all these long days of belly ache

contact belly ache: email ruth moog guestbook

live reviews october 2004 october revolution @ bristol university the fingerprints | my dark empire @ rocksoc: i c u, 16 oct 04 the ordinary boys @ electric ballroom, 13 oct 04 kaiser chiefs supp. the ordinary boys, 13 oct 04 kasabian @ islington carling academy, 11 oct 04 the subways | tiger force | cog 5 | televised antifiction @ bridgewater arts club, 08 oct 04 the subways @ buffalo bar, 06 oct 04 - - - - - - - - - - - - - - - - - 30 oct 04 october revolution bristol university anson rooms [sjesau] [sammohung] [valleyforge] [themightystars] [waragainstsleep] [geisha] [termites] [bigjoan] [ivoryspringer] [chikinki] [domebadthings] when he arrived at bristol university's anson rooms half an hour late on october 30th, your bellyache correspondant was suffering from an unfortunate case of... well... bellyache. a combination of this, what seemed like an interminable cold and downright laziness brings him here to you today with a review five and a half weeks late and a sicknote from his mum, but at least having done his homework. so here it is. male, first band on, were unfortunately missed, while this reviewer walked up a seemingly interminable hill toward the venue - although they certainly sound at least interesting enough by virtue of various of their component parts' membership of other bands to deserve a proper review, so they certainly must deserve this mention. that's male, mention fans. fortunately the hill did finish before we missed any more acts. sj esau is a multi-instrumentalist and vocalist who regularly appears, as here, with fellow multi-instrumentalist and vocalist max milton. they put on a rather lovely show involving live sampling, extreme instrument distortion and apparent mild panic about exactly where a particular sound is coming from at regular intervals. it's a show that manages to be at once charming and challenging, and despite the slightly queasy aspect of their sound doing nothing at all for his nausea, your reviewer is smiling broadly. live sample-looping is to be applauded wherever possible, too, so that's three big stars for sj esau on the impromptu bellyache "big stars" system. talking of big stars, jemma roper should be one. she was the lead singer of sammo hung the day before halloween, cavorting beautifully around in the middle of three blokes and an intricate ordered chaos of a noise and looking into your reviewer's eyes in a way that makes him forget altogether about that stomach pain he mentioned before. their lyrics were delightfully barmy, they were punk and clever and extraordinarily good looking as a group - there aren't many bands that can make you jump up and down at 3 in the afternoon when you felt like crap when you came in. there is now one less of them as sammo hung sadly split up several hours ago. [er... at the time of writing]. jemma says she's looking for people to work with though so we'll keep you up to date with that. enough with the third person. i'd seen valley forge before but i'd forgotten about it. watching them, it's not hard to see why. frankly when you watch them it can be difficult to avoid checking the time every few minutes. i actually started to wonder if we should all lie down, so sleep-inducing did their performance seem to be, when the girl in front of me quietly fainted and was lead away. then i went and sat down and closed my eyes, at which point it became clear that that word - watching - is key here. with your eyes closed, valley forge miraculously transform into a stadium band with a Slash-sized guitar, who far from inducing prostrate audiences through sleep, ought to do it through sheer musical power - harmoniously pounding their audience into horizontal submission. open your eyes again and it all seems to leach away. an extremely strange experience. bellyache recommends you go and listen to valley forge, but do it with your eyes closed and imagine you're sprawled in front of a huge outdoor stage. if you do this, write and let us know if it works for you. the mighty stars were the first band on the bigger stage across the corridor. they are very bouncy and enthusiastic and chummy but it might do them great favours if they were to write a second song at some stage. i'd like to write good things about them because they seemed to want people to like them and were selling their singles for a cheap-as-chips pound each at the back of the hall afterwards, but the fact i couldn't bring myself to buy one even at that price means i'd be being dishonest if i did, which wouldn't be fair to anyone. still, if you like a very poppy kind of rock and are quite happy bouncing along to the same thing ten times in a row, they might be just what you're looking for... and i am returning to this review after a fortnight-long sojourn and can no longer remember what was meant to come after that "and". still, i'm sure it was good and meant you should all go and see the mighty stars at some point. another band you should all go and see