There couldn’t have been a better day to see Icelandic music at an open air gig. It was one of the famous ‘hottest days of the year’ and I was melting like an ice cube left out in the sun. Ásgeir Trausti and his band were opening for Of Monsters and Men, a sold out gig at Somerset House, a part of the Amex Summer Series. At 8:15 pm, when their set was starting, the sun hadn't even begun to set just yet and the audience was eagerly grabbing free cool water bottles. The stage was lit with a few beams of cold, blue light, very appropriate for glacial sounds.

Against all meteorological odds, Ásgeir showed up on dressed in an all black ensemble of jeans, a jumper and a cap worn backwards. He was joined on stage by Júlíus Róbertsson on guitar, keys and vocal, Þorsteinn Einarssonand on keys and guitar and Guðmundur Kristinn Jónsson on keys and electronics. Ásgeir took to the keys as well and with his enchanting shyness opened with ‘Higher’, a gorgeous, intimate number with a nice undercurrent bass line.

Standing in the pit with other photographers, I managed to put my earplugs in before the first wave of bass gently hit my ears. ‘Going Home’, which recently became my little addiction, followed the great opening. With a melancholic tone and a pulsing rhythm, there’s definitely a James Blake resemblance in Ásgeir’s music.

It is apparent that Ásgeir is still getting used to the attention - he skyrocketed to fame almost accidentally. I had to wait a good while to get a shot of him lifting his ice blue eyes off the keyboard. But his humbleness is an attraction and the audience seemed to love it - every time I turned around I could see people getting more and more mesmerised by Ásgeir’s crystal clear voice and almost hypnotic music. For “Summer Guest” he picked up his guitar and showed off what a virtuoso he is.

Perhaps the shyness combined with the inviting intimate nature of his music I felt I’d much prefer to see him in a tiny space rather than at a quite big open air venue. He has the unique gift of building a very enveloping atmosphere. The blend of acoustic guitar and warm beats with Ásgeir’s absolutely charming soft Icelandic accent is infectious. I never wanted to leave the photographer’s pit, but I had to and I caught ‘On That Day’ as I was walking to the back of the crowd. The bass line disappeared between the crowds of people separating me from the stage and I missed the close proximity. Every time memories take me back to the gig, they take me back to those first songs.

After showcasing a few more of the songs from his upcoming album, Ásgeir finished his set with ‘King and Cross’, the single announcing the record. It’s a great, really catchy song, mixing Ásgeir’s guitar with a warm beat. His voice reaches beautiful heights and the chorus stays in your mind for long afterwards - just what you need to tease an upcoming album and make the audience go back and get lost in the world of Ásgeir’s music. I know I got completely addicted, especially to his acoustic session at Toe Rag studios available for free from his bandcamp.

Ásgeir is definitely a one to watch. Before Sigur Rós’ “Kveikur’, he reached number one with an Icelandic version of his debut album and the lyrics for his English songs were translated with help from John Grant, who Ásgeir went on European tour with. He only just started his career and it’s already blossoming. I’ll watch out for his next gig, hoping to get completely consumed by his voice, his guitar and the bass line.

(((o))): So, first and foremost, who are Anta and what are your musical backgrounds?

Joe Garcia (Bass):  We’ve all known each other for ages and have been playing in various different bands in the rather incestuous Bristol noise/rock scene for the last 10 years or so. Alex (Bertram-Powell, Organ & Synth) is also in Drokk and Boxcar Aldous Huxley. Steve (Kerrison, Guitar) is in Zun Zun Egui, Bronnt Industries Kapital, Iron Crease and formerly Safetyword. James (King, Drums) and I toured and recorded with Rose Kemp for several years.

(((o))): You had a line-up change before this record when Stephen Kerrison joined. How did that change the dynamic of the group?

James King: We stopped playing Slayer riffs when mucking about, and started playing Queen riffs instead.

(((o))): Please describe your sound in poetic form. (Haiku, rhyming couplets, acrostic, etc - take your pick)

Downtuned massive riff,

Synthesizer, heavy bass,

Amp blows up again

(((o))): Your local scene in Bristol seems very vibrant and productive at the moment. How has that impacted upon you guys?

JK: A lively music scene is defined largely by how well everyone in that scene is connected to one another. You don’t get a good scene if bands all play in a vacuum without working closely with one another. As we came to the physical aspect of making this album (recording, duplicating, etc) we were able to call in favours from just about everybody we know, people who were all more than happy to help because we’ve helped them out in the past, or whatever. Some people lent us mics. Some people lent us amps when our own ones died. Some people gave of their time and helped us in other ways. We certainly couldn’t have made this record without the wonderful scene that surrounds us, and we hope that the fact we’ve been able to record, design, duplicate, release and promote a record seemingly entirely on our own steam is a testament to how vibrant the Bristol scene truly is.

Alex Bertram-Powell: Yep. It’s hard to think of a way that the local scene has been anything but positive for us the past few years. Whenever we’ve needed to get something done there have always been supportive people around who know how to make it happen and we’re always happy to respond in kind. It’s funny because Bristol is often touted as a unique and vibrant place, but usually that’s put in terms of a very media-friendly “urban” image; some successful creative types come from here, and we get a bit of tourism out of all that, but really what makes Bristol special is the stuff you don’t see. Musicians and artists and thinkers who don’t fit in with that image the local government & stakeholders are so keen on. Consequently they don’t have its support, so they find new ways to make it happen and support each other. We hear about the city’s “independent spirit” in the press all the time, but as you can probably guess most of what that explicitly refers to has a guided walk associated with it by now. What you can’t immediately see because it isn’t behind a bit of perspex: that’s Bristol, and for the most part it’s wonderful.

(((o))): Your latest album has just come out. How does it differ from previous material in your eyes, both in terms of the end result and the writing and recording process?

JK: The first album began life as a bunch of jammed-out riffs that we then took into the studio in order to produce a demo. It was simply “we need stuff to put on the internet”, so we had a very short (2 day) session in order to do just that. We liked the results so we made it into a CD, which then became, by extension, “the first album”. We certainly didn’t set out with that in mind. The new album - we set out from the start to write an album, then when it was complete we booked studio time with the intention of recording that album. We planned it to be on vinyl from the outset, which gives clear boundaries for how long each side can be, and that definitely influenced the writing.

ABP: ‘Centurionaut’ is really the first example of us actually intending to make a record rather than throwing all our existing live material at a recording session. Although, the focus on live performance is always there when we’re writing too.

(((o))): What do you think is the most difficult challenge facing new bands starting out in the music industry today?

