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Live Review: Maribou State at the Albert Hall

Written by Mia Edwards on . Posted in Reviews.

From humble beginnings in Hertfordshire, Maribou State found their musical niche in 2015 with their critically acclaimed debut album Portraits. Now four years later, dance-music duo Chris Davids and Liam Ivory electrified Saturday night at Manchester’s Albert Hall on their sophomore album tour, Kingdoms in Colour. Maribou State were clearly still feeding off the buzz from playing London and Bristol just a few days prior, but still seemed stunned at the energy Manchester had to offer.

The stage was set. Spotlights of blue and white bow their heads, illuminating the balconies, the back wall and finally the floor beneath them. In the gloomy glow the band takes their positions behind keyboards and guitars and drums as the crowd roars in anticipation. It would only seem fitting that they began with the very first song of their first album. The song “Home” is appropriately named: you feel acquainted with the sound. Yet woven into the song are distorted hums and moans to inflict feelings of unfamiliarity.

Kingdoms in Colour features previous collaborators like Holly Walker in “Nervous Tics” and “Slow Heat” as well as U.S. group Khruangbin co-producing one of the album’s two singles “Feel Good”. Walker made her appearance for fan favourites like “Steal” and “Midas”. As she grooved from left to right on stage, smirking to the band as she did, it was clear that their relationship between her and them was more than professional: a bond strengthened by similar visions.

The album is vastly more ambitious than its predecessor. After a Portraits world tour, Davids and Ivory scoured the globe for inspiration. Each song builds to a combination of unlikely instruments in what can only be described as some sort of neo-orchestra. “Nervous Tics” is quickly becoming a personal favourite of the album. It blends Walker’s falsetto with the Guzheng, an obscure Chinese instrument found on their worldly travels. Her voice becomes increasingly indistinguishable from the crescendo of melancholy drums.

What is personally intriguing about Maribou State is that their music somehow suits a rainy Sunday afternoon as much as the depths of Saturday night. Across the crowd you could watch people losing themselves in the music, while others felt comfortable just bobbing their heads. Maribou State is music for whatever mood you’re in.

Their sound is one that begs to be seen and heard live: the performance engages the eyes as much as the ears. Shoddy earphones whilst on a bus will not do the songs justice, but watching them on stage is a delight. They’re young, they’re cheeky, and they’re comfortable in the spotlight.

It’s clear that the group sought to tell their story in their set-list. This is what we were, and this is where we are now. As a last hurrah, the band was cheered back on-stage with “Turnmills”, the second single off Kingdoms in Colour. The song is a slow build-up, but at its peak it’s a club banger and a wild send-off to end the night.

Maribou State has this unique skill of making their music feel alive. Portraits was the same, but listening to Kingdoms in Colour, feels fresh and exciting while also embracing the technicolour empire of sound that made them famous.

Review by Byron Gamble

Photo by @SamNeillPhoto

Live Review: Goodness x Bok Bok at Soup Kitchen

Written by Jacob Thompson on . Posted in Reviews.

As I walked down the stairs into the Soup Kitchen basement, there was a feeling of excitement in the Mancunian air. Friday night saw forward-thinking promoters Goodness bring some energy to the city in the form of bass-heavy duo Bok Bok & L-Vis 1990 with warm-up duties on the night coming from the equally as talented Bolt and Afrodeutsche. As the temperature outside began to drop the basement of soup kitchen was just heating up.

Soup kitchen has been racking up some impressive bookings recently and is surely becoming a real favourite for Manchester’s music lovers/party goers. With its dimly lit basement, it seemed one of the more fitting places in the city for the night’s festivities. After spreading their wings to Manchester earlier this year, following success in Oxford and London, Goodness have brought some fantastic artists to the city including Hessle Audio’s Joe and Timedance main man Batu. Both occasions have proved to be riotous affairs, so I knew I was in for a treat.

As I arrived BOLT, a member of local collective VAM was handing over the reins after a well-received set to Afrodeutsche, who dived headfirst into a blend of electro & techno, easily grabbing the attention of the room. Her set was a definite nod to the old Detroit electro legends but it was combined fluidly with her own unique sound; the Manchester-based artist showed real talent and I am looking forward to seeing more from her in the future.

This was my first time catching the night slugs head honchos, and after rinsing their boiler room from way back in 2014 I was looking forward to seeing them in the flesh. As Bok Bok & L-Vis 1990 took to the decks at around 2 am it didn’t take long before the basement was shaking. With a genre-spanning set from UK funky to grime, no area of the bass music spectrum was left untouched, the following couple of hours were extremely entertaining.

In a Noisey article earlier this year, L-Vis commented on the way Night slug sets don’t really have a ‘peak time’ as such: “Our sets are not building to one specific moment, it’s more about different waves of energy throughout the set”. Energy was something that definitely wasn’t lacking down in that basement. The reception from the crowd was warmly appreciated by the DJ’s who looked to be enjoying it as much as the revelers on the other side of the booth. The front of the crowd was feeding off this energy as the tempo was upped and classics such as Lil Silva’s now legendary ‘Seasons’ got a predictably huge reaction alongside new productions that had the crowd roaring.

