Post by mattchew on Sept 19, 2011 0:47:24 GMT
18 September 2011
Australian four-piece Howling Bells have had a long road to the desired cult/cool position they hold in the world of music today. Hailing from Sydney in 2004, their release two years later epitomised the cool atmospheric sound characteristic of Aussie godfather Nick Cave. Songs about soundscapes rather than feelings mixed with excellent pop hooks garnered rave reviews. Rolling Stone, the NME and a plethora of other magazines hailed them as ones to watch. Two years of touring, throughout Europe and back in Australia, helped hit this home for the all important fan base.
Second album Radio Wars, tempted fate with a more accessible poppy sound, reminiscent of Rilo Kiley and Canadian quirk, being met with mixed reviews. The touring continued, though, with more well selected support acts (the Joy Formidable and Chew Lips) and sustained momentum until 2010 when they began toying with the idea of entering the studio again. This time they sought out Brandon Flowers – a theme for the group, previous producers having twiddled knobs for Paul McCartney and the great Radiohead. The final product was released two days before this, the start of their UK tour, and will hopefully see them back to the high regard of their debut. These musings though are better left to the listener, tonight is about how they sound in a reasonably busy, three-hundred-strong-crowd, Wedgewood Rooms.
With only a single support, the proceedings start as close to the nine o’clock mark as you can get and my word, what a treat for those early birds. Cold Specks, a four piece fronted by Al Spx. Relatively unknown, with no releases to date, they set about perfecting the ability to own a crowd and upstage any headliner. With two guitars, a cello and piano they create what can only be described, instrumentally, as Broken Social Scene having sex with Godspeed You Black Emperor! whilst listening to Johnny Cash. If this was not enough, when Al Spx opens her lungs, you are truly blown away. She takes the delicate nature of the classic feminine voice, championed by the likes of Joanna Newsom, but backs it masterfully with a warmth and rasp once owned by a young Rod Stewart. Within minutes of them beginning, the usual support chatter is gone and everyone is drawn in. With no need for even the standard vocal reverb, Spx sings with a range that sounds like she could dance over the grandest of pianos. Even the moments where her voice begins to break, it is beautiful, not awkward. The lyrical content hits harder still – she has been described lazily as ‘doom soul’. Canada has always been known to create great drama and sadness in its music but to be able to hold a chorus of ‘we are many, we are dust’ and make you feel optimistic is a skill not even the greatest preachers of all time have mastered and she conquers it on every song. Her nervous mannerisms only serve to add to the feeling that something special has been witnessed tonight, and with only one song – Holland – available on her Sound Cloud, more is eagerly awaited.
So with the most unenviable task of following brilliance, Howling Bells arrive.
For the casual stroll on stage, the Australian quartet look a little nervy for a band with all of the aforementioned touring experience. They break out Charlatan by the second song and it becomes immediately apparent that new album The Loudest Engine has only been recently wrapped up. Whilst lead singer Juanita Stein evokes the spirit of their psychedelic past, emotively swaying to the melody, the rhythm section seem to be more than naturally into the necks of their guitars. In contrast, drummer Glenn Moule resides over his kit like the The Junglebook’s King Louis, with a playful style hiding aggression and precision. with all this in action together you get feeling that they are not nearly as comfortable playing the songs live now as they will be in four or five shows time, it is the tour’s first night after all. as they continue through older tracks blessed night, from their debut and cities burning down from radio wars, the mood relaxes immeasurably on stage. Suddenly the band becomes that bit more relaxed, and the performance really steps a level. Bassist Brendan Picchio and guitarist Joel Stein start to breathe in the atmosphere and follow Juanita’s lead in breaking out past the three square feet directly in front of their amplifiers and actually show the crowd they are having fun.
This pattern is continued through new tracks Secrets, Sioux and Gold Suns, White Guns. The fluidity leaves and careful attention to sonic detail and accuracy reign supreme for songs that, in time, will be improved by all of the aspects they have just let go – a clearer example then any of irony for anyone needing it. This is not to say the set is enjoyable but with such a strong support booked, it was always going to expose any weak points, no matter how subjective they are. Dropping Setting Sun – one of the true beauties from the debut – straight after brings them back to the kind of performance that has garnered them the knowledgeable fan base in attendance. Met instantly with cheers and whoops, the song writing of arguably the best song in Bells really mesmerises in such a way it is easy to see why they have been likened to such greats as The Velvet Underground and My Bloody Valentine.