ABP: Aside from the obvious answer - The Music Industry - then funding. Plenty of struggling musicians could do a lot better, given the cash to pay for the manufacture and distribution of records. They're not getting that seed money from playing gigs, which is what's supposed to happen. Most low-to-mid level promoters are in the same situation, living from gig to gig trying to save money. Ideally music promotion should be a salaried institution and those promoters would have the wherewithal to support the artists they work with, which could help them develop what is essentially an enterprise - even if you're just doing it for a bit of fun. That's not going to happen anytime soon, so... small bands need to pool their funds and learn how to roll that into more funds, or find a big pile of cash in the road. That happened to me once, but I handed it in. It's a good story.

(((o))): Every band has different aims. What would have to happen for Anta to make you feel that you’d “made it”, so to speak?

JK: I don’t feel that “making it” is something that happens, really. It’s a continued effort. Once upon a time, the major labels used to sell this dream of signing a contract for a million quid and never having to work ever again. That dream wasn’t very true to start with, and I don’t think they’re even trying to peddle it anymore. There isn’t some great milestone, where up until that point it’s all hard work, and after that point it’s plain sailing. It’s always hard work; if it isn’t you’re not doing it right! But there are lots of milestones, a year ago I’d have said “getting an album out on vinyl” as the next thing to achieve, and now we’ve done that, and we’re about to tour it around the UK, my next answer would be “tour Europe”. After that? Tour further afield. Make another record. Just, basically, do more and better things, and keep doing more and better things.

ABP: I never really thought about it like that. I was just going to say “kid covers our songs on Youtube”.

(((o))): You’re given the opportunity to create your own All Tomorrow’s Parties Festival. What would be the first five bands on your list?

Swans

Goblin

Sleep

Goat

John Zorn

(((o))): This is ostensibly a column for introducing new bands. Any suggestions as to who we ought to include in the near future?

JG: Our most excellent friends Pigshackle who we are lucky enough to be touring with imminently.

(((o))): What are the band’s plans for the near future?

We’re off on tour! Did we mention? Come and see us at one of these places, soon. (Ed: Also see them at ArcTanGent with us!)

The Silk City Tap Room in Florence, MA, one of the few venues in western Massachusetts where metal of the non-breakdown-infested variety can be found, has undergone some significant changes since I last visited. The site of my first-ever live gig review for Ech(((o)))es and Dust has new owners, a new name, and a new stage upstairs.

Now known as JJ’s Tavern, the venue has been moved from the main bar downstairs to the pool room above, with a larger stage and more room for an audience. A bigger venue also means bigger bands can play there, and while the turnout was somewhat small on July 21st, it was nonetheless a landmark show as the venue welcomed three bands from major metal record labels: touring sludge/ doom acts Howl and Lord Dying, both from Relapse Records, and New Hampshire-based atmospheric black metallers Vattnet Viskar, who were recently signed by Century Media. Rounding out the bill was Burlington, VT-based stoner melodeath metallers Vaporizer.

This was my second time seeing Vaporizer (the first being at the old Silk City), and tonight’s performance saw them minus a guitarist since the last time. I’ll admit that I hadn’t exactly been keeping a close eye on the goings-on in Vaporizer’s camp, as that first performance didn’t impress me much, but after going through their Facebook page, I can’t find an announcement regarding the departure of any members. So I’m not sure if there was a recent lineup change that they haven’t announced, or if their second guitarist just couldn’t make it to the gig, or whatever the hell else might have happened.

Vaporizer

Regardless of their lineup situation, their performance impressed me much more than my first encounter with them did, although I’m not sure whether their music clicked for me or whether they just played better. Their Bandcamp tags list artists as diverse as At the Gates, Kylesa, Cradle of Filth, Skeletonwitch, and Mastodon as influences, and you can certainly pick out bits and pieces of each in Vaporizor’s sound. Overall, their music resembles early Gothenburg melodic death metal a la The Gallery-era Dark Tranquillity, with some of the riffs and melodies being inspired by High on Fire and The Sword. Vocalist Dan Davidson boasts an impressive range of harsh vocals, alternating between guttural lows and shrieking highs; the delivery might remind the listener of every deathcore vocalist ever, but Davidson’s vocals are significantly better than the dime-a-dozen fry screamers that populate the chugga-chugga scene. My one complaint about their set was the lack of communication with the audience; at no point did they announce any of the songs, and Davidson never spoke until right before the last song, vocals during songs excluded. But this is admittedly a minor quibble, and their set was very much enjoyable.

I very nearly missed the beginning of Vattnet Viskar’s set; JJ’s kitchen closes at 9:30 – a fact I discovered at 9:31 – and the lack of food in my stomach was catching up to me. So after heading down the street to get sandwich from a nearby pizza shop, I had to haul my ass back to the bar, scaring the hell out of a lady in front of me in the process. Thankfully, the staff at JJ’s is not so cruel as to prevent their patron from bringing in outside food after kitchen hours, so I was able to enjoy the entirety of Vattnet Viskar’s set while wolfing down a chicken parm pita.

Vattnet Viskar

And enjoy them I most certainly did. I was not familiar with any of Vattnet Viskar’s music prior to this show, but their set was one of the most emotionally intense things I have ever seen in a venue of this size. Special props go to bassist Brett Boland for his incredible energy and drummer Seamus Menihane for his fast hands, but the entire band was on point, and their post-rock influenced brand of atmospheric black metal was a clinic in professional musicianship. I’m not sure what Vattnet Viskar’s rehearsal schedule is like, but based on the tightness of their performance, the work time they’ve put in had produced results. If you have a chance to catch this band live, do it.

Lord Dying

Following up Vattnet Viskar were the band that attracted me to the show in the first place. I first discovered Lord Dying in 2011 when I randomly came across their self-titled demo on Bandcamp. I can’t remember how I found it, but it impressed me enough to become one of the first downloads I ever paid for on Bandcamp. I would come back to them from time to time, but had not kept up to date on the state of their band until, lo and behold, they were playing in a town less than an hour away from me, and were releasing their debut album on Relapse Records. Based on the quality of their demo, I’m not shocked they were picked up by such a big label.

Following up an act like Vattnet Viskar’s performance that night is no small feat, but Lord Dying did so admirably. Their brand of sludge metal bears a noticeable thrash influence, and is chock full of nasty riffs – you can’t not headbang to this stuff. Opening song ‘In a Frightful State of Gnawed Dismemberment’ set the mood with its ferocity and there was no looking back after that.

Howl

Howl’s set was similar to Vattnet Viskar’s in the sense that I was not familiar with their music prior to their set, and also in the sense that I walked away very much impressed with them. Sludge with black metal tinges and plenty of tasty guitar harmonies? Sign me up, please. Vocalist Vincent Hausman gets bonus points for his comedic abilities, including a gem about breaking into a liberal arts college, reading people’s diaries, telling ghost stories, and playing Spin the Bottle before introducing ‘Your Hell Begins.’

It’s hard to complain about a night full of riffs and headbanging. The future looks bright for JJ’s Tavern, with their new and improved stage and sound. And if the bands who performed on this night continue to kick ass, the future looks bright for all four of them as well.

