Rhythm Circus » Music http://www.rhythmcircus.co.uk Newest online source for anything Film, Game and Music! Sat, 07 May 2016 15:02:09 +0000 en-US hourly 1 http://wordpress.org/?v=4.3.4 Ginger Baker’s Jazz Confusion Live http://www.rhythmcircus.co.uk/uncategorized/ginger-bakers-jazz-confusion-live/ http://www.rhythmcircus.co.uk/uncategorized/ginger-bakers-jazz-confusion-live/#comments Mon, 28 Sep 2015 21:01:19 +0000 http://www.rhythmcircus.co.uk/?p=20558 Screen Shot 2015-09-21 at 10.40.53 PMFew musicians have lived the rock & roll lifestyle to the level of Ginger Baker and survived to tell the tale. The profile of the uber-talented jazz drummer from the early 60’s went interstellar when he formed supergroup Cream with Jack Bruce and Eric Clapton in 1966, and the famously drug-taking musician got to indulge every aspect to the rock lifestyle available – which he did to the hilt. The stories are spectacular, as his candid autobiography Hellraiser testifies, as well as Jay Bulger’s blistering 2013 documentary feature Beware of Mr Baker. The man had an exhilarating ride through fame and fortune, taking in a friendship with Jimi Hendrix, joining Steve Winwood and Clapton’s band Blind Faith, an extended expedition to Africa to learn the roots of his beloved percussive sounds and even an attempt at a Hollywood acting career, before getting back to what he does best with a triumphant Cream reunion at the Royal Albert Hall in 2005. In this time, his vast wealth has come and gone, and while he has left a lot of personal chaos in his wake, his rep as the world’s greatest drummer has rarely been questioned amongst his peers.

Screen Shot 2015-09-21 at 10.38.23 PMTo see the man live in 2015 is to see a living legend – but it’s fair to say the rock days are in the past and it’s an accomplished jazz set you will see these days.  His current band, Ginger Baker’s Jazz Confusion, consists of a seasoned quartet with himself on skins, a brilliant saxophone player, a gregarious African bongo player and a great bass player. Ginger himself introduces the tunes, but at 76, his voice is frail and he needs a little help getting on the stage these days. But what he does when he’s up there is still very impressive. His band round out the sound nicely and for jazz fans, the African influence on the music they make together is intriguing and atmospheric. Given the energy levels required for the elongated pieces, the man will play an 80 minute set with a break, himself acknowledging  that he needs one after the frenetic first set. When they return to the stage, they hit a seriously impressive jazz mode, and after a long wait for the encore, they end on a crowd-pleasing, self-composed tune about all the woes in his life, appropriately titled ‘Why?’

Screen Shot 2015-09-21 at 10.37.16 PMThe band played before a very receptive crowd at the sold out event at Nell’s Jazz and Blues in West London recently and, much like their appearance at Ronnie Scott’s 2 years ago, the stories in the crowd at the intermission were rife with what they’ve all heard of his personal antics.  It’s as if they were cheering him on as much in celebration of his being one of rock’s bad men (and yet still touring into old age) as for the performance itself, if not more so. If you read about his personal life, you get the impression he’s still touring more as he needs the money than for the love of the music. At the time the film was made 2 years ago, he admitted that despite living in a fortified compound in Africa and owning a stable of thoroughbred horses (he loves polo), that he is completely broke. It will perhaps take a lot of gigs of this nature to pay for the upkeep of such a lifestyle, but it was a privilege to see a man who’s lived such a full life, still making a great sound once those sticks are in his hands.

Words> Roy Swansborough

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Kurt Cobain: Montage of Heck http://www.rhythmcircus.co.uk/music/kurt-cobain-montage-of-heck/ http://www.rhythmcircus.co.uk/music/kurt-cobain-montage-of-heck/#comments Thu, 23 Apr 2015 07:52:00 +0000 http://www.rhythmcircus.co.uk/?p=20400 A never-before-seen shot of Kurt Cobain from the film Montage of Heck.Since his violent, untimely death in 1994, Nirvana frontman, Kurt Cobain, has existed as an ever present cultural icon of a generation. Renowned for his growling tones and visceral ‘spew it all out on the page’ lyrics, he was a flawed genius, becoming a symbol of rebellion and the punk rock scene, which was only enhanced with his final act. With every passing year, volume after volume of biographies are released on the ethereal image that remains, but few have successfully been able to define “Kurt Cobain”, the man behind the icon.

With the wonderful cooperation of the Cobain family – specifically executive producer and Cobain’s daughter, Frances Bean – filmmaker Brett Morgen has gained exclusive access to never before seen volumes of Cobain’s life. From heartwarming home movies to haunting personal recordings, we are treated to a stark insight into his early years, the troubles of being a teen in Aberdeen, the formation and success of Nirvana, the infamous romance of Cobain and Courtney Love, and the arrival of his greatest creation, his daughter, Frances.

