Review: Eurockeennes 2010 - Day Two

After a long day at the campsite avoiding the mid-30s sun with the odd beer but the campervan fridge is broken, the gates open on Day Two and Broken Social Scene kick things off. 'How was Jay Z?' asks Kevin Drew and the small crowd cheers. 'How was Missy Elliott?' 'Booooo.' He's taken back. Songs from new and old mingle through the collective's set like 'Texaco Bitches' (new) and the brilliant '7/4 Shoreline' (old) that leaves me hanging for those punchy horns through swooning vocals over riffing indie guitars.
Mixed in with the hip hop, rock and dance is almost equal amounts of world music and experimental to check out. Omar Souleyman is Arabic electro, with a young guy on keyboards and what might be his dad, in the full sheik style: headdress, aviator shades and Tom Selleck 'tache. The tunes are cool, if not cheesy, with enough pop and bass to make you wanna try partying in Syria for a night.

Airbourne are loved in Europe. I feel there's a tongue firmly in cheek with their AC/DC-lite schtick that they themselves may not be aware of it. Marshall stacks, at ten by two, cover the main stage. In their scuzzy white NB trainers, black jeans and no shirts, they lap the stage with their cordless guitars as the French audience lap them up like Angus Young never existed and after every song he screeches a loud, high pitched 'Merci'! like Bon Scot screeched 'THANK YOU!'. Liz is fairly certain she hears singer Joel O'Keeffe rhyme the lines 'Chewin' the fat' with 'Havin' a chat'. Matt and I try to get involved; devil signs, head bangs - Matt even rips off his press-stud shirt whipping it to the ground in a frenzy but it's all a bit too contrived - then again so is the music. Down on the beach Radio Radio mix English and French for frivolous uptempo party hip hop. It's the perfect stage and time for them. They get their crowd going but it's not too riveting.

Having recently seen (and enjoyed) Memory Tapes, foremost exponents of blog-genre-of-the-month 'glo-fi' (though some blogs are calling it 'chill-wave'), I opt for the always entertaining Specials with Rhys. Thirty years of ska (give or take) draws a large afternoon crowd ready for a sunny summer skank. Classics like 'Message to You Rudy', 'Ghost Town' and 'Too Much Too Young' are obvious hits with the crowd, all delivered by a deadpan Terry Hall.

It's during The Specials a political movement takes hold. Sponge Bob Square Pants helium-filled balloons had already been released from their strings which prompts a revolution over the festival. Chants circulate through the festival to Libere Bob l'éponge ('Liberate Sponge Bob Square Pants') when someone is caught with a Bob on a string. Sporadic releases saw Bob, Patrick and sometimes even Dora, explore the world beyond Eurockeennes. During The Specials numerous balloons rise and spin with a mesmerising rotation. Patrick particularly, off kilter with his wide bum and arm out waving, he danced into the stratosphere serenely. It was real life American Beauty shit. Vive l'éponge!From the UK, The XX's brooding, down-tempo trip hop has been well received over the last 18 months through rigorous European touring. It's paid off, they've got the word out with a large crowd amassing under the Big Top. Opening with favourite 'Islands', they move through 'Shelter' 'VCR' and 'Crystalised'. Never too jovial or hyperactive on stage, their music is reflected their solemn live personas. As a result Romy Madley Croft and Oliver Sim come off kind of humble but also kind of pretentious - Sim shows his appreciation through Gere-esque, hand-clasped Buddhist bows.

Though I'd been expecting to see The Hives who are headlining the main stage we all decide to take up Liz's suggestion and see new R n B artist Jonelle Monae. On the beach stage with a storm brewing overhead, lightning in the clouds are putting on a threatening show. But Monae won't be upstaged. A protégé of Outkast's Andre 3000, she's crazy, sexy, cool. Elements of all the best who've come before her are incorporated into the Monae package. With costume changes and art-diva sensibility of Grace Jones, she rampages the stage with river deep soul like Tina Turner and when she slows it, she hits every note, elevating to the next, all the while keeping it in the bounds of a singular artist.