All photos courtesy of Morgan Day Photography.

Electronic noiseniks Fuck Buttons return to the public domain with their new album Slow Focus. The fact that this album even exists will be lost on the multitudes who subconsciously know the band after watching goggle-eyed last year's Olympic Opening Ceremony. Most probably didn't even realise the music was theirs, I must admit to even having to think hard about who it was myself, but it was certainly causing flickers on my familiarity sensors. So if it didn't register with you who the band in question were, it's your loss. If you don't get round to hearing Slow Focus, it's a travesty, for this is one of the finest albums that will be released this year.

Every now and again a groundbreaking electronic/dance album comes along that blows all the competition out of the water, think Leftism, Dubnobasswithmyheadman or (for me) The Contino Sessions. Defying genres, no forget that, creating whole new genres, spawning countless imitators. Slow Focus hits you from the get-go and you know instantly that this is a special collection that will be remembered and revered for years to come.

Opening track 'Brainfreeze' is so damn heavy that I can't differentiate what the instruments might be. Ping-pong percussion bouncesabout over the top of a swervy sub-bass, synths swell up in the mix, the tone is futuristic and apocalyptic.

'Year of the Dog' is an odd choice for second track, the pace taken back as the track has no drums, but is constructed of sequencer sounds and squalls of feedback, the wasteland getting more and more barren. This band don't play by any set of rules, even their name suggests a danger and a desire to damage your comfort zone boundaries.

'The Red Wing' takes me back to a time I'd rather not return to, nights spent standing in an expansive plastics factory, thermoforming machines clattering and popping loudly. The intense hum of motors turning, generators throbbing powerfully to keep the industrial clang continuous. That's exactly what the groove of this track brings to my mind, a looping whistle of a busted machine permeates the track and is infiltrated with all manner of electronic distortion. Evil synths bulk up the sound and by the end of the track it's a turbo-driven thing of rare beauty.

'Prince's Prize' consists of off-kilter bell sounds jumping about like some random amoeba under a microscope, unable to settle, the percussion is handclapped manic breakbeat bedlam.

But it's the final two tracks that really finish this superb album off with the enforcing message that album of the year accolades will surely come. 'Stalker' is all John Carpenter waves of super heavy bass, the drums thud with a mighty stomp. Processed strings give a disgusting feeling of being watched, distortion levels creeping into the red. 'Hidden XS' is an otherworldly ice-cream van loop, old skool beats crash and slide and swooshes of electro swirls glide over the top, reminiscent of the old Pet Shop Boys track 'Paninaro' which was ahead of its time. It's a joyous ending to the album, a glimmer of light at the end of the apocalypse. A little sign of life.

I don't really know what the environment for listening to this album should be. Fuck Buttons are a touring band, this is going to go down an absolute storm at a festival near you soon. If the trajectory the album should give the band travels along the flight path as planned, then Fuck Buttons will be appearing at an Opening Ceremony before long. Actually, no, fuck that, this band don't play by the rules. Slow Focus. Magnificent.

The power of sound is absolutely incredible, both restorative and medicinal. Although not everyone agrees with my same sentiment, I strongly believe that (most of the time) the louder it is the better. That’s one of the reasons I’ve always gotten so much out of seeing the music I love so much played live. There’s nothing quite like being pummeled with sound waves. It’s cheap therapy, a way to drown out the noise of the day.  With that said, Lycus (Oakland, CA) completely blasted the audience on Thursday night (July 18th) in Phoenix, AZ. Excitement for this show was building for weeks because of how much love I have for their latest release, Tempest (see review here). It was good to see people show up on a Thursday night for this show. It’ s always a bummer when a great band rolls into town on a bill with great locals and there are only ten people there to experience it.

Funerary, Godhunter, and Sorxe acted as the foreplay for the main event. All three were pleasing to the ears and great choices to create a perfect flow to the show. This was the first official show for Funerary. They play doom in the vein of Mournful Congregation, Grief, and Asunder. I’m sure there will be many great things to come from them in the future. Godhunter from Tucson, AZ followed them. Every single time I’ve caught one of their shows they always bring a heaviness that’s untouchable. For fans of bands like EyeHateGod, Down and His Hero is Gone. Sorxe played next. Also from Arizona, they are a unique and multi-genre, post-metal band that’s really beginning to make waves around AZ. I hear their name popping up more and more around town and that’s a beautiful thing.  These locals and so many more in AZ create that backbone for our scene. Check all three bands out and give them a listen for yourself. Spread the word.

As Lycus put the finishing touches on their set up, sound check, etc., I felt the anticipation rising in my skin. One of the first things I noticed was how young they all are. Not that I’m old myself, I just didn’t expect such young musicians for such a mature sound. The band opened with ‘Coma Burn’, the first track off Tempest. There’s something about watching musicians pouring out the tracks you’ve only previously heard from speakers. I’m in no way musically talented but I’ve always enjoyed watching hands and fingers make the motions that produce the sound. Working together like bolts and screws to produce a machine. Although throughout the first song the drummer Trevor’s vocals weren’t nearly loud enough, the song as a whole struck with a furious sound. I snapped photos with my camera as I simultaneously let the track flood my ears. I remember feeling pretty overcome and held in the present moment, that’s what’s so curative about music in general.

With a few yells from the crowd to the sound guy, Trevor’s vocals were turned up and the band as a whole was taken up a notch. As the next song played on, the growl of the vocals mixed with the progression of the instruments filled every corner of the room with murkiness. I took a moment to look around the room and saw sets of transfixed eyes watching the musicians as heads were banging around. Several people even had their eyes closed, taking in the sound for themselves. Lycus captivated the room. With heavy riffs and pounding drums, Lycus continued to spew their mournful notes all over the walls.

Lycus closed with the title track from the album Tempest. As the song began I got chills up and down the tops of my arms. ‘Tempest’ has to be my favorite song on the album, so I was more than thrilled to hear its notes downpour out of drums and amps. The song is pure melancholy and eeriness. Hearing the track at such a loud volume allowed the listener to not only hear the track, but feel it too. Dylan and Jackson’s guitar work mating with the weighty sound of Daniel’s bass was a spectacle to watch. Each musician was focused on their craft which transferred in the form of fluidity as the song progressed. As Lycus ended their set, I felt spent (in the best of ways). I went home with the intention of writing immediately and editing photos, but they completely wore me out. I went to sleep that night with heavy ringing in my ears and a grin on my face. The power of sound.

Tempest is out on 20 Buck Spin now, check it out and go see Lycus when they roll through your town. They won’t disappoint.

Thans to Dave and Liz at EarSplit. The gig poster was designed by Plagued Visual Designs and Megaspore Studios (Shona Crawford). 

For more photos of the Lycus show please visit Val's NoCeiling Photography Facebook page here.

