Django Django live, Melkweg Amsterdam. Wednesday 7 March 2018

Photo by Wo.

Django Django is a live force almost despite itself it seems. From the very first seconds of the show rhythm was the keyword. Relentlessly the beat was bestowed upon us. However, that's only one side to the band. If it was about beats only, I would never have been present. Django Django perfects the joining of beats with melodies and songs, resulting in one and a half hour of moving and dancing.

How to translate the many layered, mostly electronic music to the stage? That was my question before attending my first Django Django show. Yes, some sounds and electronic rhythms seemed to come out of a box. Did it matter? Absolutely nothing and this is why. The drummer Dave Maclean keeps a tremendous rhythm going the whole of the time. Some fantastic rhythms were produced from behind his kit. Despite being at the back, as drummers tend to be, it was a joy to see him at work. He is the only band member to remain on his post during the show as we will see. From a barrage of keyboards and sequencers and who knows what else Tommy Grace produced all the electronic sounds and melodies required with a lot of energy. He's clearly enjoying his status of rock star. The two more front men, bassist Jimmy Dixon and singer/guitarist Vincent Neff are more rockstars against all odds. More like two men who find themselves so successfully on stage but never expected nor strived to be there. Both have obviously grown into their role. Together they take care of the vocals and harmonies that are such an important part of why I like this band so much.

Photo by Wo.

To top it all off, all play percussive instruments or part of the drum kit if an extra rhythm is required, Or all move to the keyboards and play something together there. It gave the show tremendous pace and energy. These extras give Django Django live the oomph some songs need to come alive this just a little bit more.

Another thing I noticed is that live maybe not everything on the record is played, so some elements within a song get some extra attention. To me that revealed some of the influences on Django Django's music that are not so obvious on records. The Eurythmics, Pet Shop Boys, the commercially successful synth bands of the 80s, showed through alright.

Photo by Wo.

I have one complaint though. Where was 'Giant'? I certainly had hoped the band would play its best song, but alas. All the other songs compensated for that fact. The oriental, near instrumental 'Cairo' was fun to hear. Just like hearing some of the other songs of the first album live like 'Default'. The songs that attracted me to Django Django in the first place, despite the fact that 'Born Under Saturn' and 'Marble Skies' have eclipsed the album totally, as far as I'm concerned.

What I saw is a band that enraptured the venue totally, with a both sympathetic, energetic and simply very, very good show. Nothing got too wild, agreed, but then the band itself is not wild. In a way that may be disappointing as some of the songs deserve total abandon, yet now the show was enjoyable without having to watch my body's health being attacked from all sides. Swaying to all the rhythms with a huge smile on my face, totally relaxed without a worry in the world. Yes, a great show. Thank you, gentlemen.

Finally, one question. Can someone explain to me why a holed lid was put on and off one of the synths, while it was played either way? Why the difference? That would be a nice to know.

Wo.

Here's the link to our Spotify Playlist: https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

À Peu Près. Pomme

Ik was laatst in Parijs en zag tot mijn vreugde dat ook in de Lichtstad de platenzaken weer als paddenstoelen uit de grond schieten.
 
In deze platenzaken puilden de bakken uit met obscuur vinyl uit vervlogen tijden, maar was het nieuwe jonge Franse talent helaas nauwelijks vertegenwoordigd.
 
Ik kwam daarom vooral thuis met stokoude platen, maar natuurlijk is Frankrijk ook nog altijd een kweekvijver voor geweldige jonge (vrouwelijke) singer-songwriters.
 
Hiervoor moet je kennelijk niet in de hippe platenzaken van Parijs zijn, maar wel bij de Nederlandse BLOG Het Chanson Offensief (http://chansonoffensief.nl). Deze BLOG kwam eerder deze week met een flink aantal geweldige tips op de proppen en ik weet nu al dat deze de winter voor mij gaan inkleuren met de klanken die ik in Parijs niet direct tegen kwam.
 
Mijn eerste liefde uit het lijstje van het Chanson Offensief is Pomme. Pomme is een pas 21 jaar oude singer-songwriter uit Parijs, die met À Peu Près een razend knap debuut heeft afgeleverd.
 