Two dancers, hooded and masked like an Eyes Wide Shut scene accompany Monae, as does a top-hatted ringleader. 'Cold War' is upbeat like Gnarls Barkley's 'Run (I'm a natural disaster)' as she shadow boxes through the dry ice while the loungy other-timely 'Locked Inside' provokes an impromptu finger clicking and backing singer styled shimmy from us. 'Tightrope' (which on record features Big Boi), brings that Motown jive via Andre 3000's production filter and the wet sand dance floor is stirred up and churned over. The raw punkabilly strut of 'Come Alive (War of the Roses)' summons the lightning and thunder cracking overhead and the sky opens up on us as the voice from the diminutive body creeps from whispers to boisterous rock wails that could rival Airbourne's squeels. Her quiff comes undone as she shakes loose, all the while her band are tight time keepers.

The guitarist's hair, like a black Johnny Ramone hangs down in his face and his swagger and swing, it seems familiar. I don’t know how much of the audience caught on, but certainly once we clue in that that is Andre himself, he holds our attention almost as well as the beautiful and captivating Monae. He's electrifying on guitar, somewhere between Chuck Berry and Prince.

Nevertheless Monae is the star and shines she does, through smoke and lasers, on the beach under a storm about to break, she summons the lightning and the thunder with this high energy soul. We're blown away - the kids didn't stand a chance. Though Afrodizz and Vitalic are still ahead we call it a night ending on a great note - weary from another hot, thirsty day of beers and great music.
Read Day One

Review: Eurockeennes 2010 - Day One

Day errr Zero?
The four of us, Amanda, Grant, Liz and myself, arrive at the Eurockeennes campgrounds before most campervans. Five minutes later through the gates walks Rhys. Thirty minutes later we've caught up with Matt and Jenny who've arrived by bike… the gang's all here.

We fire up the BBQ and a pop champagne bottle sized Leffe Blondes we picked up on our way through Belgium's Ardennes. Musically, the long weekend opens with the pre-festival skittish rumblings of dubstep's Gaslamp Killer. Warped by name and record label the Killer jilts and jolts behind the decks. He's followed by some tropical group not as impressive.

Day One

The first act on stage, under the big top, was the aging thrash-punk godfathers Suicidal Tendencies with Pyscho Mike-O out front. Catching only their last song, the entire stage was full of die-hard fans in blue bandanas and Suicidal shirts chanting 'S.T' over and over again. Most would avoid Jay Z later that night for the band's hard funk alter-egos, Infectious Grooves a show that reportedly carried high energy jams.

A friend had suggested we see Baroness who are on the small but powerful Laggia Scene. Powerful yes, but I honestly can't remember them now… other than they were pretty bad.

The jagged and off-kilter rock of The Dead Weather holds the agitated tension of RATM and the scorched soul of the blues wrapped up in greasy garage rock. Allison stalks the stage in her leopard print shirt, slick black jeans and a mane of hair like a predatory cat. Cigarette and tamborine shake through her hand. She occasionally slinks on to an amp allowing Jack pride and place off the kit and on the mic - they're a savage pairing. The best cuts come from 'Treat Me Like Your Mother', 'Cut Like A Buffalo', and 'So Far From Your Weapon' and 'Gasoline'.

In the big top the Black Keys duo, Dan and Patrick fail to disappoint and keep me engaged even after seeing them just three days before at Amsterdam's Paradiso. Heavy soul and swaggering blues builds the audience into a hot fever.

On the Plage or beach stage, with sand under our feet yet sadly the lake cordoned off from swimming despite the heat, Two Door Cinema Club have their fellow Frenchmen and women enjoying the indie-pop. It's not particularly challenging or innovative, in fact it's all pretty derivative but offers harmless fun in the sun with crowd participation.

Kasabian, I thought might hold my interest but their ballsy Brit rock can't do it like it has in the past. Nevertheless them shouting 'Merci-Fucken-Beaucoup!' as English as possible is worth the visit anyway.

Afterwards we head for Foals back at the Plage as they fling into their set. Standouts for me come more from the mathiness of Antidotes rather than this year's mellower Total Life Forever. Sand flies from my thongs (flip flops, people) for 'Cassius' and 'Balloons' but the heat is heavy and I've gotta re-hydrate for Jigga, so I take a seat on the cooling sand.