Morgen is more curator than director here, and the subtitle – Montage of Heck, taken from the title of some of Cobain’s early personal recordings – aptly describes Morgen’s approach to the film. It jumps between archival family footage, Nirvana concerts, visual representations of his notebooks and some stunning animated reenactments to accompany Cobain’s personal recordings. The result is a film that feels in sync with his mind; creative, erratic and often nightmarish.

268C1B6300000578-0-image-a-7_1426108099697We only escape when the film breaks out of it’s visual barrage to intersect interviews with those who knew the man. The intermittent slip into the traditional documentary Q&A does present both a blessing and a curse for the overall quality of Heck. To break the intensity and offer a human insight is essential, snapping us out of what could have been a never ending acid trip, but most importantly these segments allow us to make sense of the stimulus. The interviews with grief stricken Nirvana bass player, Krist Novoselic, make for emotional viewing and, more surprisingly, Courtney Love’s contribution offers a fascinating insight in to a relationship that, despite being well publicised, was never completely accurate, and she appears happy to speak on the subject despite previously resisting.

Problematically, the extent of interviews on top of the abundance of archival material Morgen had to work with, results in a run time in excess of two hours and there are some pacing issues here. It is however, a tough task to keep the film tight when you are spoiled with an abundance of riches on your subject, and whilst Morgen does glean past some areas, he does lay it all out on the table in others. There is always the temptation with such a popular figure to portray only the ‘good’, but the family’s agreement to show archival footage of a heroin induced Cobain holding daughter Frances, makes for chilling viewing; a dirty stain on the beautifully anarchic collage that surrounds it.

Morgen has done an exceptional job in creating as clear a window that we are ever likely to see in to the mind of such a mythic character. The interviews are insightful without being too invasive, the visuals are a fantastical blend of beauty and mania, and sonically it is a treat for any Nirvana fan, with samples of original tracks mixed with some incredible alternative versions of the bands biggest hits. Montage of Heck is as equally creative, nightmarish and iconic as its subject.

Kurt Cobain: Montage of Heck is out in cinemas now

Words > Sam Lawrence

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Hinterland: Lori Campbell Interview http://www.rhythmcircus.co.uk/music/hinterland-lori-campbell-interview/ http://www.rhythmcircus.co.uk/music/hinterland-lori-campbell-interview/#comments Wed, 25 Feb 2015 17:49:16 +0000 http://www.rhythmcircus.co.uk/?p=20271

Photography - www.nataliemayer.comSinger-songwriter-cum-actress Lori Campbell talks to us about her new film, Hinterland (read our review here), in which she plays Lola, a twenty-something  musician from London who escapes the city with her old friend Harvey (played by writer/director Harry Macqueen – read Harry’s interview here) for a journey of nostalgia, rekindled friendship and suppressed desires.

I did want to ask you first about your music career. Whats your style of music?

(pause) Id say, thats a really difficult one. Generally when people ask that I say that you should just see me play, really. Failing thatId say its sort of folk soul I guess. Thats the easiest way of explaining it. Its singer-songwriter, acoustic guitar, storytelling music. Its difficult. Thats a really hard question!

Who are your biggest musical influences?

Biggest, long standing, is someone called Ani Difranco. Shes who really got me going when I was fourteen or fifteen. And since then, Feist probably played quite a major role. But all sorts! Right now, Im listening to – hold on, Ive just got a new EP from someone I saw play and its amazing – The Night Jar. There you go! Currently listening to…”

You released a short album last year didnt you?

Yeah, I made my first EP in August.


Yeah thats the one. Im usually solo, so it was a strange choice to do that. But I just felt at the time like I wanted to make something bigger out of my music and get playing with other people, and that worked so

Lori Campbell - GuitarHow was the writing and production side of putting that together?

Two very different things. The writing was done over a long period of time. I write very slowly. Some of the songs are three or four years old and some of them Id written just days before. ProductionI took it on as a personal project and funded it all myself and recorded it with friends. It really was an education, rather than a project where I knew what I was doing. Like, How do I do this? Help!

It was a good experience though?

Yeah it really was. It was a very steep learning curve and a really interesting one.

Moving onto Hinterland, I understand that you hadnt done any acting at all before the film

Thats what Harry’s saying is it?

He said that it was your first professional acting experience.

Yeah. Well, thats true. Obviously as a solo performer, I do perform a lot, so that helped with the basics. Im used to being put on the spot as a live performer and that helped with the improvising aspect of it. I also did study theatre a few years ago, but that basically made me feel like I just wanted to do music so I did quit that quite quickly. So, Ive been on the stage a bit, but hes right, Ive never been on screen.