Pomme is misschien pas 21, maar ze bulkt van het talent. De singer-songwriter uit Parijs kan uit de voeten met een heel arsenaal aan instrumenten, is voorzien van een bijzonder aangenaam, veelzijdig en expressief stemgeluid, schrijft songs die alle kanten op schieten en heeft tenslotte een muzikale bagage die je niet verwacht bij iemand van haar leeftijd.
 
À Peu Près bevat 13 voornamelijk Franstalige songs (slechts in één song kiest Pomme voor het Engels) en ze zijn allemaal even mooi. Het zijn songs waarin Pomme laat horen dat ze de Britse en Amerikaanse folk uit de jaren 70 kent, maar de Parijse muzikante kent ook de muzikale tradities van haar vaderland in het algemeen en het Franse chanson in het bijzonder. Hiernaast is Pomme een kind van deze tijd en kan ze genadeloos verleiden met Franse zuchtmeisjespop of met de zomerhit waar je in de winter zo intens naar verlangt.
 
À Peu Près is heel af en toe zwoel en lichtvoetig, maar op het grootste deel van haar debuut laat Pomme een enorme diepgang horen en overtuigt ze met songs die nog heel lang door groeien en nieuwe dingen laten horen.
 
À Peu Près is voorzien van een opvallend stemmige en subtiele instrumentatie vol mooie accenten. Het klinkt allemaal wat melancholischer dan je van een muzikante van de leeftijd van Pomme zou verwachten, maar het geeft de songs van de Française ook een bijzondere sfeer en lading. Die krijgt nog wat extra kracht door de mooie stem van Pomme, die rijker en volwassener klinkt dan die van gemiddelde 21 jarige en de songs op À Peu Près voorziet van veel gevoel en intensiteit.

Pomme is naar verluid groot geworden met de muziek van Joni Mitchell en dat hoor je af en toe nadrukkelijk op À Peu Près, maar het debuut van Pomme staat ook met minstens één been in het heden en wisselt duidelijke invloeden uit het verleden af met fris klinkende en sprankelende songs. Veel songs zijn behoorlijk ingetogen, maar Pomme heeft soms ook een meer theatrale kant, maar slaat gelukkig nergens door richting bombast.
 
Door de teksten in het Frans zal À Peu Près van Pomme voor de gemiddelde Nederlandse muziekliefhebber waarschijnlijk een wat hogere drempel opwerpen dan de gemiddelde Engelstalige singer-songwriter plaat, maar zet je over eventuele barrières heen en je hoort een plaat van hoog niveau vol prachtsongs.
 
Ik heb zelf een zwak voor de verleidelijke Franse popmuziek, maar de knappe muziek van Pomme doet veel meer dan verleiden met zoete klanken en blijft maar verbazen en verrassen. Pomme staat in Frankrijk bekend als een grote belofte en een al even groot talent en laat op À Peu Près horen dat dit volkomen terecht is. À Peu Près van Pomme is een plaat om direct te koesteren en uiteindelijk intens van te houden.

Erwin Zijleman

Je kunt stukjes van 'À Peu Près' hier beluisteren:

https://soundcloud.com/pommeofficial/sets/a-peu-pres-1

Here's the link to our Spotify Playlist: https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Franz Ferdinand Live. Oosterpoort, Groningen Sunday 4 March 2018

Well, do you wanna? Seldom a more superfluous question was asked to an audience. The Oosterpoort was filled with Franz Ferdinand fans who only wanted one thing: to have a good time with their favourite band. No matter how much love and affection singer Alex Kapranos wanted, needed, craved and begged for, he got it all.

It came as something of a shock to realise that it was probably nine years ago I last saw the band. In the, now former, Beer Hall in Amsterdam, after the release of 'Tonight: Franz Ferdinand'. Time flies. The first time was in the same venue after 'Take Me Out' broke big.

This gig started with the only song it could have started with, that tremendously good opening song and title track of the new album: 'Always Ascending'. The upbeat pulse of the song makes it one of the best the band ever released. There is enough material in 'Always Ascending', once pulled apart and developed separately could result into three fine pop songs. The superior opening was followed by the first single of the second album, 'Do You Want To?'. from that moment onwards not much could go wrong with this evening.