Upcoming Lycus shows: 

July 21st, Lost Lake Lounge, Denver, CO.

August 17th, Dead Fest, Oakland, CA.

August 28th, Bottom of the Hill. San Francisco, CA.

On a surprisingly not-hot-as-all-hell summer night, I sat outside with a friend of mine while chatting with Fred. Fred is the drummer of Sadgiqacea. I like Fred, he’s a cool guy. His bandmate and co-conspirator, Evan (guitars/speaker stack of destruction), is as well. Upon shaking hands and introducing ourselves, I grilled Fred and Hivelords bassist, Tyler Butler, about how the road had been treating them. Transmission blown in New York City, over $1500 to fix it, two weeks of shows and driving and possibly some swimming and beers, and there we were. Nice guys and in good spirits, having a good time. Now then, the show!!

Sadgiqacea and Hivelords were sharing backline in order to (I’m assuming) save time, space and gas. When Sadgiqacea hit the stage, well, they really hit the damn thing. Over the course of three songs (long enough to fill 30 minutes or so) Sadgiqacea not only delivered on an emotional level, playing in total sync with one another, but they also played so damn loud that by the end of their second song, the police showed up because of a noise complaint. Had to turn it down just a bit, but it made no difference; the utter heft and weight of their live performance was enough to make the room more than shake and get hot as all fuck. Watching Evan play his mix of blackened-doom guitar and Fred go from tribal drumming to making a fairly small drum kit sound huge, it was like watching them exorcise their own demons and baring themselves to onlookers. Sharing vocal duties they both mixed in well and, as on their new album, used vocals almost as another instrument, tying it all together. It left my body feeling like it was being assaulted. Without a doubt, hearing them play ‘False Segments’ (from new album False Prism) left me moved, and with a bit more of an understanding of just what Sadgiqacea is all about. 

Hivelords took over the stage next, and attacked the crowd with a vicious set of blackened-doom. Vocalist Kevin North and guitarist Will Rollem opened up the set together with the demented howls and echoing guitars of ‘Atavus Lich’ before Tyler Butler and drummer Jason Jenigen fell in with an absolutely crushing rhythm section. Over the course of three songs (again, 30 minutes-ish) Hivelords did not miss a single beat, sounding as close as humanly possible to their newly released Cavern Apothecary. Like their labelmates before them, Hivelords engulfed the crowd with their eerie guitar lines, and the absolutely enthralling stage presence of their singer was felt by all. Closing out with ‘The Auraglyph’ was a great choice, and it pleased me to see the song live. They delivered a performance that was great to be heard, but to see and feel it, that was the real deal sealer. 

Both bands live are truly an amazing show, and touring together is without a doubt an amazing idea. Both bands bring their respective elements and feelings to the stage and perfectly compliment one another, make for a show that you cannot, and should not, go without seeing. You can catch Hivelords and Sadgiqacea on tour for the rest of July and well into August, throughout the US. Go out and see two amazing bands and buy a damn t-shirt, help keep these guys on the road so they can get out and tour again soon. Support artists and musicians you enjoy.  Long live the Werewolf!!!

Thank you to Dave and Liz at EarSplit, Kim at Catharsis, and Shannon at Anthropic. A thank you as well to both bands for hanging out and being a trip to bullshit with. And(!), extra special thanks to my friend Emily for accompanying me and taking photos (check her out here).

Reviewing an experiment is hard. First of all - this review is based on my own perception of whatever happened in the basement of the Shoreditch Town Hall. Second of all - it was a one-off show, which means that if intrigued - you won’t be able to experience it yourself. That’s probably why it took me some time to put my thoughts into words - it’s not easy to review art, even though your own memory of the exhibit is as vivid as if it was yesterday.

London based electronic producer Shylock’s experiment was meant to find out whether it is possible to induce a state of trance with music and visuals. Over the course of many months he gathered information about documented phenomena of people finding themselves drawn to hypnotic trances, experiencing states of euphoria or losing track of time and place. All audio was based on Shylock’s own field recordings, which were triggering visuals reacting and changing according to the progression of the recordings. The change in sound was controlled by an audio cube, responding to audience’s reactions. Shylock would enter a meditative state himself and, using all his audiovisual tools and results of thorough research, try to see if people in certain environment, exposed to certain stimuli, can develop natural hallucinations. The length of the experiment was entirely dictated by the way the audience responded to the installation.

These are the facts. We all entered the dark and humid room just below the main entrance to the Town Hall. (For some reason I feel like by reviewing my experience, I’m participating in some kind of Shoreditch Witch Project.) There was a door on the wall in front of us and once we were all in - the door behind us got locked. No food or drink, nor recording of any type was permitted (hence the lack of photos from the actual event). It was highly recommended to arrive (and stay) sober to fully benefit from the installation. Moving around was encouraged, however hardly anyone took the opportunity.

And then the music started - at first there were minimal electronic beats, corresponding to a pulsing dot projected onto the wall. The dot started to expand as the beat unravelled, creating bigger patterns. Then the images evolved into field recordings - there was a road that somehow took me back to my childhood. There was a forest. There was also the street right outside the Town Hall’s door, with red double deckers from routes 55 and 67 driving past, both on the screen and in real life.

The fact that the visuals were projected onto the wall with a door magnified the experience for me - I couldn’t stop thinking of ‘The Doors Of Perception’ and how the fact there’s a road projected onto a door adds another meaning. To me it wasn’t just a random door that happened to be there - I thought it was a very symbolic door to a different level of perception - quite accurately if we go by Huxley’s original experiment with hallucinogen mescaline. However the door itself got mixed reviews from the rest of the audience. One attendee said “I did find that I was distracted by the door in the wall, on and off throughout - and so found it hard to fully forget that I was engaged in the act of looking. I think being able to forget and just receive the images might have helped me to feel more 'immersed'.”

I also found that closing my eyes entirely and focusing only on the sound made me feel more enveloped by the experiment. Only then I could feel like I was drifting into a state close to meditation as I know it, I even felt a bit dizzy. I received some of the visuals better than others. I have to say that seeing red double deckers projected onto my ‘door of perception’ made me switch my commuter’s self back on and trying to go back to a meditative state afterwards was much harder. The music however, even though created from field recordings, remained trancey, even quite danceable at times. I found focusing on the beat the most meditative - just as if I was focusing on the breath during an actual meditation.

I can’t say that I achieved the state of trance or developed natural hallucinations, I can testify however that at the end of the experiment everyone did feel a little bit lost in time. While all the gadgets were being turned back on, everyone was betting how long did it actually last (we all agreed it must’ve been around 45 - 50 minutes). We immediately started to compare our reception. One thing is for sure - everyone appreciated being able to take part in such an installation. It seems like there is a need for independent art of new media and it’s humbling that Shylock funded the whole project by himself. Whether for his sound art or just his music, he is definitely the one to watch.

