Wednesday 16 December 2009
Poems On The Underground
Two poems spotted on the tube as part of 'Poems On The Underground' series that I have enjoyed recently:
Dirty Three - Queen Elizabeth Hall - 07/12/09
I was at the Queen Elizabeth Hall earlier this month to see The Dirty Three. I had seen them play the Barbican a few years ago as part of the Don’t Look Back series (on that occasion performing ‘Ocean Songs’ in its entirety). Support came from ex-Lift To Experience man Josh Pearson who played a set of lo-fi, acoustic, country influenced songs, half-whispered, half-mumbled but never less than beautiful.
It was Pearson who perhaps came up with the best way of introducing The Dirty Three – “like the universe unfolding before your eyes”. A good way of describing the sheer scale, intensity and beauty of their music.
Their live shows are always fraught, intense affairs and tonight was no different, their instrumental music sounding ravaged and ransacked, desolate and desperate. The introductions by frontman Warren Ellis are just as good, often rambling but always funny and moving.
Arriving on stage to ecstatic cheers from the audience, Ellis introduces the opening song with a reference to their recent appearance at the All Tomorrow Parties festival, (I am paraphrasing somewhat here, but will do my best to remember) as being about “being cooked like a sausage in a room at Butlin’s and not knowing how to switch the heating off, with your suitcase up against the door and reaching over to call your wife…....and tell her....…that you like her…....and say…....you are…....The Last Horse On The Sand” at which stage the band start to play. Spine-tingling.
After removing his jacket and discarding it to the side of the stage Ellis starts to launch wild kicks into the air as he staggers around the stage playing violin. Occasionally he augments Jim White’s drumming (more of which, later) by stamping on the ground. Each kick or stamp adds to the sense of desperation evoked by the music and has a personal physical impact on me.
To begin Jim White had placed a tambourine on top of one of his drums to add another layer of percussion to his already skittering, dislocated, flattened drumming style. As he hits it the tambourine rolls on to the floor right next to Ellis who immediately kicks it, sending it flying to the side of the stage. During the show White’s drums need to be repaired at least three times (as he and the band play on). The soundman also comes on to collect yet another stray tambourine from the stage floor at one stage. The sheer energy on stage is breathtaking, the band appearing to be in a state permanently close to implosion, yet somehow manage to hold it together.
The second song is ‘Some Summers They Drop Like Flies’, and possibly is where the searing emotional intensity of tonight’s show reaches it’s climax. Ellis stands in front the drums, arms aloft, transcendent, totally in thrall to the music. Half way through the song he lies on the floor, still playing his violin, as the guitar and drums build around him. By the time the song closes he is flat on his back on the floor and the sound dies away. If someone was to enter the QEH at this point they could quite reasonably assume that he had been shot by one of his band.
The band play ‘Sea Above, Sky Below’, introduced by Ellis as a song about when you spend the last 15 years belieiving your are right and the world is wrong…and then realising that the world is actually more wrong that you originally though. ‘Everything Is Fucked’ is played next, introduced by Ellis as when you spend 5 years in a hole and rather than get out decide to decorate the hole….
The introductions and between song talk are always delivered in a humourous, self-deprecating manner. Lots of reference to drugs also, particularly glue and lysergic acid (seemingly particular favourites of Ellis).
They finish by playing ‘Some Things I Just Don’t Want To Know’ during which Ellis lets out some anguished shouts, a suitably primal and visceral ending. As we leave the hall Gram Parsons plays out over the venue PA. Nice. An exhilaratingly intense show. Definitely up there with Mercury Rev at Shepherd's Bush Empire and Godspeed! You Black Emperor at the Scala in terms of impact and power.
It was Pearson who perhaps came up with the best way of introducing The Dirty Three – “like the universe unfolding before your eyes”. A good way of describing the sheer scale, intensity and beauty of their music.
Their live shows are always fraught, intense affairs and tonight was no different, their instrumental music sounding ravaged and ransacked, desolate and desperate. The introductions by frontman Warren Ellis are just as good, often rambling but always funny and moving.
Arriving on stage to ecstatic cheers from the audience, Ellis introduces the opening song with a reference to their recent appearance at the All Tomorrow Parties festival, (I am paraphrasing somewhat here, but will do my best to remember) as being about “being cooked like a sausage in a room at Butlin’s and not knowing how to switch the heating off, with your suitcase up against the door and reaching over to call your wife…....and tell her....…that you like her…....and say…....you are…....The Last Horse On The Sand” at which stage the band start to play. Spine-tingling.
After removing his jacket and discarding it to the side of the stage Ellis starts to launch wild kicks into the air as he staggers around the stage playing violin. Occasionally he augments Jim White’s drumming (more of which, later) by stamping on the ground. Each kick or stamp adds to the sense of desperation evoked by the music and has a personal physical impact on me.
To begin Jim White had placed a tambourine on top of one of his drums to add another layer of percussion to his already skittering, dislocated, flattened drumming style. As he hits it the tambourine rolls on to the floor right next to Ellis who immediately kicks it, sending it flying to the side of the stage. During the show White’s drums need to be repaired at least three times (as he and the band play on). The soundman also comes on to collect yet another stray tambourine from the stage floor at one stage. The sheer energy on stage is breathtaking, the band appearing to be in a state permanently close to implosion, yet somehow manage to hold it together.
The second song is ‘Some Summers They Drop Like Flies’, and possibly is where the searing emotional intensity of tonight’s show reaches it’s climax. Ellis stands in front the drums, arms aloft, transcendent, totally in thrall to the music. Half way through the song he lies on the floor, still playing his violin, as the guitar and drums build around him. By the time the song closes he is flat on his back on the floor and the sound dies away. If someone was to enter the QEH at this point they could quite reasonably assume that he had been shot by one of his band.
