yeah, we’ve had a few beers’ Matt responds, whilst Joe simply says ‘Yeah, he’s a lovely guy, a true gentleman.’ After the gig it turns out the feeling was mutual with Carl ‘tweeting’ ‘The finest support band I think I’ve ever had, in spirit, haircuts and northerness’. Who are we to argue?

Villagers @ The Scala, 5 Oct 2010

admin — Wed, 06 Oct 2010 19:29:29 +0000

It was tonight that I fell in love. I’d heard Conor O’Brien was pretty good, some decent ditties and melodic love songs. What I wasn’t prepared for was the bewitching spectacle that transfixed me for the hour long set on this wintry evening in London. O’Brien’s song writing skills are such that sepia tinged melodies are given a gritty, knowing and modern realism in their lyrics. Such a clear, sweet voice seems at odds with the seeming meaning of the lyrics…smooth caressing vocals wind their way through the crowd, sudden realisation of the maturity and complexity of O’Brien shaking anyone out of a twilight lull.
O’Brien begins the show a solitary figure, absorbing the Scala with “Twenty Seven Strangers”, “To Be Counted Among Men” “The Meaning of the Ritual”, and “I Saw the Dead” before bringing on his full band, and it seems, good friends, where the a thrash of the strings signals the start of ‘Home’, before the beautiful ‘Becoming A Jackal.’ ‘I Saw The Dead’s haunting opening is given substance in the strings, and a slight change in tempo for ‘Pieces’ means that even the most avid CD listener is entrapped anew.
Like Domino label mate, Alex Turner of the Arctic Monkeys, O’Brien has the talent of using very concrete colloquial words to create a meaning more heartfelt and apt than the average simile. Almost Eliot’s objective correlative, this has the effect of making each song a personal and poignant, as well as contemporary comprehensive comment, a sort of musical time capsule. Nowhere is this more evident than on ‘Meaning of Ritual’ as he bristles ‘My love is selfish, and I bet that yours is too’, and ‘Twenty Seven Strangers’, the intense visual imagery that accompanies the words conjouring the images of that bus.
It is ‘Becoming A Jackal’ that makes the audience spin the spotlight from O’Brien to themselves, momentarily reflecting on what exactly he poses with the statement ‘So before you take this song as truth/ You should wonder what I’m taking from you/ How I benefit from you being here/ Lending me your ears while I’m selling you my fears.’
On the evidence of the beguiling performance and the daze with which everyone filters down the spiral staircases of the Scala to the harsh lights of King’s Cross, it seems that O’Brien has taken it all, minds, hearts and souls.