Thursday, June 9, 2011

THE MAGNETS INTERVIEW MAY 2011


THE MAGNETS

Making music using only their gobs.


Nic Doodman is 15 minutes late calling from the UK. He is extremely apologetic, in a very British way, when he does make the call. I tell him its fine but he’s clearly unhappy that he may have appeared impolite and apologises emphatically for any inconvenience.

The Magnets area six piece a cappella outfit from the UK who have been playing for over ten years. They are one of the very few a cappella outfits that do not use any backtracks or drum machines when they perform. Every sound they make comes out of their mouths. Their amazing vocals and slick showmanship have seen them touring with Tom Jones and playing some strange places including Buckingham Palace and Elle McPherson’s living room. With several sell out Edinburgh Fringe festivals and extensive European tours under their belts The Magnets are heading to Australia for the first time as part of the Adelaide Cabaret festival.

Nic is the guy behind the Magnets. The earliest version was put together while still at university in London. After meeting the others in auditions for a production of Guys and Dolls he saw they were kindred spirits who loved to sing.

“I grew up in New Jersey in America and there is a very strong tradition of male a cappella singing that harks back to the doo-wop singing in the 1950s. And you had barbershop quartets. So when I was at high school in America I was a member of an a cappella group and when I went to London to continue my study there wasn’t any a cappella groups, so I started my own. But it was at that musical that I met the other guys that would become The Magnets. The idea at first was that we could get into functions, balls and dances for free, if you are performing you don’t need a ticket and we had no money in those days. And to meet girls! Then we started busking in Covent Garden and we would put the hat down and could end up with forty or fifty pounds for half an hour. We’d take that and go to the pub, get some beers, have some food, meet some girls. It could have been something that stopped when we left university, but the more we did it the more people like it and we started doing our own arrangements and writing our own songs and it just carried on from there really.”

That collegiate choir tradition in the States does not seem to happen anywhere else in the world does it?

“No it doesn’t, but it is starting to get more popular because things like the TV series Glee.”

I was wondering wether I should mention the G word.

“(laughing) Oh yeah. In high school I was in a group not dissimilar to the one on Glee. The background knowledge that people get from Glee has been quite good for us quite frankly. Rather than needing a lot of explaining about what we do people have some idea. We are nothing like a show-choir mentality, but in terms of doing songs vocally in an interesting way it’s pretty similar. It hasn’t changed what people expect from us but we don’t have to explain what we do as much as we once did.”

I’ve always had a bee in my bonnet about a cappella acts that use backing tapes, drum tracks and samples, but The Magnets get an amazing sound from just six guys are 100% vocals only right?

“Well thank you. I have never understood the use of backing tracks either. If you are going to be a cappella you don’t need them. It’s a lot of work and it has evolved over the years, and maybe if you’d have heard us when we started out it wouldn’t have been very pleasant (laughs). But over the years we have spent a lot of time in rehearsal rooms working out what we are capable of doing and what sounds we can make, plus we’ve done....I couldn’t even tell you a number but thousands of gigs over the years and all over the world and it has developed and got better over time.”

Your beat boxer Andy is incredible does he have a hip hop background?

“He has a background in drumming. He left school at 15 and was the youngest professional drummer in the UK. So hip hop beat boxers make some astonishing noises but the difference is that he makes slightly different sounds and he is a musician. So he knows when less is more and most hip hop beat boxers aren’t doing an hour and a half show. He also knows how to frame. He knows when there needs to be a break or a crash or a fill so he is a remarkable musician.”

Twenty years ago I saw another English a cappella act The Flying Pickets in the same venue you guys will be in for the Cabaret Festival.

“Oh really? Everybody in the a cappella world knows the Flying Pickets, especially in the UK where they famously had a number one hit single with Only You (a cover of the Yazoo song). In fact they are still going as a matter of fact. I know some of the guys very well, and they still tour a lot in places like Switzerland and Italy.”

Europe does seem to love this style of music you have a huge European tour coming up later this year; with I notice a lot of shows in Germany. The Germans do like precision is this why The Magnets particularly popular with the Germans?