is war against sleep. they seem very dour but in fact keep saying how happy they are. the more they perform the more dour you think they are and yet the more they talk the happier they say they feel. by the time they finish it's apparent it's the happiest gig they've ever played! what must they be like when they're miserable? and their songs are adroit tales of... dolphins and drudge. everybody feels wry and calm. then geisha come on. what's gone unmentioned thus far in the review is the "revolution" theme. the name of the mini-festival as a whole is october revolution, right? the october revolution was the name given to the second part of the uprising in russia in 1917 which ushered in communism and ultimately the regime of stalin from which we hear tales of crowds of people applauding til their hands bled at the moustachio'd pig-twat's speeches through fear of going "missing" if they were the first to stop clapping. the stalinist regime placed great value on its industry, and particularly its ability to make things out of metal. "noise terrorists" geisha are on record as saying they are "not metal". but to the casual observer without a phd in exceptionally hard rock, they can seem just a tiny little bit extremely fucking metal. it is terrifying, especially when they start to seem very very upset and then run into middle of the audience. everyone applauds til their ears bleed, through fear of being kicked to death if they're the first to stop clapping. termites. what's with that. i don't know. they go "tick tick tick tick boooooooo" which is quite exciting. they're best when their keyboardist opens his mouth. but most of the time, he doesn't. i dunno, they seem like they might just catch on, but it didn't all hang together for me. blame it on the bellyache. i'll go and see them again in a better state of health and report back if they're not already world famous by then. stu out of ivory springer has this story about how he might once nearly have been pj harvey's bass player. more on why the rest of the world should be glad this didn't happen in a moment. in the meantime, it's okay anyway, as big joan are a lot like what pj harvey's band would be if stu out of ivory springer had indeed become their bass player. think about that for a moment. it's quite sexy. big joan are absolutely one hundred percent wonderful live. due to them having got played on john peel and stuff like that you might think you know what they sound like. you might even think you like them. you don't. they have to be actually playing in the same room as your body is to understand it. hey! sometimes it's easy to feel frust rated that ivory springer aren't playing in a diff erent town in the country, or even the world, every night, just so ev eryone can see them and be converted. it's something that's easy to feel, but wrong. a group this good shouldn't really need to budge an inch. most people reading bellyache don't live in bristol. you are probably one of them. it's your responsibility to go there and seek them out and be fo iled by their crafty stops and st arts, and washed to shore by the surprising sensitivity that underpins the cleverness and brilliance and loudness and beauty. they shouldn't need to come and play near you because you should all be flocking - flocking - to them. don't even pack your bags. don't even try and finish reading this review. just get up and start walking to bristol. walk, don't drive, it's a pilgrimage. if you're not prepared to do that yet go to their website and download some tracks. then do it. barefoot. although most of the other bands on the bill are secretly trying to make the floor vibrate by a variety of means (sj esau by happening on its natural resonance, geisha by stamping on it really hard), chikinki are the only one to achieve it. this is why they are so high up on the bill. they make the floor vibrate. do that and you're automatically brilliant even if you're rubbish. thankfully, chikinki are not rubbish, largely because they also have a wilfully insane keyboard sound. wilfully insane keyboard scores you two points and vibrating floor gets you seven: score nine out of ten already, and there's other instruments, and songs and everything to go with it, too! remember how i was feeling ill at the start, and that screwed up my reviews of male, sj esau and termites? i couldn't even stay for more than a few minutes of do me bad things. they had everything: terrible makeup and at least two fully realised genres in a big live mashup of a sound... they're what happens if a punk and a soul band get double-booked and decide they're not taking any shit and they're both going to play on stage at the time they were booked for anyway, so they all have to be on there at once and they just have to make it work - except that they actually do. but that's the sort of thing they probably have written about them if the reviewer walks out after a few minutes and sits outside imagining the rest of their set instead. october revolution was a great thing. let's hope there's