The selection of songs soon gave away a pattern: one old, one new song. So we got to hear most of the new songs. Not all are party raisers, but there is not one bad song between them. For the wild abandon section, Franz Ferdinand still depends on the hitsingles of its first album, 'Franz Ferdinand'. Although there is nothing wrong with the hits in between. 'Love Illumination' certainly got a lot of response. Too bad 'Bullet' wasn't played, my favourite song of the previous album.

Franz Ferdinand excels in two things. Playing the strangest rhythm while never forgetting the melodies that make up smash hit songs. Where a band like Gang of Four in the early 80s had weird rhythms and stop starts, but no melody in sight, Franz Ferdinand dispenses them like there is no effort involved. As if changing a song totally two or three times within the song, like 'Huck & Jim' does not put most people off, because predictability is left out to sail away in stormy winds.

The superb rhythm of 'Lazy Boy' where every few beats there seems to be a correction necessary which gives the song a great vibe is amazing to follow on record and live. And drummer Paul Thomson just sings along despite all the complex timing involved. Franz Ferdinand plays music that appeals to the body, the soul and the brain all in one.

The two new members if anything kick a lot of life into the band, if only because the guitars and keyboards can be played simultaneous now or three guitars all at once. A lot of swing is put into the band and synthesizers producing all sorts of sounds. Especially keyboardplayer/guitarist Julian Corrie adds an element of show to the band on stage. His strong presence adds to the whole of Franz Ferdinand. Additionally Alex Kapranos now has the freedom to do whatever he likes and uses this freedom to play the audience and serve it to the best of his abilities. More the frontman than ever.

I can only end with writing what a fine birthday present this was, thank you, son!

I only saw two songs by opening act Pip Blom. Too little to really write anything on. What I noticed, was a fine melodic sense, power and nothing that scared me away. So who knows some more on the band at some time in the future.

The real surprise came after the show when we had a last drink in a pub, where a duo started to sing and play. Just an acoustic guitar and a tambourine. The two were experts at mashing songs up. 'Smells Like Teen Spirit', the music, with the lyrics of 'Billy Jean', 'Long Train Running' with 'Sex Machine' and a song I do not remember, alternating the vocals per song as well. Just very well done and played and sung. Who were you guys? Then I can name you here.

And then the personnel behind the bar changed and guess what? They just came from the same show in De Oosterpoort. Small world.

Wo.

Here's the link to our Spotify Playlist: https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Part Timer, Part Spacer. M-Jo

We only reviewed the recent EP of M-Jo this January and already a new, full album has been released last month. M-Jo plays an interesting form of indie-rock with those little turns and twist that can make the genre so interesting. 'Simple Life' provided just that, so made me quite interested in what M-Jo presents on its new album. (Click here for the review of 'Simple Life': http://wonomagazine.blogspot.nl/2018/01/simple-life-m-jo.html)

Looking at the Bandcamp page of M-Jo a bit better I notice releases under the name M-Jo go back to 2002. You'll find many releases there. As this is only my second release by the band, I can listen with a fresh ear to the new output.

Listening to Part Timer. Part Spacer for the first time I notice the album shoots off into several directions. Hard-driven guitar rockers, piano tinged ballads, 60s influence pop and garagerock songs, alternative indie rockers with those twists into disharmony and musical tensions on the verge between harmony and false. In short the kind of music that is unpredictable. No song is the same and within the songs anything can happen. Music that keeps me alert as not to miss the surprise that is offered next.

"If I ever want to kill myself" is the first line sung on the album. It's obviously meant as a sneer to a woman with a very huge ego. Large enough to jump off from, ending it all. The fun of the punky song makes it crystal clear: Mark de Jonge is not contemplating to end it all. He has found a new song with humour and panache. Those familiar with the band will recognise some The Kinks references in the song as well. 'Savage Cat Woman' is that kind of song that has a lot going for it.

The contrast with the second song is huge. 'Jean' is not an 'Ob-la-di-Ob-la-da', yet it has that effect because of the contrast. Only to be followed by the prickly 'Gigolo Pop'. A rough riff drives on an a-melodic song. The sound is harsh. At the same time the song has at least three changes within it. Including a marching disco beat moving into a new wave early 80s ending. Next up is a 60s influenced psychedelic song. To be followed by a song about a dress, lipstick and a hard on. 'A Girl And A Bike in Amsterdam' is a pop-psych 60s ballad.