“We are very popular in Germany and they do like precision harmonies. We’ve done a lot of gigs there and have built up quite a following there. It’s a place I never would have thought to have gone. When you come from Britain you don’t really think about it as a destination. It has nothing to do with historical things it’s just we, as a nation, tend to aim for places that are hotter, sunnier locations. But it’s a brilliant place we love playing there now.”

Ordinarily Australia would be precisely the hotter place you’d be looking for but its winter here at the moment.

“It is just getting lovely here at the moment and we are about to leave the British sunshine and head down to the Australian winter. (Laughs). But this is our first trip and we are doing some TV shows and hopefully people we hear about us and invite us back in February / March to do more festivals.”

Your set is a mix of originals and covers what sort of things can we expect to hear?

“You’ll never hear us do a cover in the style of the original. We do Bossa Nova Bon Jovi and a dance waltz version of Kraftwerk’s The Model. There's a rockier version of Let’s Dance by Bowie. So what you will get is songs people recognize done in a way you’ve never heard before. So people are usually surprised by the song choices, the arrangements and also that we can make all those sounds with our gobs. And charmed. There is quite a lot of charm in the show and we try to make sure everybody leaves singing and dancing.”

One of the highlights of the show is called ‘A to Z’ where they do songs by artists starting with each letter of the alphabet.

“So we do 26 different songs in seven minutes. We encourage people to yell out the artists as they recognise them. So we start with AC/DC a great Australian band and end up with the Zutons. There’s a movie one too which goes from the A-Team to Zulu.

We have mentioned a couple of odd gigs the band has done, what’s the weirdest?

“I’ll give you three and you can decide. Singing a mile and a half down a salt mine in Switzerland. Second one would be carting all our gear in cable cars and singing on a mountain ledge in Austria. And the third singing in a swimming spa in East Germany. So there was the swimming pool and then us and the audience was in the pool. It was very weird. In the last song we stripped down to our underwear and jumped in the pool.”

THE MAGNETS play the Dunstan Playhouse on June 10-12.

Ian Bell

DANDY WARHOLS HQ MAY 26 2011

THE DANDY WARHOLS

HQ

Thursday May 26, 2011

At some point my companion at this show lent into my ear and said “All I want THEM to do is get off….the stage!”. It was a pretty harsh assessment of the night proceedings in my opinion. They’ve always been a little eclectic those DANDY WARHOLS, capable of writing fantastic indie dance floor filling classics that will stand the test of times. They are also capable of overly long self-indulgent droning stoner rock jams. I have been buying Dandy Warhols records since Dandys Rule OK? in 1995 and I’m a bit horrified by the mathematic evidence that equals SIXTEEN years, which doesn’t seem possible. So I love the super catchy dance tunes just as much as the space-jam freak-outs, in fact on that first album there’s a track called Its a Fast Driving Rave-up with the Dandy Warhol’s Fifteen & A Half Minutes. It actually runs for about 18 minutes with intro and outro and is one of the most brilliant funky riff heavy Hawkwind-esque and thoroughly epic tracks you will ever hear.

However in a live context the juxtaposition between those two aspects of The Dandys can mean that many people are there to hear the poppier Triple J hits get a bit restless while they are doing the jammy stuff. They tend to play a long set and tonight was close to two hours. But with almost no lighting on the band just blinding spotlights behind them it’s hard to see the band (and would have been a nightmare for the photographers, but I notice FL did a great job!).

Opening with Mohammed and Solid from the classic Thirteen Tales From Urban Bohemia from 1999 they are off to a strong start. Through the dark and spotlights we see that Courtney Taylor-Taylor is rocking a Evan Dando 1995 hairdo (The Dando Warhols?) and what looks like a white school shirt. Peter Holstrom is his usual uber cool self. Drummer Brent De Boer is up the back in the dark but you can see his fro from the moon. And Miss Zia McCabe remains the coolest indie girl ever, white jeans and black tee with what looks like a ram skull with wings (bit hard to tell in this light) she’s by her bank of keyboards, sample drums and tambourine. I don’t quite remember which song it was but she did a whole song with one hand in her pocket – damn! Lou Weed from the first album is a great addition for older fans but is still not the turbo boost we need. That comes with We Used to Be Friends from their Duran Duran inspired Welcome to the Monkeyhouse album, now we are cooking! Not If You Were the Last Junkie on Earth is next and the heat goes up a notch, people are dancing and singing along. Even after over a decade this unlikely alternative classic track about heroin being ‘so passé’, drips indie cool from every pore. We move back down a gear for Holding Me Up and Beast of the All Saints. More Duran inspired goodness with The Last High which is excellent. I Love You is a great example of Dandys doing the droning mantra thing really well. From Come Down their second biggest album is it instantly greeted with a lot of love from the crowd. The first of the new songs is The WOW Signal, it’s a great song album should be out later in the year.