an october next year too, and we can have another one. - wes white back to top - - - - - - - - - - - - - - - - - 16 oct 04 the fingerprints | my dark empire rocksoc @ imperial college union [thefingerprints.co.uk] [mydarkempire.com] the fingerprints bring me to the strangest of settings... that is to say, that although it may look like a reasonable venue at first, things soon become clear that if you like clear sound with good levels, and like to actually see the band you've come to see, this probably isn't the best place to be. but never mind; here we are, and people think we're drunk (though not a drop of alcohol has passed our lips. yet.) there are at least three bands on tonight at rocksoc (imperial college's rock night with free sweeties) however we escape after the first two (somewhat prompted by the raggy doll & decapitated hand that the next band carefully position on the lead mic stand, suggesting that perhaps we weren't fully prepared for the event ahead of us, with our wincklepickers & ironic jewelery) the first band on are my dark empire. these boys have a good guitar amongst them, but this was not enough to latch onto our attention or inspire me to write something great about their set. the bass-heavy, cakey mix made an average set sound below average, their one redeeming feature being the singers quite lovely hair. there was a definite muse influence in their effort but the vocals and the drums weren't smooth enough to avoid the odd wince in my seat. by the time we reach their last song, & i try to desipher with my allies whether vocalist & guitarist toby athersuch is asking us if we've "seen his fence", or his "secret face" to no avail, fear sets in. looking at the steely metallic crowd assembled away from the little button-noses on the stage suggests that this could be a long night. so i go to the bar. a hop, a skip & a jump later, and the fingerprints are ready: shoes off & raring to go. the weird thing about these guys, is that they make me think of burt bacharach. in my view, that is no bad thing (LEGEND!!) but there doesn't really seem to be a reason for the assosiation, except maybe the odd maraca shake & easy melody ...ahhh. the five youngun's offer up what is apparently a shortened set due to a new addition to the line up in the shape of keyboard, samples & a rather nice jacket: this being my first encounter with the fingerprints, i am glad to see they come dressed for the occasion. it's easy to hear that their sounds is tight, intelligent & likable, & that they are quite capable of holding the attention of onlookers dispite attempts of distractration from the schizophrenic lighting. the band were not helped either, by the truely astonishing sound techs, who managed to get wrong mic levels & guitars cutting out completely, prompting a darling hissyfit from max: "we're NOT carrying on like this!!" (which in all honesty, was quite entertaining). i'm not entirely convinced that the fingerprints know what it is they are trying to get across; it's as if they haven't quite hit the balance between what they are & what they want to be. so, strange it is that though they may not be as cool as burt, (they're not as uncool either) actually, they're just really quite nice. - ruth moog back to top - - - - - - - - - - - - - - - - - 13 oct 04 kaiser chiefs electric ballroom (support to the ordinary boys) [kaiserchiefs.co.uk] i don't have a clue who the kaiser chiefs are, and their name reminds me of cheeses. i'm over that now though, because they're really good. they've been asked back on tour with the ordinary boys for the second time, & i have no idea what to expect from them - it's often better that way. five smartly dressed rufians enter the stage to the beatles track "everybody's got something to hide, except for me and my monkey", and the tone is set. they play their songs as front man ricky talks & sings & dances & prances & jolly well entertains. he has a knack does this man, and he wears his trouser at the right height - this is a massively overlooked trait of a frontman, i assume. andrew's guitar sounds great, there is a cow bell and a tambourine involved, & behind the keyboard, peanut's ill fitting hat makes me happy. they romp through their set & bellyache suggests we see them again...(check back in december) 13 oct 04 the ordinary boys electric ballroom [theordinaryboys.co.uk] having no experience of the ordinary boys but watching them at glastonbury with the aid of a television set, and being - quite frankly - a bit bored, i'm not entirely sure what brings me here. likely the twist of an arm from a friend with a spare ticket, and perhaps a countable element of curiosity, as is always the way. so, here i am, more than a little ill, glass of water in hand, waiting for the mysterious headline to come on stage. my curiosity swells with the size of the crowd while the stage is set up: union jack flag guarding the stage amps, giant lamb overlooking the scene before us, as you do. it's all a bit strange actually. whats more, there are cameras