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Sunday, 07 September, 2008

PLANETNOTION TELEVISION!

CAMERA-FOLK AND FILM EDITORS WANTED!

Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.

Please email lucy@musichqmedia.com if you’re interested in getting involved, cheers!

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The Rage Into Spring w/The Crimea at Cargo!

The Rage Into Spring w/The Crimea at Cargo!

The Rage Into Spring Cargo, Shoreditch Sometime back in April The Rage events have a philosophy. The kind of philosophy that garners one of two reactions. There’s no in-between, no but; it’s either “that’s good” or “that’s bad”. Those that say The Rage is good are people who like to sip champagne, munch on posh nibbles and sway gently to cutting sounds secure in the knowledge that they are “one”. Maybe they have an inner rock demon fighting to break free with a twenty-four carat pitchfork and a penis like a pen-knife; who knows? Alas, at The Rage these people are made to feel special; part of a selective almost exclusive sect. The people who say that The Rage is “bad” are people who feel hard done by when they’re not granted access to the selective ‘mature’ sect because (A) they can’t afford it due to (B) a job that churns their guts about like a cement mixer which (C) leads to giddiness and projectile vomiting; probably because (D) they spent their meagre wages at a club called ‘Tiger Tiger’ or ‘The Blue Fountain’ that has a special deal on cocktail pitchers, including ‘Blackcurrant Bum Fuck’ and ‘Orange Cum Sunshine’. Or they could just be too young as The Rage events are strictly for a “mature audience”. Anyway, I went to The Rage’s first event of the year, The Rage Into Spring, and despite feeling somewhat out of my depth because (A) I can’t afford such things - (E) came into the equation – (E) being the fact I’m a journalist with powers of persuasion and flattery that continue to astound. To pen a modern phrase: “I blagged my way in”. An initial reaction: Everyone looks very smart. A second reaction: Good god man, you’re a fish out of water. Alas, we go to these things for the music not for a set dress code. Besides scratch beneath the suits, shirts, and fancy skirts and you’ll find there are people just like you whose clothes look worn and are there for the music too. ‘The Rage Into Spring’ had an eclectic bill, breaking talent that “can be appreciated by the more mature attendee” and acts familiar “with a more mature attendee”. Close friends of Hadouken! – The Clik Clik were there; a band (3 guys + 1 gal) who are rapidly gaining popularity and recognition with a couple of upcoming dates on the festival circuit. Championed by circles of the music press, with a firm fanbase and distinct sound, “Post-punk band” The Crimea were also on the bill. Though whether such a sound can be described as “Post-punk” is debatable… And a few of the more obscure acts like ‘Tom Hatred and The Angry Band’ and ‘Tom Yuli’ were playing on the night. Let’s be quick about this: Tom Hatred and The Angry Band should be watched with an eagle eye (V.good). The Crimea were exceptional. And our party missed The Clik Clik and Tom Yuli because we were fashionably late. But hey, if God intended us to be perfect there wouldn’t be pillaging, mugging, rape, murder, stabbings, shootings, and fungal foot rot. I managed to catch a few words with The Crimea’s bass player Joe Udwin. I was after a reaction, an opinion, a view on playing to such an exclusive ‘mature’ audience: “We knew what to expect and we knew what we were expecting would be good,” said Joe. “It’s great”, he continued. “To be honest, the age group doesn’t make it any different to any other gig I’ve been to. There are probably just less smuggled in bottles of cider”. Indeed… Joe was right. Nobody at The Rage would smuggle in a packet of painkillers, let alone a bottle of cider. The most they’d probably stretch to would be a Cuban cigar rolled on the thigh of a virgin. The Rage events are full to the brim with over twenties describing the ‘full-bodied’ flavour of their wine and the ‘delicate texture’ of their meat (dish). Hell, even the people were friendly and - by god, that wasn’t expected. An attractive girl from Sweden, a PR guy, a journalist, a guy simply here to see the bands - all talking, mingling and sharing the scene as one. To borrow a quote from the American self-help luminary Wayne Dyer: “Judgement prevents us from seeing the good that lies beyond appearances”. In conclusion: The Rage events may be somewhat exclusive - where people wear perfume, aftershave and sip champagne with an elegance ‘unfamiliar’ to those who “fiddle with stem” and “down like sun-drenched Cowboy”. But at heart it’s a great event, with great music, and great people. An event that those ‘unfamiliars’ should attempt to attend in their quest to feel “special” and become “one” (if not for the limitless Jack Daniels, live bands, and attractive Swedes). Words: Dangerous For info on The Rage visit: www.therage.tv The Rage On In Summer: 2nd July The Rage Through Autumn: 8th October The Rage Out In Winter: 11th December