The Legend of the Last of the Outlaw Trucker (Earth to the Dandy Warhols) receives a huge cheer from the punters and gets people dancing again. At the end Courtney tells us he is “sweating like Jeffrey Dahmer” a reference to the serial killer. Good Morning from Come Down takes us to another new song called Rest Your Head. Zia tells us it’s the first time they have ever played the song live, so the HQ audience can pat itself on the back for being the first people to hear it. The rest of the band leave the stage for a “loo break” and Taylor leads us through a solo sing-a-long of Every Day Should Be a Holiday. Someone behind me is complaining loudly to their friend that the lights behind the band that constantly blind the audience “are giving me a headache”. I might be reaching for the Panadols myself shortly. You Come in Burned and Wasp in the Lotus glide us toward the final run of songs, and what a run. Four tracks in a row from Thirteen Tales from Urban Bohemia. Four! Hot Damn! Horse Pills has the whole dance floor jumping and people singing at the top of their lungs, but then they start Bohemian Like You and the place goes berserk. Yes it’s a blatant Stones pastiche but I don’t care. Nobody else here cares. It’s an indie pop anthem of the highest order in every sense of the word. Godless is next and it’s walking, dreamy pace lets us keep singing along and get our breath back before they zap us with Get Off. They finish off with Boys Better from come down making everybody happy, none more so than the guy in front of me has been yelling out for it between every song. I was beginning to wonder if he knew any other songs at all. Still he was very happy when they finally got round to it! After some whooping and hollering Zia returns to the stage and tells us they don’t really do encores (evidenced by the fact she has already chowing down on the backstage pizza when she reappears). But sings The Daisy Song solo a Capella and thanks us for coming.

It is not often that I would I’d say I’d prefer to see a band at a festival, but The Dandy Warhols at Parklife last year or their BDO sets a few years ago were more concise, with more hits per square inch (and you could actually see them on the stage). I’ve been somewhat tortured about writing a Dandy Warhols review that isn’t universally complimentary. I love them. I love the records. And I had a great time at HQ, but it was really only a good gig and not a brilliant one.

Ian Bell

SET LIST

Mohammed (Thirteen Tales From Urban Bohemia 1999)

Solid (Thirteen Tales From Urban Bohemia 1999)

Lou Weed (Dandy’s Rule, OK? 1995)

We Used to be Friends (Welcome to the Monkey House 2003)

Not If You Were the Last Junkie On Earth (Come Down 1997)

Holding Me Up (Odditorium or Warlords of Mars 2004)

Beast of the All Saints (Earth to the Dandy Warhols 2008)

The Last High (Welcome To the Monkey House 2003)

I Love You (Come Down 1997)

The WOW Signal (new song unreleased)

The Legend of the Last of the Outlaw Trucker (Earth to the Dandy Warhols 2008)

Good morning (Come Down 1997)

Rest Your Head (new song unreleased)

Every Day Should Be A Holiday – Courtney solo (Come Down 1997)

You Come in Burned (Dandy Warhols Are Sound 2009)

Wasp in the Lotus (Earth to the Dandy Warhols 2008)

Horse Pills (Thirteen Tales From Urban Bohemia 1999)

Bohemian Like You (Thirteen Tales From Urban Bohemia 1999)

Godless (Thirteen Tales From Urban Bohemia 1999)

Get off (Thirteen Tales From Urban Bohemia 1999)

Pete Int Airport Intro

Boys Better (Come Down 1997)

The Daisy Song (Zia a Capella)

GARY NUMAN HQ MON 16 MAY 2011

GARY NUMAN
SEVERED HEADS
HQ
Monday 16 May 2011

Everything old is Numan again.