I guess you get the picture. Part Timer, Part Spacer is an eclectic album. M-Jo has not held back on anything. He is following his own muse to where ever it takes him. A muse without any brakes and no lack of imagination. From The Velvet Underground to The Kinks, new wave, indie rock of the past decades, M-Jo lets it all come by and makes it its own. As I ended my review of 'Simple Life', "another interesting band to follow". Little did I know in January that come February I would be listening to the next album already. All expectations are fulfilled if not exceeded handsomely. Come April another album, M-Jo?

Wo.

You can listen to and buy Part Timer. Part Spacer here:

https://m-jo.bandcamp.com/album/part-timer-part-spacer

Here's the link to our Spotify Playlist: https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Wrong Creatures. Black Rebel Motorcycle Club

To this day I regularly wear a t-shirt that on the back sports every single show Black Rebel Motorcycle Club played until that EU tour. Yes, I lost sight of the band every once in a while, but I did like its former album, 'Specter At The Feast', reviewed on this blog (read here: http://wonomagazine.blogspot.nl/2013/04/specter-at-feast-black-rebel-motorcycle.html). The t-shirt's just remains cool to wear.

'Whatever Happened To My Rock And Roll (Punk Song)' is the song that attracted me to Black Rebel Motorcycle Club back in 2001(?). The song at the time wasn't fully representative for the band and it never has been since. It may forever remain the best song BRMC wrote and will write. At the same time it is fair to comment that it's impossible to write many songs like it. So propulsive, so powerful and demanding. They just do not come that often.

Now some four years and some after releasing 'Specter At The Feast' the band returns with Wrong Creature. BRMC starts out with familiar sounding tunes in the muddy, slightly psychedelic rock sound of the band. Come song 4, 'Haunt', the tempo goes down and a Madrugada kind of mellowness unfolds itself. The guitar has that longing sound. It is the environment that remains muddy, a large difference with the former Norwegian band.

In the opening songs BRMC lays down its signature sound very convincing. In other words the pause of several years has done the band good. The fact that 'Haunt' takes the mood down and is simply a fine song pushes Wrong Creatures in the right direction.

From that moment on things change though. The album has transitioned to a mid-tempo chugging along thing. BRMC skates on very thin ice here. To keep the album and individual songs alive it has to work with dynamics a lot, as the songs itself are not enough once I'm into the third one. And that is exactly what happens. 'Ninth Configuration' goes off in a fantastic way. Layers of guitars are spewed over the unsuspecting listener making the song as alive as an electric eel and as difficult to firmly grasp.

What BRMC is good at is creating an atmosphere in its songs that are spell-binding. Without having to resort to too much effects to take a listener to musical pastures long gone, as many bands tend to do these days, BRMC presents its own musical universe. (Writing this conclusions a sitar enters in 'Calling Them All Away', so here I go. In general I stand by this conclusion though.) The murky, muddy, dark sound, of songs that may not necessarily be complex as compositions. It is within these limiting confines BRMC starts exploring the limits of these compositions and usually finds the outer edges, presenting yet another melody on the guitar or a keyboard, adding an extra layer of guitar, playing a different melody over the others once again. And they all fit. Just listen to what happens in the second half of 'Calling Them All Away' and find that my theory stands. This is BRMC in a top form.

In fact, when thing go wild in 'Little Things Gone Wild' it comes almost as a disturbance of the peace. Somehow the song sounds a bit forced. Wrong Creatures returns to form though, leaving me with very little to complain about. It all ends with 'All Rise', a song that atypically starts with a piano, has strings in it, but slowly is brought to a befitting BRMC climax. A nice way to end this album.

Wrong Creatures is the 8th album of BRMC and a fine one at that. It looks like it is time to let that first and most famous hit of the band be what it is, a fine song of the past. This attitude makes me expect less and enjoy the present more. As there is more than enough to enjoy on Wrong Creatures. Welcome back, Black Rebel Motorcycle Club.

Wo.

You can listen to Wrong Creatures here:

https://soundcloud.com/b-r-m-c-official-page