The Null Device
The past week has been unusually rich in worthwhile gigs in London, and Your Humble Narrator spent much of it going to such, often with camera in hand:
- Monday night was Suzerain at the infamous Hope and Anchor in Islington. I've seen them before; they're not so much an indie band as tomorrow's chart-toppers who haven't been signed yet. They sound somewhere between David Bowie and Duran Duran, with elements of Icehouse, the Scissor Sisters and early Nine Inch Nails, look not too unlike Interpol or Franz Ferdinand and play a rather tight, catchy glam-pop. They'll probably go far.
- On Tuesday, I went to Club AC30 to see Sambassadeur, a Swedish indiepop band on the Labrador label (also home to the likes of Acid House Kings, Club 8 and The Radio Dept.). They were pretty good; somewhere between various Sarah Records bands, the Jesus and Mary Chain, and other recent Swedish bands including The Radio Dept; two guitars, bass, harmonium, boy/girl vocals and an iPod providing the drum tracks. There are some photos here.
On Thursday, I went to see Mirah, the K Records singer-songwriter and her band, at the Purple Turtle in Camden. They were quite good; the eponymous singer/guitarist was quite animated, and was accompanied by the usual bass and drums, as well as violin and accordion. Meanwhile, the bass player proved that Justin Timberlake and Von Dutch have not yet managed to kill off the trucker hat among US indie-rock hipsters; either that or we are witnessing a second wave of ironic appropriation of mainstream fashion's adoption of an earlier ironic hipster style. Anyway, there are photos here.
I ended up picking up a copy of Mirah's second album, Advisory Committee, at the gig. There seems to be an interesting lo-fi experimental-electronic thing happening on some of the tracks, amidst the (sometimes stereo-doubled) breathy vocals, indiekid guitar strumming, layers of fuzzy sound and the odd glockenspiel and such. It's a bit more adventurous sonically than You Think It's Like This... (if perhaps not quite as innocently playful), and has a sort of spiky quirkiness that seemed to be absent in C'mon Miracle, which (from memory) seemed more like a straight alt-country record.
On Friday night, I went to see a band named My Favorite play in Hoxton. They're an electropoppy outfit from New York; bouncy upbeat songs sounding like OMD or 1980s New Order at their poppiest, with pleasant-enough boy-girl vocals; upon closer listening, though, the songs turn out to be quite dark, about the ghosts of dead teenagers and such. I picked up their album, The Happiest Days Of Our Lives; the booklet looks more like something one would expect from a lugubrious Montréal post-rock collective than a New York electropop band, and betrays a morbid obsession with Joan of Arc. Photos here.
Incidentally, Hoxton Square on a Friday night is a rather interesting experience; upon entering the square, the noise of hundreds of people talking is the first thing one notices. The crowds outside the clubs and swanky bars are to be expected; the large numbers of people sitting on the grass in the centre of the square, as if waiting for a band to come on at an outdoor concert, seemed a bit more unusual. Were they there just to bask in the ambient coolness that is Hoxton? Is this what the cool set in London do when they become too old to get their teenage kicks by walking slowly up and down Camden High St. in orange "PSYCHO WARD" shirts, hardcore band patches and cutesy-goth-cartoon-character bags or something?
Could the future of employment be job dumping, where prospective employers put jobs up for auction and employ the lowest bidder, harnessing the same market dynamics that give us cheap Wal-Mart clothes?