When this tour was first announced I had the same rollercoaster reaction I had when he visited the East coast two years ago.

NUMAN OMG.
Got to go, got to go.
Oh, hang on Numan is all ‘industrial-y’ these days.
Slump, sigh, inner turmoil.

I didn’t make the trip in the end. Reaction from that tour had been mixed to say the least, with a common criticism from older Gary Numan fans being they didn’t like the old material getting an industrial make-over. Gary was a massive influence on the likes of Trent Reznor, but his more recent albums have seemed a little like the influencer was becoming the influence-ee, with albums like Exile, Pure and Jagged all having a distinct Nine Inch Nails-esque flavour. It’s not that those albums are not good, Exile in particular I loved; it’s just not the Gary Numan I want to travel to the other side of the country to see.

So when they announced this tour I did the same rollercoaster but there came an extra bit of the ride.

He’s doing all of his classic third album Pleasure Principle?
In the original style it was recorded?
Plus the hits?
And it’s coming to Adelaide?
And the support is SEVERED HEADS?
Hellayeah.

When I arrived the legendary Severed Heads are already on stage. Not that you would have noticed. The out front sound level for them is pitifully low. It is seriously about half the volume it should be. The Heads themselves look somewhat uncomfortable and bemused by being in front of a crowd of people, most of whom clearly have no idea who they are. Tom Ellard is cracking wise between songs “We love you Adelaide, you don’t love us, but we love you!” And at least they seem to be finding the tepid reaction of the crowd amusing. Mostly the Severed Heads show revolves around some impress computer graphics projected onto a large screen. The guys themselves are lurking in the dark. There are some newer tracks, after all they have been making new music til 2008, but the best reactions are for Heart of the Party (1995 – “Who will tell my drunken friend, that she will die and go to hell?”) and Dead Eyes Opened (originally released in 1984, but a revamped version in 1997 was huge hit). Reworkings of songs like Petrol (1986) and Pilot in Hell (Cuisine 1991) were ambient and captivating if hard to hear. Ellard leaves us with, “Right that’s it from us, we off to the old folk’s home.”

The audience is full of faces I would expect to see. There are long time fans, aging Goths, Nine Inch Nails and Foo Fighters fans there to see this dude that Reznor and Grohl (not to mention Manson) have been going on about for years. Even people who have come to Numan through his cameo on the Mighty Boosh. But there is also a large contingent of the old school Numan fans, many of whom don’t go out much these days (several of them told me this themselves). But here they are, out on a cold school night, decked out in their leather coats, big boots with the buckles, and the eyeliner – the uniform of the Numanoid. I discover later that a bunch of the most Numanoid-y of these Numanoids were actually from the UK and USA and were following the whole tour. He inspires this kind of dedication.

As the four piece band takes their places a large image of Gary from the cover of Pleasure Principal is projected on the big screen behind them, it send a wave of excitement through the room. The man himself appears and the man starts into Airlane. The older folks who bought an actual record of Pleasure Principal in 1979 were in for quite a treat. The whole album played in full (if not sequential order) in fully authentic 1979 futuristic moog and polymoog sounds. Of course these days you don’t need actual Moogs to make Moog noises but that’s okay. Gary seems pretty subdued during this first bracket. There is little movement, and not much…spark. Some may say he was always cold and detached back then and that was part of his Bowie-esque appeal, but it’s more than that. It is utterly glorious for us to hear these songs the way we originally heard them, but there is the impression that it’s not quite so glorious for Gary himself.

Opening with Airlane it is immediately obvious that those sounds, that seemed so very futuristic in 1979, still maintain an alien steely feel of detachment which remains impressive 32 years later. It was these sounds that paved the way for Depeche Mode, OMD, Ultravox, Human League, Duran Duran and all the other ‘synth-pop’ in the early 1980’s. Airlane is followed by Metal a track that was sampled by Hip Hop legend Afrika Bam Baa Taa and covered by Nine Inch Nails. The powerful descending chords of M.E. (so effectively sampled by Basement Jaxx on Where’s Your Head At? quickens the pace but people are still a little restless. It might be because whilst Pleasure Principle is a classic album it’s not packed full of hit singles. Complex was a top ten single in the UK but I don’t think it was even released in Australia. So it’s not til the album section of the evening finishes with Cars that people get truly energized. As well they should all these years later Cars is an incredible song, its oscillating keyboard line starts and it is thoroughly electrifying. When the drums kick in its goose-bump and dancing time.