Bristol quartet Anta arrive like a steamtrain dragging a sledgehammer through your speakers as the sludgy, meaty, abattoir-esque riffs burst into life and pierce your brain ……

If that sounds as though we have a bit of heavy listening here, you won’t be wrong, but by God it’s good. A brilliant 40 minutes of music follows which is in turn dark, light, trippy, psychedelic, punchy, inventive and properly excellent.

Dirty, heavy riffs prowl and circle the whole album like a wild beast in a dark forest but there are plenty of beautiful, tight punchy leads and soothing organ from Alex Bertram-Powell which add a sophisticated air reminiscent of the best of prog.

It’s a beguiling and effective mix of sound. The heavy-hitting bass of Jo Garcia battling with the crunch-riffing of Stephen Kerrison whilst the clever drumming of James King lend rhythm in turns simple and complex.

No vocals, purely instrumental and a sound all their own but with plenty of influences – I hear a touch of the discordant Alex Leifson guitar, a touch of Sabbath hear and there – but there is such a blend that Anta successfully pull off a brilliant piece of work which bears repeated listens.

What is so good about this release though, is its economy.

There is no excessive noodling, no protracted convoluted ‘lets-be-clever-for-the-sake-of-it’ moments. Instead we have tight, economical, held in check clever compositions that showcase some real virtuosity and talent.

I love this record and hope you give it the chance to get under your skin.

Wednesday nights aren't always very good for Edinburgh gigs as people never really seem to make an effort if it’s not a Friday or Saturday night in the Scottish capital, but with this gig being free and the bands on the bill all very good and exciting, the Jekyll & Hyde slowly filled up with a reasonable number of people to watch this night of live music entertainment. By the time the gig was finished the place was pretty full with people, which was great to see!

Tonight kicked off with a short set by Glasgow/Edinburgh experimental improve noise rock sextet Billy Ray Osiris. This relatively new and very exciting band is as close as you can get to a Scottish “supergroup” being made up of members of Black International, Shudder, In Wrecks, A Fight You Can’t Win, Thin Privilege and Hunt/Gather. Having seen Billy Ray Osiris only once before I knew what to expect. Basically, noise. Lots of noise and lots of improvisation.  With 4 guitarists, 1 bass player and 1 drummer you can only expect a big pile of noise, and this was indeed the case. We were treated to roughly 20 minutes of loud, noisy, experimental rock. With the use of lots of guitar effects, feedback, changing of guitar tunes mid-song and back again, and some spectacular drumming it was a jaw dropping pile of delightful noise. Billy Ray Osiris re-defines noise rock and you should go and see them live if you have the chance!

Billy Ray Osiris

Next up were local Edinburgh band Your Loyal Subjects, a band which was completely new to me. And after the first song I already knew I had discovered another great Edinburgh band! This 3-piece describes themselves as “afro-punk + sound-fuck = Dougstep”. It was indeed very punky and noisy, touching upon math-rock, grunge, heavy indie-rock and afrobeat. Well, mainly Kirsty McConnell’s very rhythmic drumming made me think of that last genre, as she played with the most complex rhythms creating very dance-able drum parts. On top of this piles of weird and awesome sounding guitar effects and heavy riffs were added by the two guitarists Doug MacDonald and Benn Smith. They’re one of those bands you don’t even realise until they’re finished their set that there’s no bass player as they simply don’t need one! Again, check them out when you can and keep an eye out for their album they’re currently finishing.

Your Loyal Subjects

Then we were treated to a steaming set by French 3-piece Marvin, who came all the way over from Montpellier in the south of France. Again a bass-less band, but with Emilie’s vintage Korg synthesiser set-up, a bass was absolutely not missed as she threw many heavy synth bass lines in the complex mix of intricate drumming and noisy guitar playing. This band is mainly instrumental and when they do sing they use this synthesiser distorted robot voice creating vocal effect, which was pretty cool. Emilie was a delight to watch as she was dancing behind her synthesisers set-up and jumping from one foot to the other, clearly enjoying the set they were playing. It always pleases me to see happy people on stage. Drummer Greg and guitarist and occasional synthesiser player Fred were pretty damn awesome too. Their set consisted of lots of songs of their new and pretty impressive album Barry. Unfortunately the crowd didn't get the encore they were shouting for as the Edinburgh dreaded live music curfew had been reached. They’re still playing a few dates in the UK, check out their Facebook page for the dates and I'd urge you to go and see them live or at least to check out their latest album. 

Marvin

It was Saturday the 6th of July, and it was one of those rare hot and sweaty days in Edinburgh. We don’t get those days very often here. This could only mean that the night's gig at The Wee Red Bar was going to be even sweatier than usual, especially since Edinburgh loud punk grungers A Fight You Can’t Win were releasing their latest EP. These guys have a tendency to play loud and sweat a lot regardless of the weather.

As I walked through the door local instrumentalists Vasquez were kicking off proceedings with the familiar opening sounds of ‘Noodle Bar’, one of my favourite songs of their EP2 release. This was to be a short but blistering set by Vasquez. ‘Noodle Bar’ got followed by ‘Pete’s Eagle’, ‘POW!’, a new titleless song, 'Tiger Shark’ and the standard set closer ‘Low To Be Heavy’. Sean, Jon and Ciaran always play with huge smiles on their faces, making their blend of complex rhythms, heavy bass and insane guitar playing look very simple, while I can guarantee you it’s far from that! Check out their latest release EP426 as it's must have for any fan of heavy instrumental math-rock.

Next up was Vanilla Gloom who played this gig as part of their first Scottish tour. I was really looking forward seeing this Northern Irish post-punk/alternative 3-piece live ever since I heard and reviewed their debut EP Vexed a couple of months ago. The slightly shy looking Shannon, Megan and Grace played a solid set, which started with the EP track ‘Vultures’. This got followed by the non-EP track 'Spinsters', which nicely flew into the other 2 EP tracks 'Wolves' and 'Lemons and Wine'. They finished their set with the two new songs 'What's the Name Jane' and 'Overboard', the latter song showed their heavier potential. I was pleased to hear that their harmonies, one of the strongest points on the EP, worked extremely well live. Special mention to drummer Grace who really was the steam train through the set, banging away with heavy hits and complex fills. The new songs sounded very good and I am really looking forward hearing more recorded material in the near future by Vanilla Gloom.

