HOMECOMING: The Answering Machine play Manchester

A QUIRKY converted institute attic is the vintage homecoming venue for Mancunian indie-rock band, The Answering Machine.

On a frosty Monday night, you can understand why there’s no massive queue outside but on arriving at the gothic-looking Deaf Institute, Manchester, just in time for Foals-inspired support act, Rapids!, the crowd looks notably disinterested, standing a good 10 feet from the stage. Things can only get better in terms of atmosphere at least.

Clad with stain glass windows, stacked speakers, some banked velvet seating and a humungous disco ball, an interesting gig definitely looks to be on the cards inside this human-sized cuckoo clock of a venue.

Having supported the Manic Street Preachers on tour last year, expectations of the group, signed to Heist or Hit Records, are definitely quite high. In fact the band formed back in 2005 just across the road from the venue, at the University of Manchester.

Walking out to their trademark on stage thick set TV screens, ditching a jumper reminiscent of Christmas 1986, frontman Martin Colclough wastes no time in getting to the good stuff with ‘Oh Christina’ from debut album, ‘Another City, Another Sorry’. Straight from the off, the guitars sound crisp, and Colclough is on the edge of the stage yearning for a sing along, warming up nicely for the bigger tracks.

Trying to rally the home crowd, Colclough actually asks the crowd to step closer to the stage but instead they look like middle-aged lambs to the slaughter during the early songs in particular. They break out into applause after the music stops however as if they’re playing impromptu reverse musical statues.

Sipping an energy drink, the band launch into the winding and utterly catchy ‘Obviously Cold’. Immediately when the band hit the chorus, you cant help but think, ‘how is this track not massive?’. It’s upbeat, jumpy, rhythmic and the band is tight, with a lead singer who sounds like a young Grant Nicholas from Feeder at times.

Then you turn to look at the crowd and they look like they’re listening to Mick Hucknall rap to Lady in Red by Chris De Burgh, they look totally out of the zone. In fact the most cringing moment occurs when the singer tries to get the crowd clapping, to an unsurprising, stone faced non-reply.

The massive disco ball dominating the creaky wooden roofing, shimmering on to the glum face of the timid Ron Jeremy look-a-like at the front of the crowd, sums up the eerily cold crowd reaction.

But a couple of tracks thrown in from their upcoming second album, such as ‘3 Miles’ and new single ‘Animals’ grace the up to now faultless set, lightening the mood somewhat. There’s definitely potential here. The former’s searching riff, thick bass and lovely high pitched vocal just works, as guitarist, Pat Fogarty, busts out an odd fluorescent blue mouth organ mid-song.

‘Animals’ is a calmer offering, with a catchy yet low tempo melody, but you cant help but think that a younger, up-for-it audience would have eaten up the tracks on offer.

The undoubted highlight of the night is the mid-set appearance of their third single, ‘Lightbulbs’. With its rocky guitar-ridden melody and punchy chorus, the crowd even joins in a little, singing, “Her eyes just pop like lightbulbs and no, we can turn this, we can turn this round.”

The sweat ridden five-piece sign off with the FIFA 10 anthem, ‘It’s Over, It’s Over, It’s Over’. It charms the pants off you with its hopeful Manics-esque “Ahhhhhhhhhh’s” and rocky underbelly. But inexplicably, it is still not enough to get much more than a flinch out of the crowd, who at times could have been confused for extras from Shaun of the Dead.

On this showing, The Answering Machine are a tight, well drilled band with bags of ability and a selection box of catchy, intelligent tracks. Considering it was for over 18s only, the entrance policy may have been a bit misjudged but that by no means takes away from the band’s ability to smash out a great live performance.

With the right crowd, tonight could have been a classic gig. The quirky venue, creaky floor boards, good support bands and a top quality live performance from a precise group are all ingredients tainted by an aged, conservative set of punters. If it is foot-tapping, upbeat, indie tunes that float your boat, this band is a must see.

Also published on www.virgin.com

http://www.virgin.com/music/reviews/the-answering-machine-live-review-manchester-deaf-institute/

Hyde Welcomes the Spice of Asia

ASIAN SPICE: Council backed markets given Asian touch

HYDE’S first ever all singing, all dancing Asian market attracted over 3,000 shoppers last Thursday.