To use Jay Z's quote from 'Izzo (H.O.V.A)' back at the man himself, 'You could have been anywhere in the world tonight and you're are here with me - I appreciate that.' A filled amphitheatre in front of the main stage and a sea of Diamonds (terribly confusing if that's your sign in a crowd to find your friends like it is ours') shows appreciation for the 'greatest rapper alive'. His 'Naïve' (Evian) T shirt nods to his French audience with a playfulness. He seems genuine, having a great time and appreciating us too without a sense of egotism. With a big band and fellow MC Memphis Bleek behind him he swings through modern classics 'Hard Knock Life', '99 Problems,' 'Izzo,' 'Numb/Encore', 'Dirt off Your Shoulder' as well as the recent Blueprint 3 'Death of Autotune' and 'New York State of Mind.' Hell, the whole thing is amazing. The Roc is most definitely in the building tonight and conscious of how to work a crowd.

Hot Chip are the first real dance act for the festival and is our leap from hip hop to electro… Crowd favourite 'Over and Over' along with 'One Pure Thought' and the epic rave of new track 'I Feel Better' gets the big top firing on all lazers. Love that kettle-drum too. Similarly to the Black Keys, I've see Hot Chip recently but it only heightens the fun, knowing how great these new songs are live.

Missy Elliott, unlike Jay Z, is not in the building - or so it seems. Delays of some sort hamper her appearance on stage for a 2am timeslot, making a tired audience grow further weary. When she appears with black light dancers there's definite promise however a quick medley skims over a couple of her best songs including 'Gossip Folks'. Will she return to them in full? She's wanting everything turned up but the speakers are crackling. She sings a song, but fuck me, is she miming? She spends nearly ten minutes without music trying to hype a crowd who want hip hop to energise them rather than forced 'wassup' diatribe and a barrage of diva posturing. Then she walks off stage leaving the DJ to play Black Eyed Peas' 'I Got A Feeling'. Seriously. However, the young audience eager for MTV are stoked - finally some music at least. That's it for Liz and I though. We turn and walk. BEP is mixed into Nelly or something which gives way for a Missy track eventually, but she's not on stage. Her dude MC is rapping her parts. Where is she? Fuck knows. From a distance, leaving for bed, we note she's returned. Meh.

Read Day Two

Surfer Blood interview by my mate Olly

Miami band Surfer Blood conjure those great slacker moments of the 90s, the likes of Weezer, The Pixies and Pavement.
Astro Coast is a joyous trip back to my youth with distorted three-chord pop, carrying echoey, dreamy vocal harmonies of The Beach Boys.

I recently saw them play directly across the road from my house at Bitterzoet and they were every bit brilliant. If you're reading this in Australia catch them at Splendour in the Grass along side The Pixies, the Strokes and LCD Soundsystem to name but a few. They'll also play a side show at Sydney's Manning Bar for those not heading north.

I used to have a radio show way back when on Byron Bay's Bay FM with Al Crombie and Olly McElligott. Olly is still on Bay FM and he interviewed Thomas from Surfer Blood. The interview goes for about 15 minutes so boil the jug, sit back and listen to both Olly and Surfer Blood's dulcet radio tones.


Surfer Blood Interview For Bay FM by Oliver McElligott by Olylama

Review: The Black Keys at Amsterdam's Paradiso

The hottest day of the year so far, a Dutch win against Slovakia in the World Cup and five hours of celebratory drinking bred a thirsty, sweaty fever for The Black Keys' heavy blues, that thickfreakness if you will, the Akron Ohio duo are known for.

And sure enough, Dan and Patrick appease the masses opening with just that, 'Thickfreakness'. The brick-house riffing and hard drumming of the early single stirs the sold out old church and the crowd heaves. Hot.

Patrick drives down on the simple kit, his face twitching and coursing through a range of expressions; slightly rock, slightly mental. Dan's rolling guitar picking, while technical, carries more flow and when he jams out, bent over the guitar he seems to have this headbang-on-slo-mo style where his hair defies gravity and his back curls hard.

It's sexy voodoo blues, writhing with the burdened spirit of Robert Johnson, tales of wrong doings and love gone foul. From Attack Release, 'Strange Times' creeps with a lurk, sprawling the Keys' music beyond their original sound to something more multidimensional, aided initially on record by producer Danger Mouse.

