Articles - Event Reviews

I'm close to The Edge and it seems apparent that U/G 27 is going to start late. A fairly large crowd of young(ish) networkers are getting convivial while Skunk Anansie rap about Selling Jesus. On stage, Fantastic Day are fine tuning their whirling mash of New Romanticism/glamrock/power pop. Three of the band are dressed like Be Bop Deluxe, Simon, the singer, sports a sweater as well. Very New Rom-retro. Only the bassist is in a T-shirt. The weakest part of the set is the vocals, which are very lo-fi. The lugubrious keyboards on "Shooting Star" add a wry elegance while the smoke machines envelop the band and front row. A blonde lady in a pink mini has a wacky little wiggle on the dancefloor before sheepishly sitting down again. As the set progresses, the sound gets more cosmic. The guitars recall Hawkwind live, crossed with some Comsat Angels. The organist is mixing The Charlatans ( U.K.) with some Nektar progrock and echoes of early Ultravox/John Foxx. Pink Mini returns to the floor with her partner Zebra Dress as the guitars go neo-Byrdsian via The Chords/Jags/Fingerprintz. Very early 80's melodorock into a charming, chiming conclusion.

Asian Dub Foundation and Fischerspooner up the politics and electro-tempo as Glitter get ready to rock out. This quintet have an appealing amalgam of early-to-mid 70's influences. Prime time Sweet bang up against Beggar's Banquet Stones. There's also some touches of Thin Lizzy prancing-metal licks, wah-wah solos from The Rattles back catalogue and the slow bassrumble BPM of The Flies or Vanilla Fudge. There's still a problem with the vocals though, but Glitter continue to mix it up. Early Groundhogs rockblues melodies against cascades of notes of shattered glass..Part Roxy Music, part Dr. Phibes. Nick W. and Manek arrive as Glitter end with a final flourish of good old Stones/Iggy/Bowie rock riffage.

Chris B's mix-CD is playing The Darkness and Rammstein as League of Heroes take almost 30 minutes to soundcheck. It pays off as their twin vocal assault is audible.as they promise to "fuck you over for sure". They switch from symphonic Queen-like solos to Spacemen Three droning to Hawkwind spaceboogierock (without Nik Turner's sax). This mutates into early Pink Floyd spaceblues guitar, which  overlaps into clank-n-groan dark metal. This is music to accompany Orson Welles playing King Lear. The spacedub whispervox mutates into screams and grunts. More Orcan howl than Rock and Roll. Other tims, it swoops and twists and pans around the dance floor, eliciting genuine applause form the 30 or so people up close and personal. Clifton, on the door, tells me L of H played about 45 minutes, which is probably a song too long.

Chris has had to leave suddenly, so Manek introduces the final act of U/G 27. "Are you ready to rock? Here's False Alarm". Lillian, an artist, opines that  U/G is "one of the best things here in HK. It's fucking fantastic" I know, I'm having a major meander down Memory Lane tonight.. Again, the vocals aren't forward enough, but False Alarm have a cheeky Canto-Cockney appeal about them. Like The English Beat, or The Only Ones.. Musically, a lot is going on. There are variations on the wah-wah pedal, more spacey-echo guitar. There's reggae breaks, sitar sounds, nagging noodly melodies. Some pogoing post-punks, bouncing around to a buzzsaw refrain. The drummers have all clattered and clashed, pounded their pedals and made a hellacious racket. I've enjoyed tonight. It's like the first time I heard "Badge" by Cream, when Eric Clapton's gorgeous guitar solo took me beyond the confines of the rest of the song.. It's the piano/guitar interplay for the last half of Layla. The guitar freakouts in the middle of "Star Storm" by UFO (1971 version - not the Acid Jazzers) or "Through With You" by The Lemon Pipers. Something wonderful is occurring. Hope to see you 26/5/06 for U/G #28.

Review by Nick L.

Articles - Event Reviews

"Fancy a BLIM?" "Yes, wait, what do you mean?" "DJ BLIM is playing at Les Visages tonight"  I first saw him at HITEC in mid-2003, and I like his style. Gervase Cooke, aka BLIM (Boy Lost In Music), is on his 3rd tour of duty in HK. He comes out of drum-n-bass, played classical piano as a child and loves classic psychedelia, according to the SCMP. Local DJ, Janno, and DJ Hidekick from Japan are the support.