everywhere. [step back, hide face]. preparing the numerous guitars seems to take an eternity, but eventually, here they come, looking really... ordinary. reassuringly ordinary infact. there is a kind of relaxed familiarity about them on stage that makes this less like going to see a band in concert, & more like going round to watch your mates play at the pub. luckily, your mates are pretty good. even better, so are the people who've come to see them. the first of two nights in camdens electric ballroom, and front man preston is impressed by the crowd. it seems he had been determined to believe that london crowds are too cool to have fun, so stand still at gigs giving maybe the occasional head nod when the music gets that little bit more furious & demands at least some kind of reaction. of course he would be wrong. there is a lot of movement throughout the set, the frenzying mass below the stage not needing to be told to "go mental", but taking heed of the advice with vigor none-the-less. the boys continue to make themselves further familiar with sing-a-long-o-riffic "week in/week out" along with "over the counter culture" from the album of the same name, & the fabulous "talk talk talk". it'd be wrong to come back from an ordinary boys gig & give a technical analysis of the event. the short of it is, it was jolly good fun, & there was confetti. that's all that matters, if i'm honest. - ruth moog back to top - - - - - - - - - - - - - - - - - 11 oct 04 kasabian islington carling academy [xfm competition winners event] [kasabian.co.uk] kasabian have strutted their way into the uk chart as if they've always had their seat reserved, ready and waiting - & it's now about time they give the rest of the chart a good kick up the arse; "we're the ones to do it". so it's no suprise that the entire beat-hungry crowd of the islington academy will be shouting about them in the not so distant future, if they haven't already started. the band prowl onto the stage & kick off proceedings, building up the tangible anticipation soon to be climaxed with the arrival of the rabid-jagger-esque front man, tom meighan, donning a pair of black shades: oh dear. it takes him a few moments to warm up his limbs, but after a few mintues he's flailing & bouncing & pouting like it's nobodies business - & if in doubt, do as he does; guitarist & songwriter sergio pizzorno compliments the crowd, "some great dancing there, too". the four lads +1, who include unbelievably cool guitarist christopher karloff, & listless bassist chris edwards, (and um... that drummer no one seems to know), give an intense & blinding ride: track after track of frustratingly explosive sonic convulsions. they prove themselves able & willing with a dynamic set, slowed down for the likes of "butcher blues" & "u boat", versus the regimented chaos of "55" & ultimate track "club foot". they stunningly endorse singles "reason is treason", "l.s.f" & new release "processed beats" (even if tom had trouble working out which song it was) as well as it's raging b-side partner-in-crime, "the nightworkers". i get the distinct impression that kasabian will not be to everyone's taste. but that just makes them so much more satisfying. in the words of the nights' dj, eddy temple-morris, "and you can say you were there... kasabian". hot damn, oh yes i was. - ruth moog back to top - - - - - - - - - - - - - - - - - 08 oct 04 the subways | tiger force | cog 5 | televised antifiction bridgewater arts club [thesubways.net] [cog5.co.uk] [televised-antifiction.com] a word about using local arts theatres like this as gig venues: it’s brilliant. this was a sellout night at b.a.c, which (although admittedly the capacity isn’t bigger than 180), the venue said hardly ever happens. the subways’ appearances over the summer at a couple of very high profile local events might have something to do with that, and there was a distinct sense the opening act had a big group of mates in, but combined with such lofty things as a recent radio 1 session and the pre-release sell-out of their limited edition seven-inch it’s hard to avoid perceiving a wider gathering hype around welwyn garden city’s teenage trio. the question now becomes, how long will it last before the inevitable latent hometown reactionaries against their metal/blues/sexy boots combination matures into a wider national backlash, and will they survive it when it comes? for now, in any case, televised antifiction are on the stage. they are to be applauded for attempting what they do, namely a set entirely full of instrumentals on guitar, bass, drums and organ-synth (with the welcome but sadly underused addition of a cellist for a couple of tracks towards the end of the set), and at times it’s beautiful as well as wantonly out-there and makes you grin. almost every track becomes more repetitive than necessary, though, and once each of them settles into its groove there’s a distinct feeling of similarity between the instrumentals. altogether, top marks for not bothering with a vocalist, but do they really