Rolling down the line, as if the sound they punch out isn't enough, the two are accompanied on stage by a bass player and keyboardist. The bass rumbles past Auerbach's guitar - which wouldn't normally need support - and throughout the overflowing hall. Likewise the organ grinds out a psychedelic path of its own, adding to that wall of voodoo. If it wasn't before, it's scorching now.

New tunes play equal favourites to old, with a succession from Brothers. Opener, 'Everlasting Night' chugs along with Auerbach's falsetto before the personal redemption and kiss off of 'Next Girl' and the glam stomp of the Dr Who-esque 'Howling For You' as we all sing 'dada-da-da-da, dada-da-da-da'.

With more axes then an angry dwarf convention, Dan chops and changes with every song, all immaculate with new tones and a whole lotta richness, continuing through the soul of Brothers' 'I'm Not The One' and Magic Potion's 'Your Touch' and finishing the set with raw, creeping roll of 'I Got Mine' from Attack Release.

An uproarious crowd laid it on thick for an encore, from the stage front to the third tier rungs. 'So She Won't Break' burns to a slow heat. The Black Keys are an amazing live band who harness unbridled rock, while keeping it wild - no more evident than on 'Set You Free', their closer for the night, where wrangling guitar licks and whipping drum rolls are cut through by Dan's soulful voice and heavy groove.

We spill out of the old church and onto the street to an unfamiliar yet comforting warm night in Holland that feels more like a steamy evening in the deep south after midnight mass. Thank heavens for the Black Keys.

Warm Heart of Africa: the alternative World Cup podcast

To write 'Recently I've been digging music from Mali' feels so pretentious and old... 'Watch out, he's exploring world music.' Dude must be getting deep into his 30s and frustrated with his diet of white-guy indie rock like Wilco, The Hold Steady and TV on the Radio.

But what with everyone else cashing in on the World Cup, why can't I? If a Colombian can make a theme for Africa then I will too. So to get Shakira's kaka cover of a Fozzy Bear tune (get it - 'waka waka') out of your head and stop the swarming hum of the Vuvuzela, listen to my Warm Heart of Africa podcast. Warm heart of africa by colinrdelaney

Track listing
1. The jagged Sahara desert blues of Tinariwen is heady psychedelia. I caught the nomads at the Paradiso last year and it was worth skipping out of a Yo La Tengo show and crossing town for. More recently they appeared at the World Cup opening ceremony. Wikipedia has it that leader Ibrahim Ag Alhabib made his own guitar out of a tin can, a stick and a bicycle brake wire not long after seeing his father killed in the 1963 Mali uprising. This tune is 'Ahimana' from 2007's Aman Iman.

2. From Damon Albarn's 2002 Mali Music project that featured Afel Bocoum, Toumani Diabaté & their mates, 'Le Hogon' is a more chilled affair, a laissez faire jam session in the dusty sunset of numerous towns throughout Mali that Albarn and friends visited.

3. If there were a God and he had a voice it would be Ladysmith Black Mambazo belting out the South African style of a cappella, called Isicathamiya, across the clouds. They're teamed here famously with Paul Simon from his album Graceland. 'Diamonds on the Soles of her Shoes', an African expression similar to 'filthy rich', opens with Ladysmith's mesmerising harmonies, followed by Simon's idiosyncratic lyricism to weave a beautiful two-worlds tale like a global version of Billy Joel's 'Uptown Girl'. And when the horns kick and the bass pops to make you move, man, it's magic.

4. Vampire Weekend seemed like an obvious choice to mix with Simon, having appropriated and modernised from him generously. 'Horchata' has only grown on me since adding this song - the heavy drums coupled with the unflappable glockenspiel (possibly xylophone?) feels like the two sides of Africa, the hard and the playful.

5. On their opening track 'Suprise Hotel' of the self-titled album, Los Angeles' Fool's Gold play a similar jangly indie mixed with twangy guitar and Afrobeat but couple it with gutteral Hebrew lyrics over top - a delicious melting pot of rock. (Followed on their album by 'Nadine' which brings elements of Tinawiren's staccato desert groove - the whole album is great value. They're touring Europe this summer).

