Brainwash Festival, Leeds, 1st November 2009 Pt 4: Oceansize

Oh dear. Oceansize have been running late, coming in from Germany this morning and then heading straight to Leeds to play Brainwash. This means that when they’re scheduled to begin playing, they’re actually soundchecking, in front of a packed auditorium, too. It’s uncomfortable for bands to do this, and uncomfortable – not to mention tedious – for the audience, too. The intro tape’s on a loop and people are getting restless. Still, what can you do?

Oceansize begin their set with a few bars of the long that’s been driving everyone crazy for the last however long – it feels like an eternity – before giving an expert demonstration in the magnificent and epic neo-prog that’s gained them such an ardent fanbase.

While they somehat disappointingly overlook the entirety their debut album, the masterpiece that is ‘Efflouresce,’ the set draws broadly from the rest of their career to date. A high point is, without doubt the truly raging rendition of ‘One Out of None,’ which is abrasive and jarring, and, frankly, brilliant. ‘Homage to a Shame,’ one of the most dynamic tracks from the slightly sub-par ‘Everyone into Position’ similarly serves as a sonic slap round the chops, in the best possible way.

There’s also new material, too: not only do they treat us to a track from the new EP, ‘Home & Minor,’ on which the band explore their softer side (in stark contrast to their other between-albums EP, ‘Music for Nurses,’ a tense and angular affair).

Time’s tight, but they also manage to squeeze in a new and as yet unreleased track from their forthcoming album, which they’re still in the process of recording. I didn’t catch the title, but it was a blistering high-speed assault, coming on like a juggernaut going full-throttle with no brakes. Not only does this auger well for the future, but it’s great to see a band who’ve been around for over ten years and built an established fanbase play like they’ve still got everything to prove. For me, Oceansize were worth the day’s ticket price alone.

Don’t forget, there’s always more of the same (only different) at Christophernosnibor.co.uk!

Brainwash Festival, Leeds, 1st November 2009 Pt 3: Vessels

That there’s a superabundance of instrumental post-rock, and instrumental rock, is perhaps something of an understatement. The Leeds scene is a veritable hotbed of post-rock instrumentalism, and I’ve lost count of the number of bands I’ve seen doing this sort of thing on my manifold nights spent in the Brudenell and the Packhorse. However, Vessels are undoubtedly amongst the pick of the crop, creating immense, swirling soundscapes that emerge from quiet, semi-ambient noodlings.

The use of synthesisers to produce spacious and space-age sounds is one of the factors in Vessels’ multidimensionality, but the fact the band pack the stage with a forest of guitars is what really creates their dense, layered sound as they trade intricacies before launching into explosive, soaring – and searing – bursts of noise. Guitars and basses are swapped and exchanged, allowing for the different playing styles to subtly alter the moods throughout the set.

Ok, so on this outing, the sound wasn’t as good – or as loud, or as dense – as when I saw them headline at the Brudenell a while back, but then, accommodating so many bands during a single afternoon must be a technical nightmare, and soundchecks subject to rigid time constraints in order to keep things running to time. Besides, the sound in the Brudenell is both consistently well above average in terms of both quality and volume, so I guess I’ve been spoiled rather. That said, Vessels turn in a set that’s got energy, variety and dynamic range, and serves to illustrate perfectly just what a fine band they are.

Don’t forget, there’s always more of the same (only different) at Christophernosnibor.co.uk!

Brainwash Festival, Leeds, 1st November 2009 Pt 2: Maybeshewill

Maybeshewill produce an unusual hybridised racket, too rock to be post-rock, but not as metal as, say, And So I Watch You From Afar. That isn’t to say that their songs lack the gentler or more intricate elements common to many post-rock acts, but that they’re not as given to the fragility common to the genre. And when Maybeshewill rock out – which is often – they really do rock it, with big, heavy, ballsy, grungy riffs.

They apologise on a number of occasions through the course of the set about the technical difficulties they’re having, but from the front it sound just fine, not to mention abundantly loud. Samples fire off to provide narrative and texture to This Time Last Year and there are no shortage of twists, turns, tempo and volume changes to hold the attention through a punchy and powerful little set.



Don’t forget, there’s always more of the same (only different) at
Christophernosnibor.co.uk!

 

Brainwash Festival, Leeds, 1st November 2009 Pt 1: Her Name is Calla

You could be forgiven for expecting that their recent European tour might have left Her Name is Calla a little weary of performing and of the material, particularly the songs that were being played live before the recording of ‘The Heritage.’ But then, Her Name is Calla aren’t a band who are happy to churn out the songs and declare them finished, which is why tonight’s opener, ‘Motherfucker! It’s Alive and Bleeding’ sounds rather different from both the record and previous live shows. The new arrangement sees the composition twist and turn and explore new directions en route to an exhilarating climax.

The rest of the five-track set also suggests the band is, if anything, tighter than ever and reinvigorated. There’s even a new song, ‘Pour More Oil.’ Although it appeared in demo form on the ultra-limited ‘A Blood Promise’ CD / DVD set, the bones of the track have been fleshed out in spectacular fashion. It’s when the band are producing these monumental walls of noise that it becomes evident just how each member contributes something essential to the overall sound, from the low-slung bass sound to the textured strings and brass.

They close with a devastating rendition of ‘New England,’ and while the battery of percussion that used to feature has been reduced to Thom battering tribal rhythms  on a floor tom, the sonic assault is as forceful as ever, with everything collapsing into a speaker-shredding squall of feedback.

Ultimately, a triumphant performance that reminded me exactly what it was that made me like Her Name is Calla in the first place.

Don’t forget, there’s always more of the same (only different) at Christophernosnibor.co.uk.