The band play ‘Sea Above, Sky Below’, introduced by Ellis as a song about when you spend the last 15 years belieiving your are right and the world is wrong…and then realising that the world is actually more wrong that you originally though. ‘Everything Is Fucked’ is played next, introduced by Ellis as when you spend 5 years in a hole and rather than get out decide to decorate the hole….
The introductions and between song talk are always delivered in a humourous, self-deprecating manner. Lots of reference to drugs also, particularly glue and lysergic acid (seemingly particular favourites of Ellis).
They finish by playing ‘Some Things I Just Don’t Want To Know’ during which Ellis lets out some anguished shouts, a suitably primal and visceral ending. As we leave the hall Gram Parsons plays out over the venue PA. Nice. An exhilaratingly intense show. Definitely up there with Mercury Rev at Shepherd's Bush Empire and Godspeed! You Black Emperor at the Scala in terms of impact and power.
Ed Ruscha - Hayward Gallery - 07/12/09
I caught the Ed Ruscha retrospective at the Hayward Gallery earlier this month (just before seeing The Dirty Three at the QEH). The big lesson learned was - go to art galleries more often late afternoon during the week. The Hayward was beautifully - almost sumptiously - deserted, and I was able to stroll through the rooms practically only with the gallery assistants as company. A real pleasure compared to some of the scrums you are occasionally faced with.
The exhibition proved to be a bright, vivid celebration of colour, form and language. The combination of bold colours, clean, crisp lines and diagonal angles was very impressive. As I walked through I thought it was a successful example of good conceptual art. The panoramic landscapes, juxtaposed with striking text had real visual, almost cinematic beauty - my favourite was 'A Particular Kind Of Heaven'.
The exhibition closed with his beautiful painting of mountains, superimposed with more text. Another great exhibition by the Hayward Gallery.
Susanna & The Magical Orchesta - The Borderline - 25/11/09
I managed to sneak in a flying visit at the end of November to the Borderline to see Susanna & The Magical Orchestra. My notes tell me their set was sparse, hushed, echoey and synth-led. Susanna's vocals were as pure and crystalline as on record. 'Guiding Star' recalled the ethereal quality of The Cocteau Twins and they played their ACDC, Joy Division and Leonard Cohen covers (no 'Crazy, Crazy Nights by Kiss sadly though).
North Sea Radio Orchestra + Nils Frahm - St Giles-in-the-Fields - 21/11/09
I finally got to go to St Giles-in-the-Fields last month to catch the North Sea Radio Orchestra play a show. It had been on my list of venues to go to for some time now. Once inside I liked it - maybe a little more modern and light in terms of decoration etc than some but still beautiful. Quite similar to St Martins-in-the-Fields down the road I guess.
Support came from Norwegian musician Nils Frahm who played an epic, abundant 40 minutes of climbing and cascading emotive solo piano. Very enjoyable. I would imagine I would get hold of some of his recorded music in 2010.
The North Sea Radio Orchestra played their usual finely assembled blend of warming, uniquely melodic part-choral, part-chamber music, picking a selection from their two albums. They also played some of the music by Vernon Elliott that they showcased at the Union Chapel earlier this year. A nice show - the 4th time I had seen them live, and the third at a church (after previous visits to St Olaves and St Martin-in-the-Fields).
Support came from Norwegian musician Nils Frahm who played an epic, abundant 40 minutes of climbing and cascading emotive solo piano. Very enjoyable. I would imagine I would get hold of some of his recorded music in 2010.
The North Sea Radio Orchestra played their usual finely assembled blend of warming, uniquely melodic part-choral, part-chamber music, picking a selection from their two albums. They also played some of the music by Vernon Elliott that they showcased at the Union Chapel earlier this year. A nice show - the 4th time I had seen them live, and the third at a church (after previous visits to St Olaves and St Martin-in-the-Fields).
Miroslav Balka - Tate Modern - 21/11/09
I went along to Tate Modern with Shalini and Dhruv on a Saturday afternoon last month to see 'How It Is', the latest installation in the Turbine Hall by Polish artist Mirolsav Balka.
After having walked up the ramp to enter the huge metal container, looking back out towards the light seems like looking back at another long-departed world. I didn't quite experience the bleakness and terror that had been written about in the press. As a 'participation-as-art', sensory experience it was quite powerful however and I guess the comparison to what happened in the 1930s/1940s does reasonate. Dhruv slept most of the time we were there - his comment on modern art I suppose...
After having walked up the ramp to enter the huge metal container, looking back out towards the light seems like looking back at another long-departed world. I didn't quite experience the bleakness and terror that had been written about in the press. As a 'participation-as-art', sensory experience it was quite powerful however and I guess the comparison to what happened in the 1930s/1940s does reasonate. Dhruv slept most of the time we were there - his comment on modern art I suppose...
BUG16 - BFI South Bank - 20/11/09
I was at the BFI last month to see Count Buckulees (a.k.a Adam Buxton) present BUG16. As usual it was very entertaining.
Highlights included the video for 'Luv Deluxe' by Cinnamon Chasers and 'Would You' by Holly Throsby ft. Bonnie Prince Billy. Adam also showed the recent video for 'Two Weeks' by Grizzly Bear. The main highlight (as usual) was the YouTube comments section. Extremely funny indeed. Well done Dr Buckles - another great show!
Highlights included the video for 'Luv Deluxe' by Cinnamon Chasers and 'Would You' by Holly Throsby ft. Bonnie Prince Billy. Adam also showed the recent video for 'Two Weeks' by Grizzly Bear. The main highlight (as usual) was the YouTube comments section. Extremely funny indeed. Well done Dr Buckles - another great show!
Subscribe to:
Posts (Atom)
Posts