I arrive at LV about 2345. Nick W. has organised entry. As I get upstairs, about 10 people (almost everyone) are glued to the tv. West Ham are 3-2 up against Liverpool in the 2006 F.A. Cup Final. It's the 90th minute and a desparate clearance lands at the feet of Steven Gerrard. He wallops the ball from 30 metres. It's 3-3 and extra time Janno is behind the decks, delivering a Slinky-style prog/trance set There are lots of tinkly melodies at the high range. Some symphonic overlays merge with hints of Goa trance, deep driving bass and rampant drums It's a tussle between the beat and the score as extra time remains goalless (though West Ham hit the post and muff a simple chance). A subliminal voice seems to be murmuring "Use your passion" as Liverpool win the penalty shoot-out 3-1. On the floor, smoke is spewing out like scented soup. It obliterates the floor entirely. No way to tell how few people have arrived. Is there a problem with the advertising? I know, posters have been up in LV for over a month, but how bout elsewhere?

Manek and Nick W. arrive from C Club. I learn that the police have decided that Eating Dog is illegal. They burst in for another "License check" and basically put the "c" into the rap experience. C Club clears quickly. (Does it cost a lot in overtime pay for the police to come save our morals, hearing and education? Surely, a "license check" can be carried out with 2 people in the afternoon? Or, is that too logical?)

Not too many more people coming in here though. BLIM starts quite funkily, slipping in some nu-break beats and lots of synth squiggles and squeals. There's WAY TOO MUCH smoke on the floor.as he layers on some nu-jazzFX and beeps. He's starting to sound like a deranged Spike Jones, doing the Looney Tunes noises for Chuck Jones. An early song I recognise is "Crystal" by New Order. Possibly the Lee Coombes remix with added angry drums. He's starting to stretch out now. The next few tunes recall Nic Fanciullo"s Porn House mixes, underlaid with some Weimar Republic decadence. There's some hefty twiddle knobbage going on as the tunes speed up and slow down. They warp, distort and fade into the air, which is cut into ruby red smoky ribbons by several lasers. As his set progresss, BLIM is mixing electroclash with the old Trevor Horn style pomp production he used with Frankie Goest To Hollywood. I can hear echoes of Seb Fontaine mixed with elements of Groove Armada and Bentley Rhythm Ace. Alpine horns blare out over a chorus of "Hit it now". Timo Maas pops up, Krafty Kuts gets a look in and the whole set is one fun, funky digi-electedelic rave-up. After he finishes, he says, he couldn't get all of his CD"s to work, so that made mixing more interesting. He's leaving for a week's holiday in China, followed by a gig in Guangdong on the 20th.

Blake, one of the co-promoters of tonight's show, seems more happy about having DJ Hidekick playing. Blake thinks, he's gonna be a next big thing in the Japanese breaks scene. Hidekick has a partner, Di. The two have performed as Blue Water since 2003. They piggyback each other quite well, and although not as freeform as BLIM, they have their moments. Operatic chants, bongo breakouts, lots of heavy scratching , even a sample of Sting singing... The smoke machines continue to puff overtime as I rest in a secluded corner and write some notes. Overall, the music was fine, but the turnout out didnt justify the talent on display. Better luck next time.  

Review Nick L.

Articles - Event Reviews

There few a few pleasant surprises during the course of that night, all of which made the night more enjoyable and entertaining. Gossip 17 as a venue is one of the best venues that we raver have available to us in my opinion. Gossip
17 adds to the night, from the illuminated dance floor,size, location and the refreshment services all of which improved the quality of the night's experience. The cost of drinks were significantly cheaper which increased the number of drinks sold keeping gains up and improving the atmosphere.

The local DJ performances were spectacular at getting the crowd warmed up for Rogue Element. I was too tired to dance and thought the night was going to be a waste, I was wrong, when Rogue Element stepped up i could dance all night, with an endless source of energy fueled by perfect mixing and unbelievable song choices. Truly a Spectacular and extremely entertaining DJ performance from Rogue Element.

The Whole night was a success from the start, no long line ups, which really spoil the night. Cheaper drinks which in time will attract more people

Review by Michael P.