A quick equipment change (keyboards are swapped for guitars) and a smiling, playful and totally pumped up Numan reappears. Clearly this is the part of the show he has been looking forward to. He is bouncing up and down and can’t wait to get started. And what a start, a blinding version of his much covered Down In the Park. Delivered with ferocious energy it is a definite highpoint of the night. Such a popular song raises hopes this second potion of the show will be full of ‘hits’, which is sadly not the case. Instead he sticks to mostly later songs from the last decade, including three brand new songs (The Fall, When The Sky Bleeds He Will Come and Everything Comes Down To This) that are due to be on his yet to be released Dead Son Rising album. And again, I have nothing against the newer style Numan; Everything… in particular was a great song. But I guess I’d have rather had We Are Glass, We Are So Fragile, or This Wreckage, but I hold on to some hope we might get a Telekon tour at some stage. So apart from the brand new songs there is Pure and A Prayer For The Unknown (both from Pure 2000) and Halo and Haunted both from 2006’s Jagged. But the end of the second movement was a fantastic Are Friends Electric, a song that has been covered and sampled countless times with good reason, and tonight it is nothing short of epic. The final song of the set is I Die You Die from Telekon, which is also bloody great.

A bunch that brave the freezing cold, are rewarded with autographs and photographs with the man himself. He knows more than a few by name. These are the US and UK Numanoids who have come half way round the world to follow the tour. “This is it for us Gary,” says the tall man who looks like an extra from Underworld a vision in full length leather coat, buckle boots and Lycan hair cut, “We have to head home soon.”. It’s quite sweet and Gary thanks them for coming and shakes his hand.

And so three decades of Numan fans retreat into the dark, buckle boots clinking into the night.

Ian Bell 2011.



SETLIST

Airlane (Pleasure Principle 1979)
Metal (Pleasure Principle 1979)
M.E. (Pleasure Principle 1979)
Tracks (Pleasure Principle 1979)
Observer (Pleasure Principle 1979)
Conversation (Pleasure Principle 1979)
Engineers (Pleasure Principle 1979)
Complex (Pleasure Principle 1979)
Films (Pleasure Principle 1979)
Cars (Pleasure Principle 1979)

Intro/Down in the Park (Replicas - Tubeway Army 1979)
The Fall (new song – unreleased)
Pure (Pure 2000)
When the Sky Bleeds, He Will Come (new song – unreleased)
Haunted (Jagged 2006)
Everything Comes Down To This (new song – unreleased)
Are Friends Electric (Replicas - Tubeway Army 1979)

Halo (Jagged 2006)
A Prayer for the Unborn (Pure 2000)
I Die You Die (Telekon 1980)

MORE THAN JUST THE FRINGE

I've decided that I am going to make this a more general review blog, because that means it doesn't sit here being lonely for eleven months of the year. So stand by for a bunch of gig reviews and starting this weekend Adelaide Cabaret Festival reports. Now if I can just work out how to change the name of the blog with out getting a hemmorage...

Tuesday, March 8, 2011

TOM BINNS - IVAN BRACKENBURY HOSPITAL RADIO SHOW


TOM BINNS

IVAN BRACKENBURY’S HOSPITAL RADIO SHOW ROADSHOW

Carry On Tent

Gluttony.

7pm nightly til Mar 12

It could have so easily been a disaster. In front of his biggest crowd of his run so far, Tom Binns walked on stage and into potential disaster. There is a loud buzzing noise “Is that the PA?” asks fantastically realized hapless character Ivan Brackenbury, no it’s crickets. It’s a funny moment. However it becomes apparent immediately after this that his vital laptop is not making any noise. There then follows ten minutes of faffing about with flat batteries and lost screws, with audience members on their hands and knees helping in the search. Binns stays in character saying things like “I know some of you might think this is part of the show….but it’s not.” And most amusingly “I’m going to run over and the after me will kill me. Somehow. The guy after me is played by the same guy who plays me.”. A reference to his other Fringe show Ian D Montfort : Spirit Medium which plays directly after Brackenbury.