have to go on for so long about it? it’s a real strain waiting for the next time they’re going to make you smile. cog 5, i am given to understand, are minus one drummer for the night due to illness and this leaves them with the sum total of zero drummers and so they put on an acoustic performance (guy with guitar, girl with guitar and vocal chords). most of it seemed terribly boring until i moved forward near the stage monitors, where it became clear that in fact i was listening to a band with some lovely songs and woman with a lovely voice. clearly this wasn’t at all a normal performance for the group (unless their drummer’s illness is a chronic one... get well soon, cog 5 drummer), and i think they probably sounded a lot better on stage than they did to a lot of people in the room. jury’s entirely out. tiger force are on next and this is where the night starts to warm up properly. they are really really really good fun. can you tell they were fun? another boy-girl duo but this time that was the normal size of their band. i did spend about fifteen seconds peering around behind them for a drummer and then felt sort of embarrassed because the percussion was programmed and coming from a drum machine. worryingly i couldn’t see that either though, maybe they were making all those hitting noises by magic. they play fifteen second songs like you’d hear on john peel just after he’s played the three previous tracks at the wrong speed. and some longer ones too. they don’t actually sound like or look like the roobarb and custard opening credits but they do evoke exactly the same feeling. to do that and also be real people is an extraordinary achievement. finally it’s the turn of the night’s headliners of whom, let’s be clear, bellyache is already a big fan. they seem very eager to play (i’m taking lead billy lunn groaning forty minutes previously - on learning there was another act to go before them - and saying he “just wanted to get on and play” as an indicator of this) and the moment "oh yeah" starts anyone who wasn’t already becomes aware this is because they’ve got something to show people. they’re not a band naturally inclined to pausing for breath, and in the past this tended to result in audiences standing in a stunned manner with barely time to applaud between tracks. this is no longer the case. the crowd motion builds throughout as if there’s underfloor heating and someone’s left it turned up too high, until by "rock’n’roll queen" there’s a veritable maelstrom going on in front of the band and most of the way back through the hall. they also earn their first stagediver here. i’m not sure yet about new track "holiday" - it’s embryonic as yet, i think - but they’ve got enough instant classics - "automatic"’s throwaway na na nas and screamed chorus, "young for eternity" with its driving metal riff and the way it makes you feel like something REALLY BIG is going to happen, the cute and twisty "mary", the wistful and commanding "with you" - to ensure that when there :does come: a backlash (and there will be: you don’t beat 2000 bands to the second stage at glastonbury without causing resentment to harbour in the hearts of a few), it won’t start in bridgwater, and it won’t start on bellyache. Whatever you hear in the coming months: we know, they have it. - wes white back to top - - - - - - - - - - - - - - - - - 06 oct 04 the subways buffalo bar [single launch] [thesubways.net] an amazingly packed buffalo bar oh so patiently wait for the subways to take to the stage at the launch of their debut single, "1am". the buzz about this band is almost hard to believe, them having thundered their way into the consciousness of those-who-love-to-rock from nowhere, upon winning glastonbury's unsigned band competition earlier in the year. the band had already sold out all copies of the 7" release at rough trade before even being on the shelves, & likewise copies seemed to vanish at the london launch, the last signed copy being auctioned off there & then for a nice ?20. that's pretty good going, i'd say... & who can dispute their ongowing success? - this band know how to rock & roll. the three piece always give a thrashing, wild, energetic set, & right now they're getting as good as they give from the manic crowd before them. guitarist & front man billy lunn shouts out his lungs as he reels out track after track of rock shindiggery, aided by the sweet and spikey vocals & bass of mary-charlotte cooper and driving rhythms of declad drummer josh morgan. crowd pleasing favourites are displayed with peacock swagger in the set, such as matter-of-fact "oh yeah" & the engulfing "rock'n'roll queen", plus of course the hallowed song of the moment, "1am", written on the way out of the very same venue, billy reminisses. technically this wasn't the best i've seen them, but it was definitely the grittiest. tonight the subways were damn dirty, & we loved it. if you haven't caught them already, what are you doing? go & see them. right now. - ruth moog back to top - - - - - - - - - - - - - - - - -