LIVE: Zola Jesus – Omeara, London 05.11.18

Zola Jesus stunned her sold out crowd at Omeara on Tuesday night as she appeared shrouded in red, delivering her flawless operatic vocals. Her performance embodied the promise she made during second song ‘Soak’ – “You should know I would never let you down” – and her rendition of the track made our gothic hearts bleed.

She took to the stage after Ah! Kosmos, who performed a stunning one-woman-show in an equally stunning sequin blazer. The Istanbul-born artist gave a masterclass in how to perform electronic music solo, and was the perfect warm up for Zola Jesus’ eager crowd.

Whilst on stage, the Sacred Bones signee said she was “chuffed” to be in “Blighty” and was happy to talk between songs about TV show Nathan Barley and the shortcomings of British Airways (who had lost her guitarist’s luggage earlier that day). Her set was laced with penetrating vocals that rang out across her hypnotised audience, and included an emotive dedication to her Uncle who recently survived a suicide attempt.

The blend of industrial and classical elements in Zola Jesus’ music translated well live, and she was accompanied by a violinist and guitarist for the duration of her set. Her tortured but tentative lyrics on ‘Skin’ and ‘Exhumed’ as well as the hypnotic, off-kilter, bouncing synths on ‘Bound’ provided fans with an eclectic mix of old and new material, and an opportunity for the performer to remove her red cloak, and break the fourth wall towards the close of her set.

Her lyrical lamentations about disconnection are made all the more powerful by her altruistic voice. Recorded, her vocals are striking enough – but to hear them live is confirmation that Zola Jesus truly has a divine set of lungs. If you weren’t there to hear her at Omeara, you missed out on a mesmerising performance from this warped and wonderful artist. A definite live highlight of 2018.

Follow Zola Jesus on Facebook for more updates.

Kate Crudgington
@KCBobCut

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ALBUM: Fightmilk – ‘Not With That Attitude’

There’s something about Fightmilk’s debut album, Not With That Attitude, that takes me back to my youth. I realise that nostalgia is a given as a writer, but it takes a special band and a special punk pop-rock sound to do it for me. Keep your Something Corporates, I’ll take ‘Dream Phone’ and ‘Your Girlfriend’ over Fall Out Boy and Paramore any day.

With relatable lyrics that never cease to be less than blamefully self-deprecating and angsty, Not With That Attitude has created itself a lie in just its title. Fightmilk are going somewhere. They’re going through the motions and creating art. More than that, listening to this album makes me want to be young again. To feel okay with feeling not okay. Morein, to feel not okay with feeling not okay, and it being acceptable to do that.

In parts, such as one of my favourite tracks on the album, ‘Solving Crimes in Sweden’, the album could add to the perfect soundtrack of one of those alt-teen movies of the ’90s. The kind where Dawson was a dick and cried all the time and Ryan Phillippe was a dick but hot, not the kind where Freddie Prince Jr. is falling for the “ugly girl” and there’s a happily ever after.

It’s an album that marries pop-punk sensibilities with Natalie Merchant vibes, with both halves somehow seamlessly interjecting with one another; the same beast with an entirely different piece of lore. It’s also an album that reminds you that no matter what mistakes you make or how much you fall down, there’s always a “then…”

Not With That Attitude is the perfect record for those burgeoning onto the scene of adulthood. But it’s also magic at speaking to those of us still trying, twenty years on.

Favourite tracks: ‘Solving Crimes in Sweden’, ‘Get A Grip’, ‘Over’. 

Not With That Attitude is out now via Reckless Yes. Catch Fightmilk live headlining for us at The Finsbury on 14th December!

Em Burfitt 
@fenderqueer

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Track Of The Day: The Orielles – ‘Bobbi’s Second World’

As regular readers/listeners will know, Halifax trio The Orielles have been a favourite of ours for a few years now; they’ve wowed us live numerous times with their immense, vibrant energy – including at their sold out show at The Garage earlier this year (I watched like a proud parent) – and continue to blow us away with their distinctive amalgamation of uplifting sounds. Now, with the addition of fourth member Alex Stephens on keys, they’ve shared not-one-but-two brand new tracks.

The story of a cat named Bobbi, first track ‘Bobbi’s Second World’ flows with an onslaught of scuzzy, funk-fuelled hooks and groove-laden, disco-reminiscent vibes, as it juxtaposes Esmé’s honey-sweet vocals and Sid’s immense, racing beats with a swirling, psychedelic haze. And, with underlying eerie undertones and some playful cat-like squeals thrown in, you can almost imagine it being the theme song to some late ’80s spooky Duckula-esque cartoon (a compliment of the highest – Duckula was the best cartoon ever).