How was the whole experience of shooting the film?

It was a complete whirlwind! I wasnt really doing anything at the time. I was kind of wandering, and – it was weird – there was a strange synchronicity to me ending up being in the film because it sort of mirrored what was going on in my life. That was very strange. Harry found me through someone else who worked on the film – Rosie Morris, who was integral to the film as far as Im concerned. She called me and said My friends writing a film and hes sort of writing you into it but he doesnt know you yet!

So we met up, and I thought I was going to be working on the soundtrack, so they kind of tricked me a bit! I was all keen for it and then when they asked if I wanted to play the other character in the film I was like Oh, I dont know!I pictured it being quite a musical thing, and Id be playing a lot and not be in it as much but it ended up being, really, just the two of us for the whole film. I didnt know what I was getting myself into. But Im really glad I did it. Yeah, a total whirlwind from beginning to end. It feels very strange now having done it two years ago and having waited that whole time to get any sort of feedback! Its the opposite of what I normally do where I play a song and people either like it or they dont and I can tell. Its really weird to be in this position.

Hinterland - LolaLola feels particularly true to the character of a young, London based musician

Well, Bristol (laughs)

Sorry. in the film shes from London! How much of yourself was in the performance?

Theres a fair bit of myself in her. It was kind of clear from the outset that that was how it was going to work. But once we started workshopping we had to build her character because its not a documentary! Once we started that process, for me it was important to really get to know that character and really believe in it. We worked a lot on that. There definitely is a character there but I would say theres a fair bit of myself in her. Especially since a lot of it was improvised. Theres only so far you can stretch yourself, especially not being an actor! I treated the ten day shoot like a game. That was the only way I could do it. If I didnt believe what was going on, Id be like Harry weve got to stop! I dont believe this. What are we going to do?So I was probably a real pain in the arse.

But youre still friends?

Yeah, of course! It was wonderful meeting Harry through doing this. We got on really well. A lot of people have thought that we were old friends in real life and we werent. Im so impressed that people get that from the film.

It certainly comes across that way.

It was definitely an intense couple of months from when we met to when we shot. We were all kind of living in the same house and I was coming and going from Bristol. It was very intense but with the guidance of Rosie we were able to separate real lifeand living in this Hinterland house.

We spoke to harry about how the city dampens our ability to really connect to one another. Is that something that you were thinking about whilst you were making the film? Is it important to you at all?

Yeah, it is important to me. I lived in London for about four years and Ive been in Bristol now for about four-and-a-half. It was part of the reason I left London so its something that I do think about a lot. Its very strange how people can live in London these days!

From the first scene where you leave London, theres quite a lot of driving in the film and scenes that take place in the car. How was that all to shoot?

The first scene I found the most difficult. All the other scenes where its improvised stuff in the car were fine because we were in Cornwall and we were just driving around, but shooting those first scenes there was just this oppressive, squished experience. There was four of us in the car and it was just talking but its the subject matter as well. We dealt with a lot of the back story in that first scene which was really hard because it was so broken up – we had to keep stopping and turning around and driving back. It was loosely improvised – we had the structure and we had the story but it was improvised – and when you do something like that too many times, after a while you dont know what youre talking about anymore. That was difficult.

I really liked the scenes driving through Dartmoor because we had the follow car with Ben [Hecking, cinematographer] in the boot and it was really fun watching him drive around backwards. It was just me and Harry in the car in those shots so it was much easier for me and much more fun.

Hinterland - Harvey and LolaI loved the interaction with the ponies.

I thought that was wonderful. I hadnt seen any of the film until I saw it in the cinema in April last year and I loved that scene. That whole day there was a feeling in the air – it was just so much fun and there was so much electric energy. Going around and seeing all these ponies in the car park where wed planned to pull upI could see Harry was kind of thinking, Hows this going to workand I completely put him on the spot by telling him to give one of the ponies an apple! Afterwards he said he was scared and he really didnt want to do it!

It works beautifully for that point in the film where we are getting to know these characters

I was so determined to drag the whole crew to Dartmoor and Devon. I love that area of the country. Im from the South Coast just near there. We were driving through and I said We have to go up and see The Tors!That whole scene where Im standing on the rockit felt so real for me. It was a wonderful day, it really was.

After your experience with Hinterland are you planning on doing some more work in film?

These last couple of weeks Ive been talking to people about the film and getting feedbackI had to kind of put it on pause in my head until now because, without having known how I had done or how the film had come out, I didnt really know how to proceed with it. Im working hard on my music career and thats my main focus, but if there is something else I might be able to get involved in then great! I want to collaborate as much as possible in all sorts of mediums. Who knows, this film might lead into working with some different people on different projects. Yeah, of course Id love to!

