buzzcocksfan

4.4.19

Ex Hex - 'Rainbow Shiner' video + tour dates.

Pictured: Ex Hex press shot by Michael Lavine (click for high res)

"Knottier and gnarlier than its predecessors... It, too, rips. One heavy guitar lick bulldozes into the next, as the instruments collide and bounce off each other rambunctiously." - 8/10, Uncut
"Hip-shaking, thrill-seeking glam moves, new-wave anthems, and whistle-able melodies." - **** MOJO
"The Washington DC trio's zeal for radio rock rifferama is infectious... Deliciously immoderate." - The Wire
"Slicker and snazzier and shinier, but still designed with destruction in mind." - The Quietus
"A playful new layer to Ex Hex’ ultra-distinctive sound... Don your glittery outfits and get ready to mosh." - **** NME
“’Making guitar music this boisterous and this exhilarating is actually a bit of an exact science.” - **** DIY
“Another marvel of radio-rock craftsmanship.” - Q
“It’s Real lays a path for working through painful moments and re-empowering one epic riff at a time.” — NPR
“Ex Hex mine the areas of arena rock that have been forgotten to pop history, pledging allegiance to echo, overdrive, phasers and harmony, the very things that powered the airwaves in the days before MTV.” — Pitchfork

Ex Hex have taken new album 'It’s Real' (out now via Merge) on the road for a massive tour that will find the band hitting both sides of North America before crossing the Atlantic for shows in Europe next month. Today, the trio of Mary Timony, Betsy Wright, and Laura Harris present the music video for “Rainbow Shiner” which faithfully brings their album art to life and was directed by underground animator and cult cartoonist M. Wartella.

Of the video, Wartella says: “As artists, often our destructive tendencies come from the same place in our heads that creativity comes from, and that is what we aimed to capture in this psychedelic trip clip. Well, that and to rock your socks off! For real!!!”

Watch "Rainbow Shiner": https://www.youtube.com/watch?v=FqRI5uN3fEE
Embed:

The ferocious and anthemic “Rainbow Shiner” is what Ex Hex’s Betsy Wright describes as “a victory song about the power and love of music” Her mordacious central riff is coupled with dueling guitar-god solos that explode from the stereo spectrum.

Ex Hex were already one of America’s best guitar bands—but on ‘It’s Real’, their musical savvy has thrillingly combined with anything-goes curiosity, studio experimentation, and a dedication to refinement, resulting in an album that’s ready to be played at maximum volume.  Single "Rainbow Shiner" offers a prime example.

Ex Hex European live dates:
May 23 - Stereo, GLASGOW (UK)
May 24 - Brudenell Social Club, LEEDS (UK)
May 25 - Deaf Institute, MANCHESTER (UK)
May 27 - The Exchange, BRISTOL (UK)
May 28 - Village Underground, LONDON (UK)
May 29 - Hare & Hounds, BIRMINGHAM (UK)
May 31 - Botanique, BRUSSELS (BE)
Jun 01 - Best Kept Secret Festival, HILVARENBEEK (NL)
Jun 03 - La Maroquinerie, PARIS (FR)
Jun 04 - Exil, ZURICH (CH)
Jun 05 - Blue Shell, COLOGNE (DE)
Jun 06 - Molotow, HAMBURG (DE)
Jun 07 - Privatclub, BERLIN (DE)

3.4.19

Piroshka + Bad Idea. Brudenell Social Club, Leeds. 31.03.19.

15 minutes before Bad Idea walk on stage the Brudenell isn’t exactly full and I’m wondering if this is going to be one of those gigs where great bands play to almost no people. Thankfully there’s a decent number in by the time opening act Bad Idea begin their set of catchy, lo-fi, guitar drenched indie pop. This is a hard working band. Formed less than two years ago but with the best part of 40 gigs played and two singles released already Bad Idea mix often delicate, summery, jangly guitar sounds in songs such as ‘Date ‘Night’ with noisier, heavy, fuzzy bass and drum driven numbers such as ‘Boy Racer’. After a song suffers a mis-start singer Sarah Sefton apologises, telling us how nervous she is. Apologies are unnecessary, as are the nerves, Sefton has one of those voices you can listen to for hours. Not unlike that of Harriet Wheeler (those of a certain age will remember The Sundays). Delicate, fragile but one that blends perfectly with Bad Idea’s catchy hooks and the more subtle, background vocals of drummer Daniel Johnson. I don’t doubt we’ll be hearing more about Bad Idea in the not too distant future.

Bad Idea

Piroshka – not a ‘supergroup’ but they are made up of drummer Justin Welch (ex Elastica), bass player Michael Conroy (Modern English), guitarist KJ ‘Moose’ McKillop (Moose) and vocalist/guitarist Miki Berenyi (Lush) – stroll on to a now somewhat fuller venue and give us a guitar drenched set of perfect indie pop. Live Piroshka are a six piece, supplemented with keyboards, percussion and additional backing vocals. Their sound is different from that of their previous groups. More edgy, tougher and darker but with Berenyi’s unmistakeable vocals and a clear nod to everything that defined the late 80’s/early 90’s ‘alternative’ music scene.