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Method Man and Redman at Shepherd's Bush Empire

Method Man and Redman at Shepherd's Bush Empire

Method Man and Redman Shepherd’s Bush Empire There's chemistry, and then there's the explosive combination of Method Man and Redman, who ripped up the stage with such force the place was filled to the rafters with people throwing their hands up Wu-Tang style as the duo trotted out all the classics. There was Meth's 'Bring the Pain', 'Method Man', a Wu-Tang moment with 'Wu-Tang Clan ain't nuttin to f*ck wit', Redman's genius 'Smoke Buddha' off the Muddy Waters album, and lots from their 1999 Blackout! album, naturally. 'Da Rockwilder' tore the roof off in particularly violent fashion. Rumour has it, a second album's on its way, along with ‘How High 2’ – the sequel to their film released in 2001. There was a shout-out to ODB too, Meth giving the man props in a spangly Wu-Tang t-shirt and Funk Doctor Spock raising his hands in appreciation. They may be highly charged individuals who pull no punches, but they're proud and professional, putting on a show tighter than their verbal sparring without a hint of filler in sight. Refreshing and too much fun. Words: Helene Dancer

tags: | method man | more...

Lupe Fiasco at KOKO, April 2nd

Lupe Fiasco at KOKO, April 2nd

Lupe Fiasco KOKO April 2nd April 2008 Lupe Fiasco has been called everything from a lyricist to a terrorist. The one word you wouldn't associate with him is energetic. But you wouldn't think that on the evidence of this gig, as he leaps around the stage, his energy so infectious that the audience forgets he was an hour late. Lupe’s energy spills over into every song and none more so than ‘American Terrorist’. Allusions to George W. Bush drew the loudest cheers of the night, which in turn drew one of his best performances. Every word was said with so much passion you wouldn't believe Lupe was accused of being lethargic a couple of years ago. He makes full use of the stage, dancing like James Brown impersonating a pastor; adopting The Godfather of Soul’s routine of using the mic stand as a dancing prop, before leaping onto some speakers during a band instrumental. Lupe's six-piece band is extremely strong, making each song fuller rather than making them sound like demo versions. They even go into a neo-soul breakdown at the end of ‘Sunshine’ that wouldn't be out of place on an Erykah Badu album. There were some faults with the band approach, ‘Dumb It Down’ was spoiled by a wailing guitar, but these were minor in a gig that could easily turn a sceptic to a fan. From the double time rapping of ‘The Cool’ to the acoustic version of ‘Superstar’, it's clear that Lupe has grown since the ‘Food & Liquor’ days and is now a fully fledged performer. And all the better for it. Words: Jason Dike / Photography: Uzo Oleh

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Gallows at The 100 Club, 5th March