 Words> Andrew Wilson

Hinterland is in cinemas and on Demand through Curzon Home Cinema 27th February (Buy Tickets)

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Ennio Morricone: My Life In Music http://www.rhythmcircus.co.uk/music/ennio-morricone-my-life-in-music/ http://www.rhythmcircus.co.uk/music/ennio-morricone-my-life-in-music/#comments Fri, 06 Feb 2015 21:46:07 +0000 http://www.rhythmcircus.co.uk/?p=20226 Ennio Morricone at O2 Arena in London

The diverse crowd – a bold few, indeed, sporting ponchos – file to their seats in London’s cavernous O2 arena as calls of “ICE CREAM” ricochet about the aisles. The orchestra begins to emerge to ripples of applause before Ennio Morricone modestly takes to the stage and is welcomed thunderously by his London devotees. From our perch at the back of the upper tier, the legendary eighty-six year old composer looks impossibly tiny. 

Ennio Morricone Black and WhiteHis instantly recognisable themes occupy the same pantheonic netherworld as the films that they accompany. It’s as tough to imagine him as a young man, gingerly tinkering around with guitars, harpsichords and endless combinations of “wah, wah, wah“, as it is to picture Clint Eastwood slinging his poncho over his shoulder to have a piss on the set of The Good, The Bad and The Ugly (1966). The music is the stuff of pop-culture legend and has an Always Has Been quality to it. So to be present at what may be the maestro’s final ever UK performance last night was close to being a divine experience.

At the helm of a one-hundred-plus piece orchestra and a seventy-strong choir, Morricone launches into My Life In Music, a carefully arranged tour through his half-century career in film. The concert begins, fittingly, with an opening titles piece, from The Untouchables (1987), an urgent, nervous piece of music to draw us in. An audible creak as the entire hall shifts to the edge of their seats. The show is peppered with his well-known themes, many of which some fans have ventured solely to hear. The inimitable, coyote scream of The Good, The Bad and The Ugly’s main theme was received by the excitement of a crowd who cut their film-watching teeth as it was beamed into their cathode-ray TV sets.

Other famous pieces such as Chi Mai from Le Professionnel (1981) and Deborah’s Theme from Once Upon a Time in America (1984) draw similar reactions as the hushed masses gleam intently. One of the real joys of the show however was to hear some of the lesser known works from the more obscure films in his portfolio (one must remember that this is a man whose prolificity seems to know no bounds). The arrangements hop around in chronology as their grouping is based on mood and style, a testament to his versatility as a musician. 

Clint Eastwood PonchoContinuing in the vein of his opener, pieces from The Sicilian Clan (1969) and The Battle of Algiers (1966) resound with an edgy air of unease, before leading into a more upbeat, jazzy section filled with weird gems from a few Giallo horrors, whilst the beautiful, melancholic scores from The Mission (1986), Casualties of War (1989) and the Italian drama La Califfa (1970) give the event a true sense of gravitas. His diverse, often alarming implementation of particular sections and instruments (including a synthesiser packed with a fistful of samples) is a revelation, and in this live setting his orchestral arrangements are a joy to keep up with.

Of course, one can’t hear the name Ennio Morricone’s without thinking of his masterful use of chanting choruses and heartbreaking female vocals, and it is the pieces that indulge this penchant that really pull the audience together, into a unified stare of admiration. This stare is frequently transfixed on Swedish soprano Susanna Rigacci who triumphantly leads the way through some of the most beautifully written pieces of 20th Century music; chiefly Duck You Sucka! from A Fistful of Dynamite (1971), the heartbreaking theme from Once Upon a Time in the West (1968) and the anthemic Ecstasy of Gold from The Good The Bad and The Ugly. The latter is recalled at the end of a trilogy of encores that closed off a two hour tour through one of the greatest living composers.

Bravo maestro.

Words> Andrew Wilson

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Elvis Costello // Royal Albert Hall http://www.rhythmcircus.co.uk/music/elvis-costello-royal-albert-hall/ http://www.rhythmcircus.co.uk/music/elvis-costello-royal-albert-hall/#comments Mon, 03 Nov 2014 21:15:38 +0000 http://www.rhythmcircus.co.uk/?p=20084 Elvis Costello (1)One of the great things about going to see ‘The Man’ Elvis Costello live is that you are assured of something different every time. His appearance at the Royal Albert Hall this week as part of London’s Blues Fest was no exception. For a musician this seasoned, talented and with such a vast and varied back catalogue is able to traverse the genres with ease and keep his shows fresh and exciting. Last Wednesday evening was in fact something of a one-off double bill for fans of jazz, the blues and rock ‘n’ roll.