The newly themed market had a massive 77 stalls open for trading as opposed to Hyde outdoor market’s usual Thursday subscription of around 13 traders.

To attract new traders, Tameside Council’s economic development unit has heavily subsidised the stalls and they now cost from just £12 a day.

The event, which featured everything from Indian dancing to Asian cooking demonstrations was a huge success, breathing new life into the town’s market grounds.

Councillor David Sweeton opened the new market. He said: “This vibrant new market is a great opportunity for everyone in Tameside to celebrate the wide array of culinary and cultural traditions right on our own doorstep.”

The event was aimed as much to provide local people with a cultural market as it was to help nearby small businesses to increase their profits as a result of the market’s increased trade.

Council marketing officer, Dean Thurlow, said: “It’s all about giving people value for money and bringing the community together through the mixed background of traders.

“Virtually every ethnic group is represented here every week or two.”

Mr Thurlow explained that the council is keen to give the large Asian and Bangladeshi community a local market, as people were leaving the area to go to competing sites in Longsight and Oldham.

A wide variety of new and old traders set up shop at the market selling spices, saris, jewellery and a lot more, to mark an exciting new era for Hyde’s Thursday markets.

Kalsoom Ali, a regular trader at Ashton’s award winning farmer’s market, wowed the crowds with her Asian cookery demonstrations.

She said: “This really has brought the community together; I’ve never seen so many local Asian people out in force.

“We’ve had interest from loads of locals, both Asian and English, and it has done wonders for the outdoor market already.”

Mrs Ali, who often trades her homemade samosas, paratas and chapatis on Hyde’s neighbouring indoor market, added that she’s now considering joining in with more Asian markets.

Council officials are already looking as far forward as next year, hoping to make the Asian market a lasting fixture in Hyde’s famous market program following its early success.

The market brought in new customers from all over Greater Manchester like Sushila Kotecha, 62, from Newton Heath. She said: “It’s a great idea for people locally and it should be even busier in summertime.

“This is the first time I’ve been to Hyde. I came down just for the new market and hopefully it will bring more people to the area.”

Hyde’s town centre has been the scene of a flourishing market since 1848 and this latest incarnation is hoped to bring a new audience to the historic site.

Located just off the M67, the market grounds are open 8.30am to 4.30pm, Wednesday to Saturday and sit directly across from Hyde town hall.

Anyone wishing to get involved with the market by way of renting a stall should contact the council’s market office on 0161 342 3338.

Also published on www.mancunianmatters.co.uk

http://mancunianmatters.co.uk/content/hyde-welcomes-spice-asia

Live Review- La Roux Mystery Box Gig

ON SONG: La Roux excite the Manchester crowd

IT'S not everyday that Manchester city centre is littered with 4x4s on massive plinths and a huge Nissan themed box. But tonight you can't help but think that the hundreds browsing the delights of Primark, left running for the exits by the bassy tremors of booming electro coming from Piccadilly Gardens, are in for a good night.

An intrigued if not slightly expectant Mancunian audience awaits the chance to find out what’s in the Nissan Juke Mystery Box after having their shopping interrupted.

Warm up act, DJ Rebekah, ignites the crowd with spine tingling bass from her electro dance set with some foot tapping mixes that really get the crowd up for seeing the mysterious main event. She does drop in a few mainstream hits, like the brass based cheese-fest that is ‘We Speak No Americano’ by Yolanda Be Cool and DCUP. But on the whole her high tempo electro-techno fusion set really attracts the punters despite the odd slice of cheddar.

The curtain is finally drawn back and the stage lays empty. After a week worth of being drip fed clues, the cat is finally out of the bag, or should I say box, and it’s the Brixton based 80s throwbacks La Roux that are hitting the gardens this freezing Friday night.

The speakers, run ragged by the bassy warm up, are boomed back into life as iconic red-head lead singer, Elly Jackson, bounces into the limelight to hit single ‘I’m Not Your Toy’. Adorning a coat that looks like she’s giving a gorilla a piggy back, the 22 year-old really gets the crowd going and growing. But it seems that early on the cold has hit her throat as much as anything and you can’t help but think that she’s either not warmed up properly or she’s been eating sandpaper.

