Scene Report: Bristol March 2010
By: Sian Norris
Readers! It’s been a long time, but due to my lack of ability to get to gigs in the chilly winter months I have been saving up the musical treats in order to bring to you a full missive of excitement and wintery musical goodness.
Other than my catch up with Yeasayer, What else has been happening? Well, I have two words for you and they are these - Bass Clef. As long term readers will know, I’ve been following him around Bristol for a while now, catching him at The Cube, Basement 45 and The Thekla in recent months and boy oh boy, his album is spectacular. Featuring a little less of the traditional dubstep and pushing more into the twisted, bleeping heart of electronica that he does so well, the dubby element remains, but I feel May The Bridges I Burn Light The Way and his live performances these days are really pushing things further out, making a lot of noise and placing him at the forefront of the scene.
Ralph Cumbers, as his mother knows him, really holds an audience, and his use of the trombone, theremin, cow bell and whistle against the button pressing and fader placing of his live, analogue sets really lifts everything about the music from your average fare. I loved the first record (the much admired A Smile Is A Curve That Straightens Most Things) but this follow up for me is what Bass Clef is truly all about - a real record of his musical history, his influences and the evolution of his recordings from the RLF Orchestra to now. And despite following him so closely, it thrills me to have no idea what he’ll come up with next.
Basement 45 saw him play on a bill after a disappointing set from Mr Thing, who I really expected more from. Although the tunes were solid, including wonderful nostalgia moments in the form of DJ Shadow’s ‘Pre-Emptive Strike’ and Sister Nancy’s ‘Bam Bam’, he didn’t seem to do anything interesting with the songs, just played them straight. Still, perfect for dancing.
Also of late I caught Appleblim at the Thekla playing some awesome tracks that he’s been working on with Peverelist. Unfortunately Monkey Knife Fight’s visuals behind him and Bass Clef were awful - although the 1930s King Kong moments were fine, computer generated pneumatic underwear models posing with their asses in the air? C’mon Monkey Knife Fight, sort it out.
A quick word on Hazel Mills, who played with Bass Clef at The Cube for the launch of Wedge’s new record label. She has a beautiful, soulful voice, looping her piano and working with the guitar and bass to create almost cacophonic and angry sounds which contrasted nicely with the classical piano that haunted the songs. She was able to duet with herself to lovely effect, and the sweetness of her voice with its haunting depth was reminiscent of Tori Amos. But it needs developing - despite her clear talent it was all a bit earnest and had a real feeling that she was still forging her own path and discovering her own sound. When she does, she’ll be a formidable talent.
Sian Norris
Artists in this article: Bass Clef