In support before the main ‘Attraction’ was 60’s star Georgie Fame with his band The Blue Flames. Turned out in fine suits with slicked back hair, they launched into a slew of his hits from back in the day, these days placing a cool new spin on tunes from his own hits to those of his peers. An extended breakdown of Van Morrison’s ’Moondance’ was a particular highlight. Georgie’s laid back and distinctly Northern intros to the tunes from behind his well-travelled Hammond organ took the audience back several decades through reminisces of his time on the scene, and set the tone nicely for an evening of old school musicianship. They also provided a lovely contrast to the south-American blues stylings that followed – that lovely British emulation of music from across the pond so prevalent from the 1950’s onwards. Before their set was over, Mr Costello himself bounded onstage to provide lead vocals, which geared the audience up nicely for the main event.

Billed as a solo performance and intended to be so, this proved to be not quite the case once the show got underway. The (count ‘em) six guitars set -p gave the impression that a major band were going to arrive, but this is only because Elvis proceeded over the next two hours to play every last one of them himself. However, on finding original Attraction and virtuoso pianist Steve Naïve available at the last moment he gave him almost joint billing so he could lend his inimitable sound to a number of their hits, from the darker Pills and Soap to the more jubilant Oliver’s Army. Having played in support himself on a number of recent occasions in Hyde Park for the likes of Sir Paul McCartney and Ray Davies, it was great to see Mr Costello headlining again – a position he feels all too at ease with. In fact with his now trademark three piece suits, colourful shoes and wide-brimmed hats, getting the crowd going while chewing gum throughout he is one of the more laid back performers the UK’s ever seen play such major venues.

His set list was a masterpiece of stripped-back arrangements from his songbook, letting his vocal do most of the work on the gentler numbers such as Good Year for the Roses, through a slew of acoustic numbers from his moodier 2002 album When I Was Cruel before some serious rocking out on electric guitar for a selection of his earlier, punk-era material. Mr Fame then re-joined him on stage, given neither musician could resist their first occasion to play together in their lengthy careers. Fittingly for the Liverpudlian uber-talent, he ended this pared-back show without the use of the microphone, quieting the audience down so they could take in his voice unaided by technology before sending them out into the winter evening. A unique, class act whose finest work may still be yet to come.

Elvis Costello // Blues Fest at the Royal Albert Hall // 2/11/14.
Words > Roy Swansborough

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LIVE AT ACES // September 27 & 28 http://www.rhythmcircus.co.uk/music/live-at-aces-september-27-28/ http://www.rhythmcircus.co.uk/music/live-at-aces-september-27-28/#comments Sun, 21 Sep 2014 11:39:16 +0000 http://www.rhythmcircus.co.uk/?p=19981 Live At AcesAces And Eights is excited to announce the launch of a brand new live music event: LIVE AT ACES, which will take place on the 27th and 28th of September and will be a showcase of some of the most exciting new live bands around.

Featuring 12 bands over two days with DJ’s as well the event is totally free.

Taking place over both floors with acoustic upstairs and full bands downstairs both dates are curated by two of the freshest promoters around. Legendary music tastemakers Stunt Fox take hold of the reins on Saturday whilst young hot shots White Noise will be calling the shots on the Sunday.

This weekender is all about the music but it’s worth mentioning that we’ll also be offering a wide selection of craft beers, whiskeys and delicious pizzas. Look forward to seeing you at Aces.


The Dash: Touted as the long awaited British riposte to The Ramones, Stooges and New York Dolls, London based four-piece The Dash are notorious for leaving the stage in a storm of broken bones, hearts and guitars and have played alongside such acts as Morrissey, Patti Smith, Prince, Biffy Clyro, Dirty Pretty Things’ Carl Barat, The Gossip, Black Lips and even on request of Mighty Boosh, IT Crowd star Matt Berry.

The Petals: Stacking up an impressive list of gigs (Dingwalls, 93 Feet East, Camden Rocks etc.) since getting their beer license, there’s a huge buzz about this bunch of 18 year olds. You’ll marvel at the excellence of their punk/pop performance.

The Rusty Suns: The band pump out infuriatingly catchy melodies, foot stomping rhythms and thoughtful lyrics. The many influences and sounds combine and the end product needs quite a description… rockabilly, upbeat folk, rousing English trad songs, heavy indie riffs… it all seems very natural together somehow. Think Simon & Garfunkel meets Chas ‘n’ Dave !

Yan Yates & The Two Dollar Hookers: The gypsies have come to town! Originally from Middlesborough Yan has honed his stomping folk sound all around the world and particularly in Camden. With his brand new band he’s expanded his soundscape to devastating effect.