Next up, the headliners: A Fight You Can’t Win. Some of you might know that I used to play drums in this band last year. So, tonight they're releasing their latest EP (the self-titled EP which we reviewed recently) with the new line up (Robbie on bass and Stewart on drums). I was looking forward to this gig a lot as AFYCW will always have a special place in my heart. AFYCW wouldn’t be AFYCW if they wouldn’t enter the stage with a bit of added theatre, changing the stage around with added stage props- boxes back-lit in different colours with silhouettes of rats and things. They daringly kicked off with a new track called ‘52hz Whale’, followed by old crowd favourite ‘Glue’ and last year’s single ‘Shout First / Last Words’ and new single taken of the new EP called ‘Burning Sky’. After a couple of more songs off the new EP, the now substantially bigger crowd got treated to the unexpected Destiny’s Child cover ‘Bills, Bills, Bills’. No other band than AFYCW could take this on board and give it their own spin with a brilliant result. A couple of more songs later, and after some adjustments to the drumkit to solve the "moving drumkit syndrome" (Sean from Vasquez decided to have a beer sitting in front of the bass drum), including an encore of one of the oldest songs in their set, ‘These Dark Treats’, it was all done and dusted. In the end AFYCW played an amazing tight and loud set containing 12 songs of old and new material and sweat was, as expected, dripping everywhere by the time they were finished. Matthew, Lesley, Robbie and Stewart, I salute you!

I know I am extremely biased, but A Fight You Can’t Win is a band that you need to see live if you can. They always play a very dynamic and energetic set, and they always work extremely hard giving everything they have. The new EP is their best release to date as well, so grab yourself a copy if you can.  You can buy a limited edition CD through here or grab yourself a “name your price” digital copy, though this option is only available for the coming week. It would be nice if you throw these lovely boys and girl some cash though.

Ps. You’ll be a fool if you don’t explore the extremely talented Vasquez and Vanilla Gloom as well.

Credits: Pictures by Will Arbuckle.

Video of the launch by Bruce Cowie:

While 177,000 gathered in Glastonbury over the weekend a slightly more moderate crowd of under a thousand gathered in the west end of Glasgow for The Wee Chill - a one day festival set across two stages of the impressive SWG3 arts venue. It was the event’s 10th birthday and as such, the bill was impressive.

Early comers were treated to sets from up and coming acts such as Clair Tierney, Sarah Hayes, Daniel Meade, Grant Campbell and Pride.

Unfortunately, as they plied their musical trade, I was hot footing across the city in an attempt to get something to eat, meet my friend, and get there as soon as possible.

We arrived in time for The People, who were playing in the larger Factory stage, their brand of country erring closer to traditional than alternative. The harmonies on the band were impressive and they excelled when they upped the volume on the electric guitars and went for it. Ones to watch, for sure.

Next up was a trip downstairs to the tiny Poetry Club where the hotly tipped Fake Major were proving popular enough that the venue was completely crammed full. The band sounded more confident than the last time I saw them (supporting Quickbeam at Govanhill Baths) but this may be due to the venue size, and a far superior sound.

The band’s indie-folk is upbeat and memorable, with Richard Ferguson and David McGintity having an uncanny ability to write a great pop hook into every song, typified by the awesome Little Researcher.

As any festival goer will tell you, clashes are the most frustrating aspect of any event and even on something as small scale as The Wee Chill, something had to give. It did add an element of pleasure to the occasion though as people poured over pictures they’d taken of the set-times and decided who to see. For me, there was only one way to go next - sorry Roddy Hart, but a rare spoken word set from Aidan Moffat is not be missed. Kicking off by reading a negative review of his spoken word album ‘I Can Hear Your Heart,’ he continued with a mainly comical set of short poems and reworked Arab Strap lyrics. The packed crowd laughed along as if it was a stand up gig, and there was universal praise for the one sung piece of the night - a lament on his heterosexuality preventing him from fucking some of Hollywood’s leading men.

The next decision was trickier, but while Malcolm Middleton took to the stage in the Poetry Club, I took myself back to the Factory for James Yorkston and Sparrow and the Workshop’s debut collaborative set. Having released one of my favourite albums of the year in Murderopolis, the latter are on spanking form right now, and by teaming up with Yorkston - a key player in the Fence Collective - hopes were high.

Yorkston played bass throughout, something he joked he hadn’t done in 15 years, and formed a sold partnership with Sparrow’s drummer Gregor Donaldson. A violinist completed the quarter, who embarked on a set featuring a number of new collaborative songs, a killer performance of Sparrow’s darkly haunting ‘Valley of Death’ and a couple of covers - spectacular versions of Erasure’s ‘Respect’ and Donna Summer’s ‘I Feel Love’, both slowed down, rearranged and oozing with sultriness.

For a collaboration claiming not much rehearsal time the band was tight, the rhythm section backing Jill O’Sullivan’s guitar, leaving the violin to add depth in just the right places. And for a man used to playing acoustic sets, Yorkston was comfortable, confident and thoroughly enjoying being plugged in and playing loud.

Live, Sparrow vocalist Jill O’Sullivan’s voice is every bit as impressive as it sounds on record; it has a velvet-coated country exquisiteness to it and she contrasted with Yorkston’s soft Scottish lilt to provide harmonies with a genuine punch.

It was a knee-weakening performance, loud and fast enough to show that folk can rock when it wants to. If there’s an album on the horizon, I hope it hurries up.

I could happily have gone home at that point, but it was time to squeeze back into The Poetry Club for Miaoux Miaoux. Good move. It was the highlight of day. An electric set formed from last year’s Light of the North album. The room, packed all day, was bursting at the sides as the crowd jostled for dancing position. The atmosphere peaked during a heavy version of ‘Stop the Clocks’ and didn’t let up until the crowd, dripped with sweat, began to move out.

Some went home, but most headed back upstairs to see factory headliners Three Blind Wolves round the night off with an electrifying set. The Glaswegian four-piece, who play a style of bluesy-rock more commonly found on the other side of the Atlantic, owned the stage. It was loud, it was frantic and it was a strong end to the days.

Overall the event was a huge success, the line-up showing just how strong the Glasgow music scene is at the moment. The two-stage format worked well though putting the hugely popular Malcolm Middleton in the smaller venue seemed a strange decision. That one tiny little mark off, The Wee Chill was the best day Glasgow’s seen this year - and The Stone Roses played the city a fortnight ago.

Autoheart are releasing their debut album Punch on the 15 of July, so last night, at a small bar in North London, they played an acoustic set by way of a taster of what’s the come. I’m lucky enough to have heard the album through reviewing it for this very website, but I’ll try not to be the kind of person who uses his blagging skills for ill...

First up we had a singer/songwriter type who introduced herself simply as Sabrina. As far as I could tell she wasn’t a teenage witch, BUT SHE CERTAINLY WAS BEWITCHING. Or something. Sabrina was a breathy chanteuse, the likes of which John Lewis’ advertising department have on speed dial come their inevitable christmas campaign. She was perfectly enjoyable to begin with, but soon became rather samey, so I checked Twitter. Twitter was going on about a programme called First Date, which I obviously wasn’t watching, so turned it off. Sabrina’s final track rocked like a bastard though, which was nice. It was a bit Bonnie Raitt/KT Tunstall. Then she left the stage. She had excellent shoes. If you’re reading this, Sabrina, I’m sorry for thinking you were a bit samey, but my girlfriend loved your shoes.