Australia doesn’t have hospital DJ’s, but in the UK it has been an institution for decades. In-house radio stations designed to raise the spirits of the patients. Often hospital radio DJs used to be on ‘proper’ radio or be club DJs but are a bit past their used by date. Ivan Brackenbury hosts Disease Hour, and is pretty consistent and playing the most inappropriate song for any occasion.

“This goes out to Tom, he’s got enormous sticky out ears. He’s having them pinned back. He’s a huge fan of Simple Red” (cue: Holding Back the Years – sing it to yourself – see where we are going with this?). And it’s an hour of those sort of super funny gags, quick fire, hilarious and often didn’t see it coming punch lines. His station IDs are priceless “Ivan Brackenbury – reaching out and touching patients.” His celebrity endorsements have to be heard to be believed. At one point after a ID from Mr T (yep the real one) Ivan shrugs and says “He had no idea what this was. I’m not even real. In real life I’m not even bothered about that cricket.”. It’s a great character, with his tracksuit pants and baseball cap, gormless enthusiasm and a great line in misread dedications. Mostly I can’t tell you the kind of jokes you’ll hear, for fear of spoiling a show you really should get to. Song you may never hear the same way include Torn Between Two Lovers, Solid as a Rock and Mambo Number 5 (a joke so good I am laughing again while typing this. Laughs per minute one of the best all Fringe. It’s on early (7pm) so you could go after work and still make it home early. You should go. He’ll make you feel like ….”a winnnnnerr!”.

Monday, March 7, 2011

SAMMY J & RANDY - BIN NIGHT


SAMMY J & RANDY

BIN NIGHT

La Cascadeur

Garden of Unearthly Delights

8:45pm

Til March 13th.

Sammy J and his felt faced friend Randy (Heath McIvor) have delivered one of the best shows of the Fringe with Bin Night. So much more than a stand-up show its combination of comedy, songs, slap-stick and theatre is break-neck fast, smart and really bloody funny. Sammy J and Randy are out to catch whoever it is from their neighbourhood who is putting stuff in their wheelie bin on Bin night. They examine the suspects profiles (including some fantastically funny cameos from McIvor), and rehearse the reaction times to the arrival and identification of the criminal (council by-laws are not to be messed with) Impressive use of their simple set, and a rapid fire delivery of quality gags and story are absolutely world class. McIvor’s skills as a puppeteer in bringing Randy to life are incredible; creating a well rounded and nuance enhanced personality to the puppet. These skills have seen him work with the legendary Jim Henson Company and deservedly so. Masterfully written, spectacularly performed this run of Bin Night has routinely been selling out, but extra shows have been added – you won’t be sorry.

Ian Bell

Thursday, March 3, 2011

HANNAH GADSBY - MRS CHUCKLES


HANNAH GADSBY

MRS CHUCKLES

Rhino Room Upstairs

8:30pm til March 12 (no Sun or Mon)

Hannah Gadsby has all the hallmarks of a world class, gifted and classic stand up comedian. She looks funny. She is whip smart. She has immaculate timing. She is a great comedic writer. She has a completely captivating way with her well constructed stories that are often at her own expense. From the moment she hits the stage she has the whole audience in the palm of her hand. Which, considering much of the show concerns her awkward social skills and desire to spend time alone, makes you wonder why pick such a public and often brutal career. The answer is simple; Gadsby was born to be a comedian. Like last years Cliff Young Shuffle, Mrs Chuckles has Gadsby proving the adage ‘Comedy is truth plus pain’ and serves up a beautiful dish of her insecurities, longings and failings. Along the way she takes you on a well rounded and hilarious journey. What do you do when the object of your desires turns out to be weirder than you thought you were yourself? Hannah has an incredible comedic weapon in her arsenal too. She can break up a room with the tiniest facial expression. A crooked smile, a blink or a raised eyebrow. It’s a skill Barry Humphreys uses to perfection, and Gadsby's deadpan delivery means when she pulls these considered facial treats out, we are richly rewarded. It’s a fantastic hour to spend with one of this countries finest talents.