Debut single ‘Quicksand’ and its bouncy keyboard melody then really exposes her voice, she’s energetic as ever but just sounds stretched. Eeking out on the high notes, it’s not a good sign so early on in a gig as she cries: “Am I your possession, am I in demand.”

She prowls around the stage bucking her massive red side quiff like a cross between the pink panther and some sort of leather clad futuristic rooster as she flings off her bear rug of a coat. But she’s not comfortable, admitting to the crowd that she’s torn three ankle ligaments, limiting her dancing. The banter boys in the crowd were quick to suggest the ‘migraine skank’, which she thankfully doesn’t but it can’t stop her rhythmically hobbling around the stage.

Jackson leads the line really well, with some quality vocals as the band gets into its stride. Take funky synth album track ‘Colourless Colour’ for example, she hits all the right notes and leaves the baying crowd wondering how such a quality tune isn’t a single, as she sings: “We want to play but we have nothing left to play for.”

The enigmatic Jackson, backed up by a three piece band which includes the beanpole enthusiasm of drummer, William Bowerman, who bears an uncanny resemblance with Alphabeat front man Anders SG (especially during La Roux’s fittingly named track ‘Fascination’). The gig is as much of a visual spectacle as a showcase of the music, with eye catching neon and strobe lights and elevated keyboardists wowing the packed crowd.

The atmosphere is a strange one though, clearly a lot of the people who have turned up half way through had no idea that the gig was happening, so they probably aren’t all ardent La Roux fans. But by the time her trademark tune ‘In For The Kill’ kicks off, the crowd are jumping and beach balls are flying all over the place, even Jackson smashes the odd volley.

She’s backlit by some epic lighting and shows that the croakiness from earlier has long gone during an angelic interlude where she shows off her flawless range. All of this before hopping back into the trademark track’s high pitched synth backed chorus, singing: “I’m going in for the kill, I’m doing it for the thrill.”

The band, who are getting set for a re-scheduled US tour this November, have definitely given the crowd something to shout about and by the time farewell track, ‘Bulletproof’, comes on more than 1,000 people have packed the gardens. Despite a slow start, it’s all there to see that La Roux are a tight live band with vocal range and catchy tracks.

Having found out what was in the box, it’s safe to say that gift wrapped La Roux were far from an unwanted early Christmas present, but more of a welcome surprise.

Also published on www.virgin.com

http://www.virgin.com/music/reviews/la-roux-live-review-mystery-box-gig/

Album Review: Mt. Desolation - 'Mt. Desolation'

SUPER GROUP: Mt. Desolation try to live up to super tag

FOLLOWING the likes of Jack White’s Dead Weather and Josh Homme’s Them Crooked Vultures, Mt. Desolation are the newest so called super group, this time spawning from humble beginnings of synthesized piano lovers Keane.

Taking guest offerings from eleven other musicians from the likes of Mumford & Sons, Noah and the Whale and The Killers, this is anything but a piano rock mixtape. Keane’s Jesse Quin andTim Rice-Oxley have instead brought these bands together in a celebration of country music... yes, country music.

Nevertheless there are some beautiful tracks on this album like the mesmeric first single, ‘State of Affairs’, which combines Quin’s emotive vocal with a swirling violin and The Killer’s Ronnie Vannucci adding some sultry soft percussion to create this record’s delicate stand out track. The instruments build to a cinematic crescendo with an added almost medieval sounding guitar before Quin continues on his melancholic journey, singing: “When the weather turns and blue skies reappear when you’re pressed, fallin’ and you climb Mount Desolation yet again and you find we’re all just ordinary men.”

Another sure fire hit is the Springsteen inspired, ‘Annie Ford’. A story of love and loss that is wearing a metaphorical leather jacket and cowboy boots, this song has a tinkling piano adding to an ever-present rocky lead guitar and Quin’s gritty vocal.