George Frakes: With his hauntingly beautiful voice and virtuoso picking style George has become a much sought after figure on the British music scene and has supported such prestigious acts as Daughter, The Magic Numbers, Foy Vance and Dry The River. He’s graced the stage of The Royal Albert Hall and supported Frank Turner all around the UK on his last sold out tour by personal invitation

Jimmy Brewer: Jimmy Brewer is a songwriter, he is also a guitar player and a singer; however, he is not your typical sad acoustic troubadour. Jimmy Brewer has the power to silence a room with little more than an intro. He captures an audience and takes them on an emotional rollercoaster ride, leaving them exhausted, amazed and fulfilled.

Reserve your free ticket here: LIVE AT ACES – DAY 1


Ragweed: Brighton based, sludge punk trio Ragweed have ammased a growing reputation for dispatching high octane live performances that are rammed with chaotic and unbridled energy. Ragweed are now preparing for the national release of their debut album Parerga. The record tramples the line between hard hitting, heavy metal and abrasive punk rock.

Bear vs. Manero: “fuzz coated pumping bass lines and grinding riffs combining to create a very progressive and unique sound” – Artrocker

Deathbeams: “grungey, dirty and the occasional riff to bust your brain and melt your face” – Late Night Langerie

Abbey Bowden: “falls somewhere in the alternative, experimental side of indie folk. When she hits those subdued high notes not a hair is left resting. This is a voice you will not forget!” – Folk Radio UK

Jon Fazal: “It’s Dylan, but Dylan filtered through the voice and guitar of someone brought up on a post-Libertines diet of indie-pop” – BBC Introducing

Adam Cleaver: “refreshingly unpretentious, movingly poignant, his arrangement in both voice and melody are finely tuned and matured” – Hackney Hive

Reserve your free ticket here: LIVE AT ACES – DAY 2

Jon Fazal
Bears Vs Manero
Adam Cleaver
Abbey Bowden

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Frnkiero And The Cellabration // Stomachaches http://www.rhythmcircus.co.uk/music/frnkiero-and-the-cellabration-stomachaches/ http://www.rhythmcircus.co.uk/music/frnkiero-and-the-cellabration-stomachaches/#comments Fri, 12 Sep 2014 19:38:00 +0000 http://www.rhythmcircus.co.uk/?p=19960 Frnkiero And The Cellabration StomachachesFollowing the break up of My Chemical Romance, Frank Iero makes a fighting comeback with his highly anticipated debut solo album Stomachaches, recorded in his own home studio named b.calm together with Hassle Records. Remaining undeterred about the MCR split, Lero keeps busy with Death Spells – an electronic hardcore act, post-hardcore band Leathermøuth and the more recent FrnkIero AndThe Cellabration, a moody pop punk revival.

Opening with All I Want Is Nothing, an adrenaline pumped treasure that echoes bands like Blink 182. Following by the gritty single Weighted, which many fans would have already watched the gruesome video for. Thrashy Stitches is distinguished by its glorious steady drumming played by ex My Chemical Romance drummer Jarrod Alexander. Where Frank screams the words ‘I want what I want. I need what I need… I am the seventh son. I have my father’s eyes. I am a loaded gun.  I am the setting sun’.

Frank Iero crafts an album which claims an unapologetic, blunt and angst derived sound with clean rock choruses. The demo for Joyriding was released on Youtube a year ago and feels a lot more bouncy and upbeat. Resonating Nirvana is Guittripping, a bass crammed anthem, hugely different to the rehearsed sound of MCR, overly chaotic Leathermøuth and Death Spells. Lastly, Where Do We Belong, which continues to endure desperate groans and infectious choruses. All in all, Stomachaches is abrasive, self-loathing, uncompromising and feels like the start of something special.

Words > Sarah Stevens.

FrnkIero AndThe Cellabration supports Mallory Knox for their November UK tour:
9th Coventry Kasbah
10th Glasgow Garade
11th Newcastle Academy
12th Leeds Met University
14th Liverpool Academy
15th Manchester Academy II
16th Sheffield Leadmill
17th Peterborough Cresset
19th Northampton Roadmenders
20th Bristol Academy
21st Oxford Academy
22nd Birmingham Institute
24th Brighton Concorde II
25th Portsmouth Pyramid
26th London Camden Electric Ballroom


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The Gaslight Anthem // Get Hurt http://www.rhythmcircus.co.uk/music/the-gaslight-anthem-get-hurt/ http://www.rhythmcircus.co.uk/music/the-gaslight-anthem-get-hurt/#comments Sun, 31 Aug 2014 20:31:20 +0000 http://www.rhythmcircus.co.uk/?p=19953 The GAslight Anthem Get HurtAn average, half arsed album isn’t something The Gaslight Anthem seems to know much about. Get Hurt is a glorifying victory for the New Jersey boys. This is the bands attempt to escape from that borrowed Springsteen sound, that they’re probably sick of everyone mentioning. Although still undeniably The Gaslight Anthem, there’s a sense of departure that sets Get Hurt aside to previous triumphs. As for the album cover, we’ll just have to try to overlook the horrendously tacky upside down bum heart.