Gallows at The 100 Club, 5th March

Gallows The 100 Club 5th March 2008 Some would say that the spirit of Punk died in 77 only to be taken over by second rate bands drudging sound-out without the ethos and attitude of their predecessors. I guess that’s kind of true. I mean, the Sex Pistols were so fresh and exciting when they kicked-off, that people were literally Cumming in their pants (possibly), and they’ll probably say that the magic of 76 will never be repeated. Sure, that’s sorta true; the whole collective attitude of Punk will never reach the dizzy heights of that bygone age. But we can still take solace and huge relief in the fact that Blink 1-8-fucking-2 aren’t the only ‘so called’ Punk band around. For Gallows are just about keeping the spirit of Punk alive, baby, and they’re doing it mighty well. You only have to look at Gallows to realise that each member has his own sense of style; a certain ‘je ne sais quoi’ that sets him apart from his peers; a certain panache, if you were. I mean, sure, Gallows don’t exactly dress with safety pinned trousers, pink winkle-pickers and torn and frayed tees, but they’re definitely Punk. I mean, the whole point of Punk is that you and you alone are an individual in the way you dress and act and look but share a certain ethos, attitude or interest with the rest of the Punk fraternity. This ethos and attitude is clear in Gallows performance and a huge reason for their failure to disappoint at London’s historic 100 Club. The Watford lads’ performance is as wrought with energy as a night in the sack with Arnold Schwarzenegger, the guv’nor dripping hot wax on your back, shafting you up the arse and calling you his “bitch”. A choice metaphor when you consider that Gallows are a hardcore Punk band. You may think that means thrashing guitars and drums blending together like some schizoid brain-fuck, but you’d be wrong. It’s accessible hardcore and, like an onion, it has multiple layers of attitude: Intelligence, rhythm, dare I say it… Soul? Frank Carter, as I’m sure anyone with a knowledge of Gallows will testify, gives a raucous, full-throttle performance. As Brian May would say (seriously check out his blog), when Frank is performing “you can almost touch him… eat him… delicious!” I guess the wee fella’s kind of akin to Johnny Rotten, and not just because of the ginger bonce. No, both break the boundaries between artist and audience, interacting on a level rarely seen in live performance. Exposing his tattooed frame, Frank swings from the light fittings, spits, crouches, and leers in the face of the baying crowd. The whole performance is flawless and even ‘ol general of grime Lethal Bizzle shines as he collaborates on ‘Staring at the Rude Bois’. Despite having a beefy entourage who appear to be preventing a Bizzle attack from the masses, the ‘rude boy’ still took time to crowd-surf; both highly amusing and in-keeping with Gallows band meeting audience philosophy. Have Gallows brought Punk crashing into the new millennia? Planet Notion says yes, and anyway, they shit all over Blink 182. Who called them Punk anyway; fucking ponces!

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Islands at Hoxton Bar and Grill, 26th February

Islands at Hoxton Bar and Grill, 26th February

Islands Hoxton Bar and Grill 26th February I walk through the door of the Hoxton Bar and Grill just as Damn Shames are walking off the stage which is literally a Damn Shame as from what I’ve heard of them their twitchy, funky disco-tinged post punk grooves would have definitely put me in the mood for a night of music. Alas it wasn’t to be. I have always thought of Islands fondly, their debut album Return to the Sea was a permanent fixture in the CD player of my car as I cruised around my home town a couple of summers ago. At once poppy; but with a ‘quirky’ darker side to it, it was the perfect antidote to the saccharine crap that usually swamps the airwaves during the warmer climes. Ah… Memories. However, things don’t get off to a good start. The mic’s on the stage don’t appear to work and after a bit of faffing around we hear singer Nick Diamond’s voice come through the monitors. “That was excruciating” he declares before the band launch into a new track from the forthcoming album ‘Arm’s Away’. Immediately it’s obvious that they’ve moved in a slightly different direction to what has come before. With the addition of two violinists the new material has a far more orchestral tone to it. Gone are the light-hearted melodies and the delightfully absurd synth squelches. Indeed, the new numbers have a more muscular feel to them. However, I find it hard to really get into the music being played. I don’t know whether it’s the fact that I’m tired after a day at work, the unfamiliarity of the songs, or the rather muted response from the crowd, but something feels a little off. They manage to redeem themselves with ‘Where there’s a will (there’s a whalebone)’ which features the delightfully menacing line “going down to my tropical hideout / if anyone finds out I’ll turn their lights out”. On the album this song features a mid-song rap from Subtitle; he isn’t here tonight so instead the band have a wig out jam, which actually works a lot better. All of the musicians go crazy on stage and seem to really enjoy themselves for the first time since they started playing. They leave the stage with a knowing wink reassuring us that they’ll be back for an ‘encore’. When they return they play the opening song from Return to the Sea, which was my first introduction to the band. It’s wonderful to see ‘Swans’ being performed live, and it benefits from an extended instrumental mid-section. The band are clearly enjoying performing it, the violinist jumping up and down by the side of the stage and the guitarist pulling amusing faces as he peels out the last few notes. Alas, I still can’t shift the feeling that I haven’t seen Islands at their best. Hopefully if/when they return to tour the 'Arm's Away', following its release, I’ll be able to see the band I know they’re capable of being.