Then we had Five Minute Pop Promo. I know this was their name, because they told us whenever they could. It was clear that they knew most of the audience, so this was a part of their banter. I rather liked these lads. They played guitars with gusto, while sitting down with pints of beer to hand, singing in harmony and stuff. At first I thought they sounded like Gomez, but folksier, then I realised that they were basically The Folksmen from the excellent Christopher Guest film, A Mighty Wind. If you’ve not seen A Mighty Wind then you need to try harder to watch good films. Anyway FMPP told us that they’ll be on 6 Music at 2am on Monday, if you’re interested.

And so Autoheart came to the stage, and I had to stand up because the room was heaving. It’s no secret that I love these guys, and have done for the past four years since I first heard ‘Sailor Song’, but I’ve not yet managed to see them live. Given that it was to be an acoustic set rather than a full electric one, I didn’t know what to expect, but was utterly blown away. Autoheart are a band who know what they’re doing. They’re damn fine musicians who know their music inside out. They played the five singles they’ve already released from the album that has yet to be released, then they played a handful of album tracks, and a new one that has left me excited for what they’ve got lined up.

The most astonishing part of the evening was witnessing Jody’s voice firsthand. Listening to the album, you’re not 100% certain that there isn’t a bit of production work going on, seeing them live there’s no doubt that it’s all real. And it’s all effortless. Just incredible.

The only real complaint I have of the evening is the amount of people who talked through the WHOLE FUCKING THING. But that’s hardly the fault of the band, and a subject for another rant. I’d have been entirely justified in murdering every one of the offenders in increasingly macabre ways though.

On planning my journey to the gig I discover that the Northern Line is closed; the nearest Tube Station is not accessible. Maybe I should leave it? Its gonna cost £22.50 to get in from Rochester, now involves transport complications and Houdini have pulled out, replaced by a band (Yokozuna) I've not heard before. I've seen Frau Pouch and Bear Vs Manero many times and both are playing gigs near to where I live (Rochester) in the next month...But I go; in the train on the way back I feel like I've been electrocuted, enlivened and inspired. It was more than worth it.

The venue is an "intimate" cellar which is thankfully full and we encircle the bands on their modestly elevated stage. Frau Pouch kick things off unleashing their unique brand of post-punk. Their instantly catchy songs - short, tight and fast - are delivered with a deference and wit that obscures the ludicrously depraved lyrical content. Those unfamiliar with the songs will have bounced to tunes about orgies with mythical beasts, a man cursed with a foetus for a penis, and Godzilla's sexual encounter with a building (while occupied). Various allusions to cult films, comedians and alien creatures pepper their repertoire giving their staccato tunes real depth. New songs like 'Space Chicken', 'Aqueducts' and 'Podling Party' are insanely appealing and soon to be released on their forthcoming EP 'All Hail Space Chicken'.

Bear Vs Manero somehow manage to maintain the standard laid down and bestride the tiny stage with an intoxicating mixture of menace and parody. They contort, howl and flail while delivering chugging, bass-heavy riffs that support Toms' sharp tongued lyrical tirade. They become more physically discordant as the set progresses and Toms and Bevan (bassist) push into the mesmerised crowd. They end their set with a medley of 'Discodia' and the new 'Fluoride Frustration Face' which transfixes with a shearing mixture of raw power and listless abandon. Bevan falls to his knees on the beer-soaked floor amidst the audience, Toms howls as he hangs from the ceiling, Luke slashes at his guitar and Daz smashes his drums; I feel I'm about to commune with the other as the sensory orgasm builds and finally, as the contours of "the truth" are revealed, its ends. The bass guitar is flung contemptuously backwards and bodies collapse like loosed minarets.

Outside talking to BvM its difficult to convey to them how good they sounded; I saw Mudhoney play in London a week earlier and good as they were, the intensity levels were poles apart. It's difficult to imagine that Yokozuna can follow this without looking distinctly average; I wonder whether I should go now and leave on a high. Thankfully, due in large part to Joe from Frau Pouch's recommendation, I stay.

Yokozuna are brilliant; they play effortlessly to a searingly high intensity. The underlying distorted bass carries Chris's layered subtle melodies while the drums strafe unflinchingly. This is certainly loud and heavy but cut with a melodic seam that brings to mind the best of Dinosaur Jnr. They espouse a generally languid air which makes the occasional lapse into white noise and the just manic - as when Phil scatters the crowd with a deranged high-land fling - all the more affecting. 'Spaceship' is particularly brilliant and delivered with a genuine passion; at the end I pick up a (free) copy of their 2010 EP Les Fous Sont Maitres de L'asile. Yokozuna are soul food and yet another reason to be cheerful.

The Northern Line is still closed on the way back, the "fast train" from St Pancras is delayed and the streets of London, and later Rochester, are festooned with people in various states of drunken melodrama. But it's been a great night.

2000trees Festival (11^th-14^th July 2013)

Location: Upcote Farm, Gloucestershire, UK

Price: £72 two day ticket (last 100 early entry permits on sale TOMORROW)

Line-up: Frank Turner, Mystery Jets, And So I Watch You from Afar, Funeral for a Friend, Adebisi Shank, Future of the Left, Dry the River, Maybeshewill, This Town Needs Guns, BATS.

Recommendation: 2000trees is the ultimate small British festival experience. The line-up is lovingly curated by people who really care about the UK music scene and is extremely diverse. The Thursday night features a special bonus Frank Turner solo set alongside Future of the Left but only 100 tickets for that are still available (and they go on sale tomorrow at 7pm so be quick in deciding if you want to go for that option).

2000trees’ new sister festival is ArcTanGent, which we have been banging on about all year (hence why we’ve not included it in this round-up), and you can win tickets for it with us here.

Fell Foot Sound (26^th-28^th July 2013)

Location: Fell Foot Wood, The Lake District, UK

Price: £42.50 weekend ticket

Line-up: Sky Larkin, Thomas Truax, Gum Takes Tooth, Witch Hunt, Bilge Pump, Hey Sholay, Ikestra, Bearfoot Beware, Super Luxury, Cowtown.

Recommendation: A big selling point of Fell Foot Sound is its location, in woods overlooking the beautiful Lake Windermere. This is put on by the same people behind the British Wildlife events in Leeds so there’s a nice selection of noisy rock acts on the bill, plus a selection of great local ale and food.

Off Festival (2^nd-4^th August 2013)

Location: Dolina Trzech Stawow, Katowice, Poland

Price: £40 weekend ticket (camping costs extra)

Line-up: Godspeed You! Black Emperor, My Bloody Valentine, The Smashing Pumpkins, The Walkmen, Deerhunter, Japandroids, KTL, The Haxan Cloak, Chelsea Wolfe, Julia Holter.