Single and opener Stay Vicious is a guilty pleasure with plenty of guitar solos and undoubtedly suitable for the masses. 1,000 Years and Get Hurt offer something of more substance, both with themes of romance for the lonely kid at the party. The Gaslight Anthems decision to work with producer Mike Crossey (Artic Monkeys, Jake Bugg, Foals) appears to have brought a pop element to the mix which brings them further away from The ’59 Sound.

Heart-warming Helter Skeleton bursts into polished vocals and guitars building
to a climax, what The Gaslight Anthem do best. The album slips through brilliance and gets a little lost in the middle before returning to greatness with Selected Poems. Slow and sincere Break Your Heart is simple yet captivating with soft vocals from Fallon.

Lastly Dark Places, which continues with emotional build ups, strong vocals, melodic guitars and promises a good live show.
Inspired by Bob Dylan and Pearl Jam’s No Code album, the band creates another great album to add to the pile and distances themselves from former releases. Although, we wouldn’t say no to a revival of retro The ’59 Sound for the next album? All in all, The Gaslight Anthem have established and well deserve their place in rock music with custom built songs for the broken hearted.

Words > Sarah Stevens.

See The Gaslight Anthem in November:

17th & 18th Manchester Apollo
19th London Alexandra Palace
21st Edinburgh Corn Exchange
22nd Cardiff Motorpoint Arena
23rd Birmingham Academy


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Gerard Way & The Hormones // Portsmouth http://www.rhythmcircus.co.uk/music/gerard-way-the-hormones-portsmouth/ http://www.rhythmcircus.co.uk/music/gerard-way-the-hormones-portsmouth/#comments Mon, 25 Aug 2014 18:01:54 +0000 http://www.rhythmcircus.co.uk/?p=19937 Gerard WayIt’s an ordinary Monday afternoon in the UK seaside town of Portsmouth until a buzz of excitement hits local Gerard Way fans… Tonight, he will be playing tiny local venue The Wedgewood Rooms. The show is a warm up for Reading and Leads Festival and because he’ll be playing songs from his yet to be released album, phones and cameras are banned. Tickets went on sale at 9am the day before the show and sold out in a record breaking time of 20 seconds – many just couldn’t put their card details in quick enough. Since the split of My Chemical Romance, fans have been awaiting the return of Gerard Way and this was that adrenaline punched moment. Apart from a show in the US this was the first UK solo show for Gerard Way and a lucky 400 others.

Outside, the queue stretches down Albert road and around the corner as anxious eager faces wait. The support comes from Portsmouth’s The Bottom Line, who sing with American accents with a pop punk sound. They cover Taylor Swifts’ We Are Never Ever Getting Back Together – an odd choice.

As the lights begin to dim and act like search lights on the crowd, the atmosphere is intense. It’s like alien invasion as the hysterical and uncontrollable audience scream. The Hormones are already onstage before Gerard makes an appearance beginning with the heavy song Bureau. Gerard is looking smart and grown up in a navy blue suit and vibrant red hair, identical to his new album cover for Hesitant Alien. The well received Action Cat is one many would have heard as the official audio was released on Youtube. This is followed by Zero Zero and Millions, songs which were released online nearly a year ago.

At one point a colourful feather boa is thrown in Gerard’s direction, which he wears flaunting about. He tells the crowd how he appreciates them being there as many of the songs are from his new unheard album. At times some fans seem a little lost when hearing brand new tracks, although jump regardless of not knowing any words. Gerard at times seems to sense this uncertainty and encourages jazz hands, which the whole crowd participates in as if they were spellbound. Gerard is persuaded to put on a sparkly blue hat as he tells the crowd how hats don’t fit his head as his heads too big, he jokes that we already know that. Possibly the heaviest on the set list is Juarez, Gerard also offers a cover of The Jesus And Mary Chain’s Snakedriver. The first single to be released from his album is 80’s inspired No Shows which ends the first part of the show.

With a short encore the fans shout for Gerard to return to the stage. The song Brother is about Gerard’s brother and former bandmate Mikey Way and goes down well. Grungey Maya The Physic finishes off the spectacular night. Hesitant Alien is a new sound, a departure from My Chemical Romance although at times heavier songs such as Juarez are the closest it gets to MCR. Gerard Way’s new direction is a chunky, slower paced and upbeat reinvention of himself with nods to Bowie, he’s ready to take over again.