tags: | islands | more...

Trencher at The Portland Arms, Cambridge

Trencher at The Portland Arms, Cambridge

Trencher / Spin Spin the Dogs / MicroPenis The Portland Arms Cambridge March 1st. The ‘hilariously’ moniker’d Mircopenis are a boy/girl duo who make noise using vox/bass/drum machine. They’re a sort of post-modern, performance art, piece, with lyrics like “I’m in love with the communist war machine. Supersonic. Sex. Attack”. The problem is that singer Louise has very little stage presence; she mainly stands in one spot looking like she wishes she was somewhere else, which doesn’t really help when delivering lines like that. I don’t know if you’ve seen the ‘Bad Uncle’ episode of Nathan Barley, but Micropenis sound like the girl from that fronting a Big Black tribute band. This isn’t necessarily a bad thing as they’re quite enjoyable, assuming it’s all a little tongue in cheek and, dare I say it, ‘ironic’. Spin Spin the Dogs are another interesting spectacle. The singer can only be described as ‘eccentric’ as he stomps around the stage as if afflicted by some sort of petit mal, and barking (no pun intended) out lyrics, whilst the band play something akin to neo-jazz in a similar vein to Mr. Bungle. Sadly their frontman is no Mike Patton and his attempts at being ‘zany’ are a turn-off; introducing each song with an anecdote before running out of steam and demanding his band play the next song. Considering how ‘normal’ the three young men that form Trencher look, it’s surprising how evil they sound, especially considering their sonic arsenal is comprised merely of drum kit, bass and a tiny Casio keyboard. They tear through a set, comprised almost solely of tracks from last years Lips album, and it’s enough to make your skin crawl. Aside from myself, and a few other brave souls, the rest of the audience watch from the back of the room; secure, safe and trying to avoid having their ears flayed. Quite a shame as they miss an incredible display by all three musicians. I never thought it possible to create so much dread from so small a device but singer/keyboardist M.Shit manages to do just that. His fingers are a blur as the machine spits out what can only be described as a ‘dark carnival’ sound; like the Pied Piper luring poor children to their doom. You’d be forgiven for assuming that Drummer ‘Lock Monger’ ( Trencher obviously don’t use their own names) were some sort of multi-limbed demon, unleashing an assault on all parts of his kit. The dirty, fuzz-bass, grooves, which are wrenched from Pox’s instrument, are enough to send a shiver up your spine as you try twitching and contorting to the music. A particular highlight is Nightmare on Crack St, a lurching beast of a song, akin to a merry-go-round gone horribly wrong. They finish their set in the manner it began, all screams and noise, and I wander into the evening, my ears ringing delightfully and my soul slightly stained; but all the better for it. Words: Andy Devine

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Transient at The Horse and Groom