‘Bridal Gown’ is the next of many quality bluesy love songs, chugging along with a slow, layered sound highlighted by Oxley’s strained lead vocal that rings of the Guillemots' Fyfe Dangerfieldduring the high notes. The song winds with the aid of a soft piano and enchanting violin as he emotionally sings: “Until the moment I saw you in your bridal gown, I just assumed that you would always be around.”

Unfortunately there are some cringingly clichéd fillers on this record, probably the most difficult to listen to is the line dancing juggernaut that is ‘Platform 7’, a track that single-handedly detracts from this album. Think of everything you don’t like about English country music and this song has it; a heavily strummed guitar and bouncy piano, an overblown American accent, and yes… a ‘yeehaa’.

‘Midnight Ghost’ is another typical country song that feels like it’s trying too hard. About lonesome travelling through American states, which are named one by one to a slow drum beat, strained piano and what sounds like an old church organ, you feel like your on the set of a strange British remake of the Dukes of Hazzard.

The idea for Mt. Desolation came over a quiet pint in a pub, purely fuelled by Oxley and Quin’s love for country music and in a way it’s as if the pair are playing musical dress up as they go from being Johnny Cash to Bruce Springsteen and back again.

But it must be said, Mt. Desolation’s self titled first album is a mixed bag of charming country inspired tunes and hard to take seriously line dancing tracks. And it is the self gratifying love for the music that has been created that makes this collaborative country collection well worth a listen despite the odd rogue.

6/ 10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/mt-desolation-album-review

Album Review: Chief - 'Modern Rituals'

MODERN RITUALS: Debut album out to impress

WITH roots bedded deep in Santa Monica, California, as well as in New York City, Chief’s debut album is a bi-coastal, self proclaimed “traveller’s record”. Influenced by the likes of Neil Young and The Byrds, the quartet came out of nowhere to secure a high profile record deal with Domino before teaming up with Grammy Award-winning producer Emery Dobyns on their first record. So they must be good... right?

Well guitarist, Danny Fujikawa says that he naturally felt like driving down the Pacific Coast Highway when listening to 'Modern Rituals' and it’s not hard to see why, with expansive country sounding riffs in songs like ‘Wait For You’. A clever mixture of strummy acoustics and plucked electric guitar sounds along with a dominant drummer combine with Evan Koga’s fresh vocal to create the first of many dramatic tracks on this record.

The album’s highlight is the single ‘Night & Day’, a dramatic tale backed by driving drums and Koga’s soaring vocal. A soft instrumental start to the song is pierced by Koga’s echoed voice as he sings: “I see, see, see you about every night, but my heart don’t, it don’t feel right.” The song builds and builds behind a shimmering guitar before launching into an irresistible prayer-like chorus.

‘Breaking Walls’ is the second single to come from 'Modern Rituals' and is crammed with delicate tinkling guitars, Koga’s pure yet deep vocals and a rocky chorus reminiscent of aussie folk rockers, The Church. This is a cracking driving song, with a folky guitar solo, you can’t help but want to get in your car and join a long road to nowhere, as Koga sings, “now it will fall, it will fall, it will be falling if I’m breaking walls”.

The band also show their melancholic folk leniencies with the dreamy low tempo, violin clad, ‘Irish Song’ and the harmonic, ‘In The Valley’. ‘This Land’ is also a slower offering, this time with Fujikawa’s soft vocal combining beautifully with an Oasis-style rocky riff embedded in the verses.

This record is littered with soaring vocals and gleaming guitar melodies, but at times the hooks aren’t quite as catchy as you might hope. In many cases the choruses are quite long, almost tribal chants like on ‘Nothing’s Wrong’ where Koga sings, “when we go back alone, take me with you don’t be cold, you can call me on the phone and the weather gets dark you know”.

But this album is more than the odd catchy chorus. It’s a cohesive record brimming with beautifully layered instruments that take you on a journey, supported by classy harmonies that The Beach Boys would be proud of.

The new age folk rock success based around groups like Band of Horses could well see Chief hit the big time if this is anything to go by as their cross country influences make this the best of both emotional folk and feel good rock. A brilliant combination of layered guitar work, soft harmonies and dramatic song structure make this album a must listen.

9/10

Also published on www.virgin.com

http://www.virgin.com/music/reviews/chief-album-review-modern-rituals