6. 'Tonight's Today' hand claps, chants and choir feels like Jack Penate has matured since rambunctious 'Torn on the Platform'. I'm surprised I haven't heard the vibrant live-in-the-moment, party song in the BBC's wrap-up package from Match of the Day, but then maybe they're waiting for England to actually win. ZING!

7. On The Clash's 1980 record Sandanista they tried pretty much every genre, for the most part succeeding. 'Let's Go Crazy' keeps Penate's London party thriving with the Afro-cuban rhythms, kettle drums, the whistles and Joe's dare - 'So you wanna go crazy'. The guy at the beginning I imagine is at the Notting Hill Carnival but could well be speaking about the World Cup Carnival. He gets his chance at the end of the podcast too.

8. Possibly the hardest band name to search for online, The Very Best from London/Sweden/Africa, lend their song to the podcast name 'Warm Heart of Africa'. Ezra of Vampire Weekend collabs here on vocals for what could be the coach's song of the World Cup - 'When the boys move fast, you should take it slow, We all need someone to tell us when to go.' The choir harmonies and infectious rhythm definitely sum up the warm heart of African music, feel good hit of the summer.

9. I first saw Mali's Amaduo and Mariam supporting Blur in Hyde Park last year. They are an amazing married blind couple (in music and life) who blew the crowd away with up tempo Afrobeat syncopation, funk rhythms and shredding surf/garage guitar, shredding since the 80s too. As 'the original east coast/west coast collaboration' they're joined by Senegalese rapper K'naan on 'Africa', a simple love song to the continent.

10. From the Australian radio station, Triple J's Unearthed initiative is Jinja Safari out of Sydney. 'Peter Pan', with an Indian zitar up front and a Afro-back-beat is an ethereal trip, like Ravi Shankar and the Beta Band on an African savannah safari. I look forward to hearing more from them.

11. Underneath Jinja Safari, and playing out the podcast is again, Ladysmith Black Mambazo again with the a cappella 'Music Knows No Boundaries'. Haunting and emotive, their collective voice is so affecting.

12. I let our preacher man-come-record & clothes salesman from The Clash's 'Let's Go Crazy' say a few words at the end: 'We don't want no war at the carnival today - all we want is peace, love and happiness.'

It's a shame there are still so many boundaries today. I'm not sure if the World Cup accentuates boundaries and borders or helps to bring them down. Nevertheless it was a thrill to see an unexpected North Korea give Brazil a real run for the football poster-boys' money (let's ignore Portugal and that amazing Ronaldo goal).

Anyway, some analogy about music, sport and the 'level playing field of life'. Enjoy the podcast.

Taylor Hawkins and the Coattail Riders

Failed drummer Colin Delaney spoke to one of the most exciting drummers today, Taylor Hawkins of Foo Fighters, about singing in his new band, playing with Dave and wearing Britney Spears mics.

From: TNT Downunder

The name Taylor Hawkins may not jump at you straight away but if I say the Foo Fighters’ drummer you should be picturing a blonde-haired, wild-limbed drummer that’s always pinching the microphone from Dave Grohl in interviews. Now, he’s grabbed the mic for good with his side project Taylor Hawkins & the Coattail Riders.

You recorded this album quite quickly. Does that make it more fun?

I think a lot of the best music comes quickly. Sometimes if it's been too laboured over it sounds like it’s been laboured over. That’s not always the case. I think there have been a lot of great recordings that took a long time to do, 'cos they were real studio-type things. You know ‘Good Vibrations’ took a real long time to do. Because this is my first album with my own songs I think it’s important to get the quick energy. No point trying to do Sergeant Pepper’s the first time around.

You obviously played drums and sang on the album. I’m a drummer, a poor one, but I am. What is it with drummers wanting all the limelight?

I don’t know if I want the limelight necessarily. I like to write songs to hear what they sound like after they’ve been recorded and played live. I don’t go out front and sing these songs, I’m behind the drum kit whenever we do play live. I’m not looking for more fame, I just like to play and do something creative. I don’t think this album is gunna make me more famous.

You mean we’re not about to see you become the next Tommy Lee and have your ego become bigger than your rock?

No. I think Tommy Lee is a really great rock ‘n’ roll drummer and I think people forget that, because he’s in the media for everything else other than his drumming. There’s no reality shows or sex tapes. I don’t see that in the future.