Transient at The Horse and Groom

Transient The Horse and Groom Shoreditch February 16th Spray-painting a lime, silver and blue logo here, there and everywhere, Transient showed the party had arrived in style at The Horse and Groom; their Valentine’s soiree an intimate evening of good music, laid back lovers and speedy drinks. The Horse and Groom proved both a warm and inviting venue, with leather sofas and ambient lighting making the evening an unpretentious affair; the sunglasses thankfully left at home. Resident DJ Dan Kinasz warmed up the Groom, getting the feet agrooving and the atmosphere atingling with the infectious 'Albertino' by Guido Schneider. Ad Jones literally worked all and sundry into a fevered frenzy with his aptly named reproduction of ‘Fever,’ a deep, sexy, woman’s voice perfectly pleasurable to the steamy crowd. Guest DJ Tom Taylor (one half of 2020 Vision’s excellent Electric Press) continued to satisfy, perhaps more so, with his unique mix of deep house, techno and funk, well received by The Horse and Groom faithful. The evening was an ideal combo of laid-back boogy and party-hard, without the pub turning into the usual Shoreditch sweat box; considering the popularity of the night, quite an achievement. So the next time you’re bungling about wide eyed around the East-End of London tahn, take more than a Transient look for the party that invites you to get involved, and get involved. Words: Hannah Wiltshire

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Les Savy Fav, The Astoria, 10th February

Les Savy Fav, The Astoria, 10th February

Les Savy Fav The Astoria Sunday 10th February I would like to preface this review with the following admission: I love Les Savy Fav and have done for many years. This confession may lead you to believe that what you're about to read is steeped in personal bias and narrow-minded self-interest. I assure you it's not, you have my word. Having played together for 12 years the musical arm of LSF is incredibly tight. The music sounds pitch perfect. However, they're not afraid to demonstrate their improvisational skills, allowing set closer '(Rome) Written Upside Down' room to breath and adding in their own technical flourishes. I've seen this song performed live six times now and it's always different. Never the same. Despite their musical brilliance lead singer Tim Harrington is (of course) the man to watch. His boundless energy, wit and showmanship are worth the entry price alone. At the start of their set he bemoans the barriers at the front of the stage keeping audience and band separated. This doesn't stop him from plunging into the crowd at any given opportunity, allowing the baying fans to take the mic during the wolf howl section of latest single What Would Wolves Do? (I urge you to check out the video for this song, already a contender for best music video of the year) and generally mucking in with the dancing and sweaty crowd. I have to say there's nothing quite like watching a band in the middle of a group of people, who are all as excited as you are, and who are also singing along to every word. It shows how much attention Harrington commands that on his frequent trips to the back of the Astoria the entire crowd are watching where he's going and not the band; although they don't let this phase them. Les Savy Fav play a set which relies heavily on latest album 'Let's be friends' (naturally) but this is by no means a bad thing. 'The Equestrian' is a rollicking beast of a song and 'Patty Lee' begins the first sing along of the night. Follow this with the decadence drenched 'Raging in the Plague Age' (sample lyric "draw up the drawbridge draw down the blinds everyone inside is getting high tonight") and you have a powerful brace of song. The band still delve into their back catalogue and songs like 'Reprobates Resume', 'The Sweat Descends' and 'One Way Widow' are received like old friends. Les Savy Fav play each show as if it were the most important one they've ever played. There are no shortcuts or half measures. Tim Harrington's frequent costume changes add to the show rather than detract from it and never come off as contrived, or 'try hard', as could be the case with other bands. The fact that he's a slightly corpulent fellow, with a balding head, huge beard, and demeanour of an ADD afflicted child, helps add to his charm. After playing an exhausting hour long set the band still come back on for a four song encore. This includes a cover of The Pixies ‘Debaser’, which has the worn out crowd using the last of their energy reserves to dance along to it. It's a sign of a great band that as soon as I've walked out of the Astoria I want to listen to them on my iPod; Les Savy Fav definitely rock the party that rocks the party! Party! PARTY! Words: Andrew Devine

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Levi's OneToWatch at Camden Barfly