Opening song ‘This Must Be Bedlam’ (also the opening track on excellent debut album ‘Brickbat’) hooks the punters in immediately with it’s catchy, repetitive beat, layered sound and disdainful lyrics. ‘Run For Your Life’ follows and is, perhaps, where we here the most obvious comparison to Lush. Piroshka power through the whole of Brickbat meaning it’s a gig of songs that at one point might be pounding drums, shimmering, feverish guitars and digs at the state of current politics and opinions – ‘Hated By The Powers That Be’, whilst minutes later ‘Blameless’ and ‘Heartbeats’ are gentler, bittersweet and personal. Whilst it’s hard not to think of Lush when Berenyi sings, Piroshka’s lyrics are generally far harder hitting as they rally against todays ills – greed and inequality (‘Never Enough’), constant bad news, school shootings and, of course, the absolute mess that is Brexit. If you absolutely had to compare the live sound of Piroshka to that of other bands you might say there are small hints of Cocteau Twins, a touch of The Breeders and tiny amounts of Stereolab but ultimately Piroshka are Piroshka, four musicians each with a distinguished past who have come together to form something much more than the sum of it’s parts. And it’s clear from the smiles on stage that they enjoy what they are now doing. Ending their set with ‘What’s Next’, a song that has such a captivating, uplifting beat it’s easy to avoid it’s focus – “I’m terrified that the long forgotten days when we were divided are back again.” After leaving the stage for the briefest amount of time they return to announce their final song will be a cover, one that “If you recognise this you must be really old.” Feeling my age it took only seconds before I did and we get a perfect version of The Au Pairs ‘It’s Obvious’, released 39 years ago.

Piroshka

Julia Shapiro releases solo single.

Chastity Belt lead singer & guitarist Julia Shapiro has released the lead single from her debut solo album ‘Perfect Vision’ which will be out June 14^th via Hardly Art. ‘Natural’, a beautiful post-punky, indie song is just one written following a cancelled Chastity Belt tour when she was also dealing with health issues, a recently ended relationship and a life that was beginning to spiral out of control. An intimate and self-aware look at herself and the things she might change Shapiro’s songs are full of perfect shimmering guitars and sharp lyrics.

‘Natural’ can be heard here.

'Perfect Vision' is released on June 14^th and can be pre-ordered here.

Julia Shapiro can be found on Instagram here.

25.3.19

Kristin Hersh + Fred Abong. Left Bank, Leeds. 21.03.19.

First words must be about the venue. Left Bank Leeds is a multi-disciplinary arts venue set in a Grade II listed former church now over 110 years old. Walking in really does have the wow factor with it’s archways, stonework, stained glass and subtle coloured lighting. A perfect setting for tonight’s gig.

Kristin Hersh is visiting Leeds as part of her ‘Live and Loud’ tour and has brought with her former Throwing Muses and Belly bass player Fred Abong and 50FT Wave drummer Rob Ahlers.

Fred Abong opens proceedings. Walking on stage he looks genuinely shy with a demeanour giving the impression he’s not quite sure how the audience will react. Last year Abong released the wonderful six track mini-album/ep ‘Homeless’. Full of mesmorising, repetitive guitar picking, gravelly vocals that could easily be mistaken for those of Mark Everett (Eels) and some killer lyrics that could be dealing with any of life’s ups and downs – relationships, identity, frustration. Just listen to ‘Homeless’ and you’ll get what I mean. Recent release ‘Pulsing’, another six track mini-album that’s played in full tonight, follows in the same vein as Homeless with the addition of some dark grungier moments of heavier bass, driving guitar noise and vocals delivered with more aggression. Standout moments include the hypnotic ‘Firefly’, the heavy drone of ‘Sum’, the distorted guitar drenched ‘Meet Me’ and ‘Homeless’ – a favourite from last time I saw Abong play live – that catches your attention immediately and forces you to listen. If you only know Fred Abong through his work with Throwing Muses and Belly then tonight provided a perfect insight into his songwriting talents as a solo artist. Great stuff.

Fred Abong

The mere presence of Kristin Hersh on a stage is enough to cause those gathered to fall into a reverential silence. Tonight is no exception. There’s no loud cheers, no stamping of feet or raucous clapping of hands. Just the odd whoop, polite applause and quiet anticipation. Perhaps it’s because it’s a seated venue and this forces people to be more subdued, more polite. Nonetheless the atmosphere is charged. Kristin Hersh attracts very few casual observers. Rather anyone who goes to see her falls into the category of dedicated fan and here in Leeds she can do no wrong. ‘Live and Loud’ means just that as opening number ‘Lax’ from 2018 album ‘Possible Dust Clouds’ proves. Hersh’s guttural, rasping vocals backed by Abong’s pounding bass lines and Ahlers’ drums deliver an altogether different experience to seeing Hersh on her own with just her guitar.