Hesitant Alien is released 30th September through Warner Bros.

Gerard Way & The Hormones // // Portsmouth Wedgewood Rooms // 20/08/2014

Words > Sarah Stevens.

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Morning Parade // Interview, The Lexington http://www.rhythmcircus.co.uk/music/morning-parade-interview-the-lexington/ http://www.rhythmcircus.co.uk/music/morning-parade-interview-the-lexington/#comments Mon, 25 Aug 2014 16:57:24 +0000 http://www.rhythmcircus.co.uk/?p=19914 MorningParadeAfter two years touring outside the UK, Morning Parade returned home to grace London’s Lexington, performing to fans keen to see the band back in action after such a long absence.

With second album Pure Adulterated Joy due for release on 8th September, the show offered the first chance for Morning Parade to showcase the new material to a UK crowd. The album has already been released in the USA, where the band have spent the last two years touring independently, and providing support for industry greats such as Biffy Clyro, and the Smashing Pumpkins. The success of tracks including Under The Stars and Headlights from the debut, self-titled album, encouraged continued touring in the USA, but frontman Steve Sparrow described the excitement of returning to home-shores during a post-show interview.

How does it feel to be back in the UK?
It’s been a long time but we always end up back here. It’s nice to be back in England. The last time we were here we played at Hyde Park for the Olympics in front of 80,000 people, and now we’re here. It’s so different, but I think I preferred here more. It’s great to see so many people here with T-shirts and singing along.

The new album – Pure Adulterated Joy – is out soon. Has that been a natural progression from your first album?
It really is natural. The hard thing for fans to get is that between albums you spend two years playing the songs to death, and you naturally want to do things differently. You progress as a performer and a player – we all did. We wanted to approach this record differently. I certainly didn’t want to write three-minute pop songs throughout the album. I wanted something a bit more off-the-cuff. The first album was so intensely thought about and over-analysed. This one was more… let’s do the first thing that comes into our heads, throughout the whole process.

On your debut, a couple of tracks – Your Majesty and A&E in particular – didn’t make the cut. What was the thought process behind that?
There was a lot of overthinking. The record label at the time had a different vision for the kind of band we were going to be. We got caught up in that too. This album we wanted more of our sound, bringing the melodic and heavier sound together.

On a personal level, what do you think comes out strongly on Pure Adulterated Joy?
It’s lyrically quite self-indulgent in terms of what goes in. But that’s to keep myself entertained. The lyrics have themes that connect across the record. I think it’s a good record. Most records now are so disposable. What was #1 six weeks ago? Who knows. We just want to make songs we care about.

Has the sheer volume of touring across the USA had an effect on the record?
We got to tour with so many bands, and met so many songwriters. We pick things up from everyone, from The Wombats, to the Kooks, Biffy Clyro, Smashing Pumpkins – just everyone. It made us play heavier. We tailored the set to the fans at each show. I love Biffy Clyro, it was amazing to tour with them. You can see how much they influence us live. I saw them when I was 13 and thought – “I want to be that band”. I love their energy and want to be like that live.

Do you think the instrumental synergies have grown through the extensive touring?
Yeah we’ve all got better. We bitch and shout at each-other. But we tell each-other what we think and it helps us. We have to give credit to Ben Allen our producer. Originally we weren’t sure he was the guy to make it edgy enough, but he wanted us to make a raw record. His favourite phrases were “make it sound like dudes in a room”, and “give me the sex – I need more sex in that track”. It was a really raw sound.

There are some dates planned for October. Are you thinking about a full UK tour?
Yeah I hope so! We’ve been away for so long, so we wondered whether people still knew us. But nights like tonight really cement the idea of a British tour. It’s crazy, because we’ll be Atlantic-hopping as the album’s already out there. America is something else. It’s so big and takes so long to get. It would be nice to be in the UK more. We’ll get in touch with the booking agent! We’re enjoying it more than ever.

The show itself evidenced the strength Morning Parade have gained as a unit. The sound was tight and the live show really brought the tracks to life. Shake The Cage opened the show in as powerful a manner as it does the album. Other standouts from the album included the melodically captivating Alienation, Love The Neighbour and the simply outstanding Culture Vulture. No doubt these tracks will rapidly become fan favourites. Headlights and Under The Stars formed the debut-album contingent on the night and served to remind the crowd what they had been missing over the last few years. After a successful return to London, Morning Parade will certainly make plans to bring Pure Adulterated Joy to fans across the UK following the album’s release next month.

Words > Chris Morris

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