Ben Clark
photos by Hannah Mesquitta
_________________________
(Link to Portsmouth News show review)
Australian four-piece Howling Bells have had a long road to the desired cult/cool position they hold in the world of music today. Hailing from Sydney in 2004, their release two years later epitomised the cool atmospheric sound characteristic of Aussie godfather Nick Cave. Songs about soundscapes rather than feelings mixed with excellent pop hooks garnered rave reviews. Rolling Stone, the NME and a plethora of other magazines hailed them as ones to watch. Two years of touring, throughout Europe and back in Australia, helped hit this home for the all important fan base.
Second album Radio Wars, tempted fate with a more accessible poppy sound, reminiscent of Rilo Kiley and Canadian quirk, being met with mixed reviews. The touring continued, though, with more well selected support acts (the Joy Formidable and Chew Lips) and sustained momentum until 2010 when they began toying with the idea of entering the studio again. This time they sought out Brandon Flowers – a theme for the group, previous producers having twiddled knobs for Paul McCartney and the great Radiohead. The final product was released two days before this, the start of their UK tour, and will hopefully see them back to the high regard of their debut. These musings though are better left to the listener, tonight is about how they sound in a reasonably busy, three-hundred-strong-crowd, Wedgewood Rooms.
With only a single support, the proceedings start as close to the nine o’clock mark as you can get and my word, what a treat for those early birds. Cold Specks, a four piece fronted by Al Spx. Relatively unknown, with no releases to date, they set about perfecting the ability to own a crowd and upstage any headliner. With two guitars, a cello and piano they create what can only be described, instrumentally, as Broken Social Scene having sex with Godspeed You Black Emperor! whilst listening to Johnny Cash. If this was not enough, when Al Spx opens her lungs, you are truly blown away. She takes the delicate nature of the classic feminine voice, championed by the likes of Joanna Newsom, but backs it masterfully with a warmth and rasp once owned by a young Rod Stewart. Within minutes of them beginning, the usual support chatter is gone and everyone is drawn in. With no need for even the standard vocal reverb, Spx sings with a range that sounds like she could dance over the grandest of pianos. Even the moments where her voice begins to break, it is beautiful, not awkward. The lyrical content hits harder still – she has been described lazily as ‘doom soul’. Canada has always been known to create great drama and sadness in its music but to be able to hold a chorus of ‘we are many, we are dust’ and make you feel optimistic is a skill not even the greatest preachers of all time have mastered and she conquers it on every song. Her nervous mannerisms only serve to add to the feeling that something special has been witnessed tonight, and with only one song – Holland – available on her Sound Cloud, more is eagerly awaited.
So with the most unenviable task of following brilliance, Howling Bells arrive.
For the casual stroll on stage, the Australian quartet look a little nervy for a band with all of the aforementioned touring experience. They break out Charlatan by the second song and it becomes immediately apparent that new album The Loudest Engine has only been recently wrapped up. Whilst lead singer Juanita Stein evokes the spirit of their psychedelic past, emotively swaying to the melody, the rhythm section seem to be more than naturally into the necks of their guitars. In contrast, drummer Glenn Moule resides over his kit like the The Junglebook’s King Louis, with a playful style hiding aggression and precision. with all this in action together you get feeling that they are not nearly as comfortable playing the songs live now as they will be in four or five shows time, it is the tour’s first night after all. as they continue through older tracks blessed night, from their debut and cities burning down from radio wars, the mood relaxes immeasurably on stage. Suddenly the band becomes that bit more relaxed, and the performance really steps a level. Bassist Brendan Picchio and guitarist Joel Stein start to breathe in the atmosphere and follow Juanita’s lead in breaking out past the three square feet directly in front of their amplifiers and actually show the crowd they are having fun.
This pattern is continued through new tracks Secrets, Sioux and Gold Suns, White Guns. The fluidity leaves and careful attention to sonic detail and accuracy reign supreme for songs that, in time, will be improved by all of the aspects they have just let go – a clearer example then any of irony for anyone needing it. This is not to say the set is enjoyable but with such a strong support booked, it was always going to expose any weak points, no matter how subjective they are. Dropping Setting Sun – one of the true beauties from the debut – straight after brings them back to the kind of performance that has garnered them the knowledgeable fan base in attendance. Met instantly with cheers and whoops, the song writing of arguably the best song in Bells really mesmerises in such a way it is easy to see why they have been likened to such greats as The Velvet Underground and My Bloody Valentine.
Ben Clark
photos by Hannah Mesquitta
_________________________
(Link to Portsmouth News show review)