‘No Shade In Shadow’, the lead single from Possible Dust Clouds is perfect with it’s hypnotic, repetitive, melodic, low fi distortion. ‘Possible Dust Clouds’ quite rightly features heavily – current single ‘Loud Mouth’, ‘Tulum’ and ‘Halfway Home’ – darker, heavier, denser than a lot of Hersh’s recent output. Songs that sit brilliantly in a live setting, especially one with a past such as this one. Aside from these Kristin Hersh delivers a set of songs spanning much of her back catalogue. ‘Mississippi Kite’, ‘Sand’ and ‘Crooked’ from the soon to be re-issued ‘Crooked’ album. A driving, sonic ‘Sunray Venus’ and ‘Limbo’ are the only Throwing Muses songs to feature. ‘Your Ghost’, with backing vocals from Rob Ahlers, always a crowd favourite and always an emotional moment, receives the appreciation it deserves.

Despite moving little Kristin Hersh is a dominating presence. She says little but what she does say is quick witted and often full of wry humour. A problem with the G string on her guitar is compared to a strippers underwear. Gentle smiles quickly change into devious grins and, once a song has started, there’s that hypnotic stare. Fixed on some point not just at the back of this church but at some point far, far away as her head sways side to side Hersh becomes a different person, lost in her own world, possibly the world where voices once provided the lyrics and the chords to her songs. Then, as soon as a song comes to completion, she’s back with us.

It's not all gutsy, sonically driven guitars and drums. Quieter, gentler but no less powerful moments come with Sky Motel’s ‘Husk’ and ‘The Thin Man’ from Learn To Sing like A Star, both showcases for the raw emotion Hersh displays so easily.

The set closes with traditional cover ‘The Cuckoo’ but it’s just a minute or so before they return and, after Abong and Ahlers swap instruments, belt out a thunderous 50Ft Wave’s ‘Broke’.

The evening wasn’t perfect. Having the crowd seated suits the single guitar, solo shows Kristin Hersh has done in the past. It’s not so good when things are ‘Live and Loud’ and need a crowd who can stand and move. The acoustics of the high church roof also mean that, through no fault of the band, the sound wasn’t perhaps as clear as it should have been. But for an audience who hang on every word she says, on every note she plays and on every lyric Kristin Hersh sings these were trivial matters.

Kristin Hersh

1.3.19

Boy Harsher, Kontravoid, Soft Issues. Wharf Chambers, Leeds. 25.02.19.

First the venue – Wharf Chambers is a multi-use venue run by a workers co-operative. It’s inclusive, affordable (no rip off drinks prices here) and puts on a fantastic variety of live music throughout the year.

Tonight’s gig is a sell-out and by 8pm there’s a real buzz developing.

Soft Issues kick off the evening entertainment. This two-piece from Leeds deliver what can only be described as an insane level of screaming noise based on synth driven sounds. They don’t play tunes, they simply drill straight into your head with a hypnotising set that can, occasionally, lull you into a false sense of calmness before the ferocious, agonizing, grinding vocals and piercing, almost unbearable electronic soundscape once again kicks you in the head.

Soft Issues

By contrast, Toronto’s Cameron Findlay, better known as Kontravoid, delivers a set of electronic beats that aren’t your run-of-the-mill dance tunes. Pushing the boundaries of techno electro-pop as vocals and non-stop movements are almost obliterated by the constant flickering of pure white strobes. It’s hard to know where to look or what to concentrate on. Kontravoid’s set of repetitive, mesmorising beats, dark lyrics and apocalyptic lighting mangles your senses as he takes you down an ominous path to who knows where.

Kontravoid

By the time Boy Harsher walk on stage the place is absolutely rammed. Sell out means sell out. I doubt you could have squeezed another soul onto the floor tonight. There’s a real sense of anticipation building. As one person behind me said, “I don’t care if I can’t see them. I just want to listen and dance.” And dance they did. It took no build up, no ‘getting into it’. From opening song ‘A Realness’ the whole place doesn’t stop moving. Boy Harsher play addictive, dark, minimal synth chords over deep, driving beats. If you’d never heard them before it’d be milliseconds before you were moving, dreaming, completely locked in to their techno-goth sounds. Add in Jae Matthews’ haunting vocals, piercing stares, occasional manic yelps and it’s easy to see why Boy Harsher draw you in and keep you fixated. Surprisingly their set tonight isn’t dominated by songs from recent LP release ‘Careful’ – ‘Fate’, ‘Come Closer’, ‘Tears’ and ‘LA’ are masterpieces of 80’s synth-pop influenced dance tunes but without the chintz. 2016’s ‘Your Body Is Nothing’ gives us ‘A Realness’, ‘Your Body Is Nothing’ and the constantly changing, simple beat into driving basslines, and unnerving vocals of highlight ‘Suitor’. On ‘Westerners’ (from EP Country Girl) and ‘Modulations’ (from ‘Lesser Man’) Gus Muller ups the tempo of synth driven melodies. Set closer, and arguably Boy Harsher’s calling card, ‘Pain’ is a magical mix of thick, pulsating bass rhythm, pounding beats and dark, husky vocals repeating “Pain breaks rhythm, breaks rhythm”. It’s easy to understand why Pain has, to date, been played over 1.3 million times on Spotify alone.

Boy Harsher