Levi's OneToWatch at Camden Barfly

Levi's OneToWatch Camden Barfly Tuesday 19th February Levi's OnesToWatch took their ‘breaking new talent’ type shindig to Camden’s Barfly on Tuesday 19th. Cazals and Cut Off Your Hands were the main bands on offer; the first time I’d seen any of them play. First up we had the support band, Ox.Eagle.Lion.Man, who seemed pretty impressive. They were a lot heavier than first predicted, granted, but not bad really. Dark, brooding, that kind of thing; sort of Nick Cave style... I can’t honestly say a lot more than that. I know, I know - that’s pretty lame - but don’t shoot the messenger, right? I have an excuse. See, I was ordering a drink downstairs when the band kicked-off, and obviously in Barfly the bands play upstairs so I missed their set. But it was jammed up there, and a lot of people seemed to be getting down to their music, so that suggests that they’re pretty damn good. Next up were Cazals. Now, I’m going to lay to rest the old adage about journalists being all professional. I mean, this is music for Christ sake. You can’t go to a gig and write a review without getting involved in the whole sha-bang. Alas, as always, a wee bit of drink entered the equation. Unfortunately, I still didn’t feel totally comfortable getting involved in the music. I guess that’s the problem when you’re all alone. Anyway, by the time Cazals kicked-off I decided I quite liked them, which is weird because originally I had a preconception of them being a bit crap. Anyway, the point is, I wanted to get up and join the rest of the masses. Go mental; dance like a prick. That kind of thing. That was the effect of the band, you see. Basically, Cazals really surprised me; really, really surprised me. I mean, it was good music with semi-good lyrics. Take ‘New Boy in Town’ for example. I immediately felt a kind of kinship with the band when they started to play it, you know? I thought I’m “the new boy in town because I don’t really know anyone here”. Anyway, the Indie kids were loving it; bless ‘em, and that’s enough for me. If people are responding to the music its all good, even if the vocalist does have a sort of bum-fluff moustache/beard thing going on. But I do too, so there we go, I could relate to him instantly (as well as his music). In fact, he was quite a presence on the stage, a real performer, no doubt about it. Anyway, as I say, I wasn’t totally professional on the night and I lay the blame solely on Cazals, because they made me want to express myself to their music and that. But, from what I recall, the band were pretty friggin’ sweet. One of those mass-appeal kind of Indie/rock/dance outfits, or ‘grapes’ as I like to call them. Everyone loves grapes right? Whatever man, they were good... The final band was Cut Off Your Hands. Now, the name made me think that their music would be all depressing, like “slit your wrist” music retagged for ‘08. Anyway, I was wrong, which was good because I was starting to feel the urge to get more involved in shenanigans. The singer looked quite young, sort of like a pretty-boy scholar. In fact, the band generally looked posh, well-to-do types. Anyway, their music was surprisingly good. I mean, crowd surfing kicked in, I got an elbow in the mouth, and everyone was going mental. Which says a lot, really, doesn’t it? In a nutshell, Cut Off Your Hands are a pleasant band; so take that as you will. Fast paced, energetic, and pleasant. I briefly remember a tambourine, which is always good. Verdicts? Ox.Eagle.Lion.Man: I didn’t see enough of them to really comment but I heard that they were a-okay. Cazals: I liked the lyric - “All I've got is vices knocking at my door” - because it seemed pretty relative. Plus, they’re music far exceeded expectation. A thumbs-up from me. Cut Off Your Hands: I liked them. Even though they looked like well-to-do types, they had the masses kicking-off and their music was pretty impressive. The night ended with me serenading some blonde chick with Bohemian Rhapsody and being rugby tackled by some guy with no hair. The chick disappeared. The rugby guy brought me a drink. I left a happy man. I reckon a big chunk of that was down to the music. Nuff said. Words: Dave Dryden Photography: Cazals – New-Noise / Cut Off Your Hands – Rae Pinx

tags: | levi's onetowatch | more...

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