Articles - Event Reviews

At first, I thought this story would pre-write itself. I'd heard the comments: "He doesn't use headphones". "He can't mix". "His show in Guangdong was crap". "He cleared the dancefloor" "If he's gonna DJ, he should practise. He wouldn't tour with New Order without rehearsing". Sounds like we're in for a wild ride. I get to Tribeca about 0115. A crowd of at least 120 people are patiently waiting to go inside. They all have tickets. Door security tells me the police are inside, doing either a head count or looking for drugs. Someone remarks "Typical police. They've forgotten to bring ther own. Again". Some people, including ligger James from Argentina, have been waiting for two hours. It's steamy hot.  A  small sign reads Full House. The crowd are cut off from the a/c inside. I'm impressed by their restraint. The police do seem to be over-zealous in their monitoring of the rave scene. Anyone remember the bad old days at Queen's nightclub? Welcome to the re-runs. You don't see the police bursting in midway through the Opening Concert of the Arts Festival. Screaming and shouting. Turning on the lights. Silencing the Orchestra. Breathalysing the first 10 rows. Would make one helluva video though.. While, this isn't the venue for a debate on the pros and cons of drug legalisation, please note two points. 1) Hong Kong's origins as a global fiscal megapolis stemmed from the (then legal) Opium Trade. 2) Next time, you're on a ferry or boat, check out the city skyline. See how many buildings look like syringes. Finally, OMD's 2nd LP title "Architecture and Morality" makes perfect sense.

I've been waiting with James for about 40 minutes. Inside, we see PH being escorted upstairs. Time to play my trump. "I'm from HK Clubb-..." "Go, right on in mate". ("Coming, James?"). DJ Dicky (?) is blasting out hard electro, some subliminals, good long fuzz breaks. The crowd are happy. I position myself back of the DJ booth. There's light to write and the bar by my side. The lady cashier is making change, swiping cards, checking bills with total aplomb. She's unfazed by the noise coming from 10 feet away. The lights go on and the sound is muted as another police visit is announced. This time, apparently, it's a "license check". The crowd inside are indifferent. The crowd downstairs is getting larger and hotter and no closer to entry. Tribeca, you must try better. James has vanished. I'm chatting with Sebastian from Germany who's glad he made it. A sexyy lovetet of ladies wonder what I'm doing. I promise to mention Yippy, Kelly, Karen Chan, Sheila Wan, Pansy and Melissa in the story. It's nearly 0240 and Peter Hook is about to make his second debut in HK (I'll explain later).

The first track is a piano-enhanced mix of "Love Will Keep Us Together" and slows the musical pace right down, but not for long. A string of 80's styled and inspired electro-throbbers, mixed with some digi-dub keep the crowd dancing. A splendid version of "She's Lost Control" is in the mix. (Is it Joy Division meets Martin Hannet?) A chorus of "I don't take drugs, cigarettes or go out at night. I just fuck" features lots of syncussion and vocodervox. It's another highlight after "Control". PH has pulled out a pair of headphones, but hasn't used them yet. His mixing isn't seamless, but that's just one technique. Overlay, Cut-N-Paste, Mix and Match all work. I remember that James Lavelle and DJ Hell can't mix, but they're great producers. From where I am, PH's CD case is 2 feet away. Most of his discs are the equivalent of white label dubplates with 1-2 tunes on them. No need to have a cue anxiety attack. He's certainly enjoying himself. Dancing up and down. Kicking his right leg backwards like a reverse Can-Can-cum-prancing Pony. The crowd is warming to his style which flows along. One tune melds the Blue Monday drum pattern with a chorus of "Fly across the restless sea". A little pre-taste of New Order glories to come.

By this time, PH has signed about 20 autographs, on tickets, bits of paper, the flyerboards surrounding the DJ booth, somebody's shoulder. (Hell, I got 2 myself!).  Notes for requests are proffered, which he reads, smiles, and puts to the left of the DJ mixer. People tell me, he's really caught the mood tonight. Into his second hour and it's getting harder. "Mr. Brightman" by The Killers raises a roar of approval, especially from Jim on my left. The Sex Pistols "Anarchy" flows into  "24 Hour Party People" by Happy Mondays. (Possible Oakie mix?). Some synthi-Bollywood strings over gothbeats and stomping dub bass. Some John Digweed sirens come and go. Blur's "Song 2" as done by Armand Van Helden. Good control of the tension/release dynamics and pacing. He's worn his headphones twice as well - once for 2 minutes, once for 1 minute.

A synaptic spasm of sense-memory ripples through the dancefloor as PH moves into the New Order section of the set. "Love Will Tear Us Apart" (nice counterpoint to the opening tune), "Blue Monday" and "Crystal" are extended mixes driving the dancers to possible multiple auralgasms. I've never had so much fun listening to a 50-year old man playing his own records. There's a country-billy version of "Folsom Prison Blues" which fits weirdly-well into the selection. At this point, PH has done about 2.5 hours and the promoter is trying to get him to wrap it up so David Lam can take over. PH promises "one more song" (and plays three) before stepping down. So, what's the message tonight? Don't believe the hypers!. Don't judge a book by its cover!. Don't budge a Hook before it's over, either!