With the noticeable addition of keys, ‘Bobbi’s Second World’ initially sounds a lot less ‘indie’ than previous releases – focusing on creating a poppy danceability -, but it is certainly no less innovative. It remains distinctly The Orielles; an instantly infectious anthem filled with a buoyant energy and oozing a colourful spirit, that’ll leave you ready to dance your cares away. Of the track, the band explain:

“… (it) exhibits an explosion of new sounds and ideas that came to fruition after a long summer of playing festivals and taking inspiration from music that made us dance. It centres around the story of a cat named Bobbi who, in order to become a lady, has to experience the extremities of two complex and differing realities- situated in her front and back gardens respectively.”

This latest offering showcases The Orielles at their best, and only cements our admiration of Sid, Esmé, Henry, and now Alex. Whilst the band have continued to develop and alter their sound, they remain utterly unique, completely distinctive in their ability to fuse together jangly hooks with a frenzied vibrant groove, unlike any other band around, all the while exuding their trademark quirky charm and shimmering sonic delights.

Listen to ‘Bobbi’s Second World’ below. And make sure you check out accompanying track ‘Makes You Forget (Itgehane)’ (a Peggy Gou cover), here.

 

And you can catch The Orielles live (highly recommended) at the following dates:

29th November – Heaven, London
7th December – Invisible Wind Factory, Liverpool
13th December – Winter Camp Festival, Paris
15th December – Trades Club, Hebden Bridge Christmas show – SOLD OUT

Mari Lane
@marimindles

 

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LIVE: The Lovely Eggs @ The Scala, 28.10.18

Ever since being completely blown away by Lancaster duo The Lovely Eggs at Indietracks Festival this summer, I’ve been absolutely desperate to see them again. And so it was with excitement that I headed to The Scala to do just that last Sunday.

Following an energy-fuelled set from Mush and the spot-on wit and social commentary of Rob Auton (a refreshing first time I think I’ve seen a spoken word artist/stand up supporting a band at a gig), Holly Ross and David Blackwell take to the stage. Kicking off with the scuzzy, racing force of This Is Eggland’s ‘I’m With You’, the duo’s immense punk-infused spirit and explosive sonic fusions continue throughout.

As Ross informs us that this is day ten of a ten day tour with a five year old son in tow, she blows her nose, takes a swig of Strongbow and confirms that she’s not standing for any of “this arm-folding shit” at the front, encouraging us all to dance and let loose – it is a Sunday night after all. Becoming my ‘new hero’ at Indietracks in the summer, tonight – with this refreshing honesty and no-fucks-given attitude – the title remains firmly hers, with all her brash, inspiring charisma and no-frills-yet-empowering presence.

Continuing with whirring hooks, and immense, thrashing beats, a swirling, psychedelic cacophony is created as tracks such as ‘I Shouldn’t Have Said That’ and ‘Magic Onion’ ooze a wonderfully eccentric, relentless energy. And, as the uplifting lo-fi fuzz and anthemically catchy spirit of ‘Hello I Am Your Sun’ and ‘Wiggy Giggy’ fill the venue with a mass of bouncing, singing fans, an infectious sense of joy spreads throughout as David and Holly play the two sides of the room off against each other.

With their blunt realism and scathing retorts to all the dickheads out there, The Lovely Eggs stand out as one of the most relevant bands around (and one of the most exciting to see live), echoing the feelings of the many, with the subtle social commentary and refreshing cynicism of the likes of ‘Fuck It’ and ‘People Are Twats’. Without being explicitly political, the message and poignant relatability behind each offering creates a tremendous feeling of unity amongst the crowd; the duo appearing to be able to word what’s in our heads in a perfectly concise and witty way.

There is a moment of explicit political realness and urgency, however, when Holly talks about The Lancaster Music Co-op’s pending eviction – a non-profit making community organisation that has been providing music rehearsal rooms, equipment hire and recording facilities to the people of Lancaster and surrounding areas for the past 33 years, the co-op recently received an eviction notice from Lancaster City Council. So, Holly and David are amongst many names in the industry currently fighting to save it and raise awareness to help fight the eviction – sign the petition here.

Closing the set with the frenzied, riotous energy and spiralling (seasonal) magic of ‘Witchcraft’, The Lovely Eggs have once again delivered a truly impressive and utterly immersive set, leaving me eager to make it a hat-trick and catch their glorious offerings and honest charm live again very soon.

Mari Lane
@marimindles

 

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