Recommendation: This is one of the best festival line-ups I have seen in many a year. Real diversity, from big alt-rock names to obscure drone and jazz via almost anything else you could imagine. Tickets are dirt cheap considering the amount of music that’s going on, and beer and food is cheap too. The downside is that accommodation and travel costs are more expensive at this late stage, but that’s par for the course, and it could still be done on a smaller budget than most medium to large UK festivals.

Supernormal Festival (9^th-11^th August 2013)

Location: Braziers Park, Oxfordshire, UK

Price: £75 weekend ticket

Line-up: Clinic, Shit and Shine, Mugstar, Shield Your Eyes, Richard Dawson, The Physics House Band, Hookworms, Michael Chapman, Coma Wall, Bass Clef.

Recommendation: This extremely independent Oxfordshire based festival is full of all sorts of weird psych acts, ranging from those on the poppier side of the spectrum to those at the polar opposite. This is an acquired taste, perhaps, musically but it’s one of the most forward-thinking and intriguing festivals out there and everything is very reasonably priced as well.

Beacons Festival (16^th-18^th August 2013)

Location: Heslaker Farm, Skipton, UK

Price: £99.50 weekend ticket

Line-up: Bonobo, Django Django, Local Natives, Gold Panda, John Talabot, Wire, Fucked Up, Savages, Uncle Acid & The Deadbeats, Department M.  

Recommendation: A slightly more mainstream festival than some of the others here, as names like Bonobo and Django Django prove, but there are some great hidden gems in this line-up (especially on the electronic side of things). There’s an impressive variety of acts and the festival has been building up a fine reputation over recent years so, if you want a line-up with some bigger names included, and aren’t tempted by 2000trees then this might be the one for you.

Incubate Festival (16^th-22^nd September 2013)

Location: Various Venues, Tilburg, Netherlands

Price: £68 for the week (camping costs extra and is only available Friday to Sunday)

Line-up: Built to Spill, Immortal, Mayhem, DOOM, Wolf Eyes, Tim Hecker, Shonen Knife, Bersarin Quartett, Public Service Broadcasting, Teeth of the Sea.

Recommendation: This is heavy duty stuff. An immensely exciting diverse line-up is on offer from Incubate this year, meaning that anyone with even a passing interest in underground music would struggle not to find plenty to see. The event takes place over a week but, unless your pockets are particularly deep it is advised that one aims just to pop over for the weekend. There’s an extraordinary array of non-musical attractions still to be revealed as well A £68 pass is still enormously good value and there’s a vibrant couchsurfing community in the city if you want to avoid lugging a tent over.

Two Honourable Mentions

Truck Festival (19^th-20^th July 2013): the Oxford based festival stalwart has a slightly dull set of mainstream headline acts included this year, but then there are also sets from the likes of Bo Ningen, Rolo Tomassi and Tall Ships (plus an appearance by Rumour Cubes, featuring our very own Hannah Morgan, as guests of Get Cape on the main stage). If the aforementioned bigger names appeal to you then this is likely more than worth a punt.

Woolf Music (17^th-18^th August 2013): this tiny festival in Wiltshire has only 200 tickets available so is very intimate but nonetheless features some intriguing acts, most notably highly rated Bristolians Thought Forms. 

Going to see Samaris was one of those things that happened to me out of the blue - and I’m really grateful it did. Before seeing them live, all I knew about them was a sentence that read ‘You're going to love Samaris if you like Múm, for instance.’ I like Múm for instance! I like a lot of things Icelandic, and to top it all up the event was taking place embarrassingly close to my house, in a venue I was waiting for an opportunity to go to. I simply couldn’t give it a miss!

Servant Jazz Quarters is a tiny little bar tucked away behind Dalston Kingsland station, on one of the side streets around Gillet Square. There’s no name anywhere to indicate you made it to the right place, only the number 10A on the door and a bit of glam railing leading inside. The second I entered, I got randomly asked whether I was from One Little Indian’s guest list. I then proceeded to take a strategic position downstairs, next to the stage, at a table already occupied by a fellow reviewer equipped with a camera and a notepad. All the photographers started to gather around and eye each other suspiciously. The stage was sunk in pink and blue light (a photographer’s nightmare I may add), with only a table full of Apple gear waiting in the middle. Then Þórður Kári Steinþórsson (electronics), Áslaug Rún Magnúsdóttir (clarinet) and Jófríður Ákadóttir’s (vocals) walked in and the magic started...

The sound that they make can simply be summarised ‘the best of what came from the Nordic music scene’ - because they definitely take inspiration not only from their native Múm, Sigur Rós and Björk, but also The Knife and Fever Ray. It has to be said though that inspiration is as far as they go - they already managed to develop a niche of their own. Jófríður’s voice is distinctive and her stage presence - a mix of ethereal beauty and slightly awkward but charming dance moves - is simply enchanting. Áslaug brings the signature, sophisticated clarinet tones, and when Þórður drops a beat - he really drops it. I think the electronics is where Samaris gains the most during live performances - their glacial electronica is very appealing when you listen to it at home, but live the beat gets straight to your heart and in case of ‘Sólhvörf II’, my personal favourite, it envelops, adding an extra dimension to the song’s soundscape. What really impressed me as well was the fact that they’re not only proud of the their friends’ contributions to their songs, but they also play their own songs in remixed versions - they finished the set with ‘Stofnar falla (Subminimal rmx)’ and left the audience bouncing to some drum and bass. That only proves that they’re not afraid to experiment with their own sound and are happy to adopt others’ remixes as their own.

Seeing Samaris live made me really appreciate the concept they developed behind the band - and they emphasise it in every possible way. They wear matching, yet customised outfits - Áslaug wore a fluorescent blue dress and stood in blue light, Jófríður wore a pink version of that dress and stood in pink light, they also wore complimenting silver eye make up. Þórður, with his gear placed in between them, wore a jacket with a mixed colour pattern and was sunk in both streams of light. It’s this attention to detail that makes you realise they really have the band’s identity strongly figured out. When you think of the music they make, especially considering the contemporary electronic influences, you probably wouldn’t guess they take their lyrics from nineteenth century Icelandic poetry. When you add to it that they are still in their teens - I’m simply left with my jaw dropped, eagerly anticipating whatever they produce next.

Before they ended their set, Samaris performed ‘Góða tungl’, their current single with lyrics translated from a German poem. The atmosphere of the song is truly captivating and the lyrics, along with the ear catching melody managed to stay with me and make me want to come back and listen some more. With their debut album in the pipeline and a performance at Sonar in Barcelona behind them - in a few months time I’ll be feeling very lucky I managed to see them with less than 80 people in the room. The days of Samaris playing in tiny venues are counted.