We walk out together. I tell him I'm the only person in the room who saw New Order make their HK debut at Andrew Bull's Canton Disco in mid-1985. (Told you I'd explain later.). He says he's exhausted. His 10-day tour is over and he's glad to be going home. As we part, he calls out "See you in another 25 years, la" "Make it much sooner than that, mate" I reply. I stroll away, into the sunrise, whistling a happy tune. We Fade To Grey. The End.

Review by Nick L.

Articles - Event Reviews

It's a relief to escape the virulent outbreaks of "Mad Crowd Disease" that have affected Lamma over the Golden Holiday week as I board a near-empty ferry to Hong Kong for another mini-Rockfest at The Edge. The Academy, who've been touring and playing a lot recently, are supporting Japan's Electric Eel Shock. The Tokyo trio are about to join Sonic Youth and Radiohead on an American tour, according to the SCMP. This is their 3rd gig in HK, following Rock It #1 and a semi-secret stormer at Amnesia in 2003. I arrive at The Edge to find a mini-outbreak of "MCD" (with "Advanced Spontaneous Mania" well in evidence). The bands share a table by the entrance where they're selling CD's, T-shirts and EES badges. There are more people here than for Jaggedy Ann. i spot Manek and Nick W. from HK Clubbing, along with Undina, a Lamma friend and drum-n-bass promoter, killing time before tonight's show with Miss Kitten at Volar. I'm chatting with Murray, the HK 7"s cameraman when Clare She-Ra rushes by to join the rapidly expanding moshpit.

The Academy blast through a seven song set which starts slow and builds up pace. Tom, the singer, modestly admits that "tonight, we're the second best band in HK"..The set list includes "Take It Back", "Never Loved You" and "Long Division". They're all hard-rocking, foot-stomping crowd pleasers,  The music is the usual (to me) gritty mix of Wishbone Ash (the quieter bits) interspersed with classic Stones and Black Crowes grunge riffs, plus a smattering of No Doubt. There's great drum and bass interplay between Paul and Dave. Paul seems to be channeling the late Keith Moon as he leaves no part of his drum kit unhammered. I'm half-expecting to see him emulate Mick Shrimpton (of Spinal Tap) and explode mid-set. Tom swaggers round the stage, playing to the audience and invoking memories of Jim Morrison, the Lizard King himself. Justin S. is tripping out on freak beat guitar, both together and apart from his bandmates, while Justin C. keeps the hooks a-rolling along. All too soon,   they've finished their set and the anticipation meter goes to eleven.

Electric Eel Shock soundcheck/tune-up with a near perfect run through the Sabs "Iron Man" and then play it again at the start of the show. Aki, the guitarist, is pacing the width of the stage, hoisting his red flying vee guitar in the air at every opportunity. He reminds me of Ronaldinho, all happy bug eyes and cheeky grins. The musical maestro to Ronaldinho's soccer supremo. Kazu, the bassist, is equally nimble, climbing on the stacks and running through a gamut of heroic stances. He looks like Ian Brown (ex-Stone Roses) with Johnny Ramones haircut.  Drummer Gian radiates effortless cool like Beat Takeshi. His metronomic drumming is interspersed with furious flurries of paraddidles and crashing rolls round his set, but he's intermittently explosive. Overall, I reckon Paul just takes the skinmeister honours of the night, but that's not a dis to Gian. The sound verges from Black Sabbath to live Blue Oyster Cult (w/out keys) to vintage Scorpions. Aki has the crowd chanting "you bastards' early on before another blast of unhinged guitarnoise erupts and he bellows "I want to vomit and I love you all".  Kazu provides some Link Wray rumble bass before the amps fail and roadies rush around for 5 minutes fixing equipment. Songs after the re-start recall early Queen and Free as a brief outbreak of crowd diving/surfing provokes panic among the security on stage. Nick W. is there, snapping away happily, as EES play on through the madness. The encore is "Scream for me, Baby" and people oblige. Tom comes back on, saying "Isn't that the best fucking shit you ever heard?". Their final show is at Amnesia on Sunday the 7th. It's gonna be a riot. Maybe see you there?

Review by Nick L.