In an industry that sometimes struggles with representation, it was also great to see an equal split of genders on the line-up without the promoters using it as some kind of marketing tool. Hopefully, this positivity can continue throughout the scene.

I can happily say I struggled to find any negatives about this one and I look forward to the next Goodness event. Smiles were aplenty as the crowd headed up the stairs into the cold Manchester morning.

 

Review by Adam Parker

Live Review: Parcels at Manchester Academy 2

Written by Mia Edwards on . Posted in Reviews.

Darkness. The smell of BO and beer. The nondescript chatter and buzz of pre-show hype. Out from the dark, synth chords start pounding away as a slick guitar riff begins to ring out; the crowd instantly starts bopping away. Parcels have arrived. Straight off the back of their self-titled debut album, the Berlin based Aussie boys have been lighting up the European synth-pop circuit for years and after 2017’s collaboration with Daft Punk, they have been on everyone’s lips. I sat down with the band before they headlined Academy 2 to talk all things music, influences, and Christmas albums. When asked which genre Parcels would describe themselves as, Patrick (keyboardist and vocalist) said ‘I don’t think it’s important, and it’s not very easy to define. I wanna say pop music because that’s the mentality, kind of, but I don’t think people would instantly associate our sound with pop music,’ and as opener Comedown’s disco synths and jazz-like guitar solo suggests, Parcels are musically miles away from the formulaic music dominating most charts today. However, the intense audience reaction, plus their 1.8 million monthly Spotify listeners, shows this 5-piece has a great understanding of what clicks with a listener. As drummer Anatole puts it ‘in Berlin we were pretty influenced by music that was made to make people dance and we try to re-enact that in our lives shows cos there’s something really special about the whole audience dancing to your songs,’ and when smash single Tieduprightnow is finally delivered there isn’t a single member of the audience who can’t help but groove to this masterfully crafted funk hit.

That’s not to say the boys are all about fan service, as they admits that sometimes ‘we decide to mess with the audience, like after a heavy dance song we’ll play a really slow song’ which at points in the set can be frustrating, especially when the crowd desperately wants to just dance and sing along. These creative decisions might be a product of the youthful playfulness and self-deprecating nature of these lads, which is quite refreshing in a climate where bands take themselves and their reputation too seriously. Anatole even jokingly mocks Patrick when he tries to talk me through the pedals and effects they use to achieve their unique synth sound: ‘Oh the way we make sounds, hm it’s very interesting’ jokes Anatole in a faux intellectual voice. The joviality continues when discussing their Daft Punk collaboration: ‘they [Daft Punk] have inside helmets and outside helmets, the ones they wear on their album covers are the heavy duty ones, but in the studio they just wear smaller ones with better breathing space and holes in the side to listen, it’s pretty casual.’ When asked about future projects, keyboardist Patrick jokes about the possibility of a Christmas album, much to the instant disdain of his bandmates, although I for one would love a funk cover of All I want for Christmas Is You, and even John Lennon delved into the festive realm at one point.

That’s part of the quirky charm of Parcels, when the 8 minute long Everyroad is performed, which
Patrick called ‘liberating, as we weren’t trying to make a pop song, we just made it for ourselves
through jamming,’ guitarist Jules and bassist Noah climb up the stage and begin performing a David Byrne-esque minimalist dance. The crowd goes wild for it and you can see from their beaming smiles after their little choreographed moment they relish these moments of absurdity, although this referential moment is superseded by my highlight of the whole show, when Parcels’ display themselves as the collective they truly are. The five bandmates leave their various positions on the stage to form a single line at the front of the stage for the chilled Bemyself, showing the band off as a cohesive, creative unit in contrast to other bands that portray themselves as merely the FRONTMAN and co. If guitarist Jules wasn’t already the spitting image of George Harrison I would’ve forgiven you for not noticing the comparison earlier, but as they stated in our earlier interview ‘when song writing we would always sit down altogether and listen to demos to decide things together, from the instrumental side to lyrics. We never really wanted a main vocalist either; we wanted it to be like The Beatles.’ The impassioned sing-alongs, the creative harmony, the eccentric bandmates, and most importantly the fantastic songs; Parcels are on the Abbey Road to something special.

They leave us on IknowhowIfeel, a surprisingly slow track in contrast to their bigger dance hits but it makes perfect sense when Parcels deliver their last trick of the night. One by one, throughout the song, each band member leaves the stage, starting with the guitarist, and ending on the drummer. By leaving those responsible for the beat to continue by themselves, it installs the catchy tune into the minds of the audience members much like a fade out on a record, so that when the drummer finally leaves the now empty stage, the audience carries on singing the tune without them even there. Genius.

Review by Noah Matthews