Did you have to change your aggressive drumming style to accommodate your singing?
Yeah, it changes a bit, otherwise I could never get my head next to a microphone. I tend to flail around a lot. I didn’t know until I saw it when I was a kid. I wasn’t conscious of it, I just love Keith Moon, Tommy Lee and those kind of drummers. Your body does it naturally to get the job done. I enjoy it. I play a little more controlled actually. I think I keep better time when I sing. I don’t know why. You’d know - you’re a drummer.

A drummer who tried to sing and failed.

Give it another shot. I thought I’d have to have one of those awful Britney Spears-type headset mics. I tried a couple but they just felt so stupid and they never worked so I said fuck it and used a mic stand.

Was it intimidating when you first started with the Foo Fighters to have Dave Grohl looking over your shoulder?
He's actually been very much ‘do your thing’, especially live, as long as I’m staying true to the thing. They’re pretty crafted drum-lines, so I always stuck to a programme to a certain degree. I feel like I got more intimidated from what other people would say. Well, he’s really nice, he’s really cool and we’re not that competitive. I think Dave is one of the best drummers ever in rock ‘n’ roll. I can’t be Dave. There’s no way, and I don’t try to be, I just try to be myself. There are definitely elements you pick up from just hanging around, trading licks, maybe he shows me a thing or two here and I show him a thing or two there. Dave was always pretty damn cool and wanted to make sure I felt okay about it. The only pressure was what I put on myself, for the most part. When we get in the studio he pretty much knows what he wants to hear from the get-go. He’s the songwriter and even if you’re not a drummer you’ve got an idea of how it should go. I think John Lennon had an idea in his head when he went to Ringo with ‘Come Together’. You’re a fucken drummer, you know. You’re basically there to support the songwriter.

And what would it take to get you to tour Australia?

Not much, we’re working on it man. We’ll sleep on people’s floors and play the bad bars.



Taylor Hawkins & the Coattail Riders is out now through Inertia.
August 16th, 2007

Phosphorescent in Amsterdam

Matthew Houck and friends, better known as Phosphorescent, are an alt-country/indie-folk/whathaveyou outfit originally from Athens Georgia, a town of great rock pedigree, now residing in Brooklyn. Prolific recording under the Phosphorescent moniker, Houck has cut five records since 2003 including the Willie Nelson tribute album, To Willie that brings to light just how dark the country star could be.

In his own right, Houck's latest, Here's To Taking It Easy is far more upbeat than 2007's equally brilliant, yet more melancholy Pride. Opener 'It's Hard To Be Humble' sets the tone with horns and honky tonk while 'I don't care if there's cursing' carries on that copacetic attitude of the album title - Phosphorescent are here for a good time, not a long time so if the beer runs out, well it ain't worth sticking 'round. 'The Mermaid Parade' is a dreamy slow roll 'n' sway named after the Coney Island festival while 'Heaven, Sittin Down' feels cut from the Willie writing book about a tiring but content life on the road.

However, 'Hej, Me I'm Light' shifts gear as a hypnotic, eerie and atmospheric track with a gospel sound and simple chorus that builds in intensity with mesmerising effect. Meanwhile final track 'Los Angeles' sprawls like the city in sluggish heat with slow heavy steps and slide guitar for a full eight minutes and feels like a modern-day western soundtrack.

In Amsterdam on a press day before returning again for show at Bitterzoet on 6 June, a few cowboy boots converged on scuzzy converse as Matthew and band stopped into the Subbacultcha headquarters. With cocktails in hand and a sun who came to the party occasionally, a small and lucky audience, a few which were cameramen, gathered on the building's rooftop, privy to a performance by Houck. While the rest of the band knocked back mojitos and strawberry dacquiris and chimed in occasional harmonies, Matthew played new tracks 'We'll Be Here Soon', 'The Mermaid Parade' and 'Heaven, Sittin Down' to the city - to the church steeples, canal houses and noisy trams. See 'Mermaid Parade' below (you might even spot my ugly mug) and check out the new album and his great back catalogue.

Subbacultcha! Rooftop Session Phosphorescent from Subbacultcha! on Vimeo.