Sound InPhotos: Embers - Sebright Arms, London

Last week, Embers finally burst through the buzz and made their debut headline show. It was also their first London show and yet the debutants did not disappoint. Highlights included their unofficial debut single Sins Unknown and their debut-proper Part of the Echoes. The show was loud, powerful and yet had all of the finesse that you've come to expect from the band in their short time in the public eye.
Support came from the wonderful KHUSHI and his band as well as an off form Deafkid.
Keep a watch for KHUSHI, especially if your'e a Villagers fan; his debut single Magpie is out soon. Keep an even bigger watch on Embers, if their name is anything to judge by, they'll be igniting very very loudly.

Braden was on hand at the Sebright Arms to take photos and our new Sound InPhotos gallery is below.

flickrSLiDR.

Braden Fletcher

Sound InSession #1 Pt2: Yukon

Earlier today we told you the story of how it came to pass that Sound InSession was born. I'm sure you remember; if not, don't worry it wasn't very interesting. In short, Woodpile Sessions and Sound InSession have been born and married at the alter of filming live music and we got Yukon along for the ride for our very first attempts.

Once we departed the tube (going to the tube in the first place may have been a little overambitious for our first attempts), we took the trip to Brick Lane and Shoreditch with Yukon, a first time visitor to the country. He then graced us with two more tracks. The first, I'm Sorry I'm Such An Idiot was filmed in the construction of 8 Bit Lane by Rough Trade and the second, a cover of Oh No Oh My's I Painted Your House was taken upstairs at Shoreditch's Box Park. Next time, we're planning this better.

Thanks to Yukon for playing for us and being such a good sport as we showed him around London.

Tall Ships & Tellison @ XOYO

This summer, you may recall we went to 2000Trees. One of the best small festivals on the circuit, its brilliance was only dampened by a literal river of mud cascading down the main path through to the arena area. Of course, for many this only heightened the experience and it must be said that the steamy interior of the tent stages wouldn’t have been so atmospheric without insane (mostly bearded) men surfing over other, equally muddy punters.  The warm up night of 2000Trees brought two of the three best sets of the weekend back to back from Tellison and Tall Ships. The duo triumphed with some huge sing-alongs and a heck of a lot of wet dancing fans.

Tellison

In many ways, tonight is not like this one. We’re not in a field, it’s not raining and sadly its late Autumn. The wellies have been left at home and instead of Cheltenham, we’re in a Shoreditch basement. One thing remains the same though. Tellison, followed by Tall Ships.

First we’re treated to the Norweigan sounds of Dad Rocks! A singer songwriter by trade, you’re won over by the charm of the small supporting cast that includes a double bassist and trumpeter. The vocal harmonies channel a very classic sound, whilst the melody resembles that of one somewhere between Ben Gibbard and Sparky Deathcap (and that’s a high plaudit).

Tellison come on with some bombasity, opening with standout single Edith Wharton and barely stopping for breath as they rattle through indie-rock belter after another. The re-release of their debut album Contact! Contact! coming up sees tracks such as Gallery greeted with new invigoration whilst last year’s follow up; The Wages of Fear tracks like Say Silence and slow single Freud Links the Teeth are greeted with cheers and chorus sing-alongs. Not a bad response for a support act and so far, 2000Trees is matched.

Tall Ships

As Tall Ships take to the stage, its still not raining or muddy indoors but as they set into staple set opener T=0, sonically it’s the same. The Sussex trio’s live soundscape is a formidable one and one that whilst hugely energetic, stays true to the sound of their studio work. Convenient too, as their debut album, Everything Touching is one of our favorites this year. They play mostly from it an as tracks such as Best Ever, a new tune to the Tall Ships artillery blend in with more well known tracks like the re-vamped Ode To Ancestors you understand how the record took so long to make. The diversity in sound goes from a math-rock element in Chemistry (lead single from their debut EP) to a more dance oriented sound on nine minute set closer Murmurations. Its something to admire and whilst those present tonight are hardly dancing to the point of crowd surfing, you can’t help but feel that Tall Ships go from strength to strength as they mature. 

Braden Fletcher

Kyla La Grange live @ Scala, London

Scala, the home of every band on the cusp of something bigger. You succeed at Scala and the world of KOKO, Shepherds Bush and so much more is available to you. It’s London’s proving grounds and rightly so, it’s in the heart of King’s Cross, the entry point of the city to so many. Tonight, it’s Kyla La Grange’s turn to attempt to shine and after hauntingly wonderful shows at the likes of Village Underground, supported by full band and an array of foliage on stage; you can’t help but feel momentum is on her side.

Sadly the show never sold out and the album, as enjoyable as it was, didn’t make a huge dent on the music world, but that doesn’t stop the almost thousand strong assembled bustling with excitement; they liked the record and once Bombay Bicycle Club meets General Fiasco group Story Books have warmed the crowd up with a series of endearingly fun tracks, the stage is set.  Originally from Watford, not too far from KX London, and having played her first show with her band as a support artist at this very venue, Kyla La Grange almost feels at home here and its that confidence that takes over her usually shy demeanor.

Of course, the nerves are still there as she’s a naturally quite shy performer, but with a microphone or trademark Gretsch guitar in hands she almost becomes an alter ego of herself.
 
Tracks like Been Better sound huge in rooms like this and album opener Walk Through Walls’ powerful refrain of “get up, get up, get up” incidentally gets people up and moving.  Anyone who doubted Ashes’ properties as an album that translated live has their fears put to rest and La Grange looks more and more comfortable as ringleader of the still foliage and light heavy stage as time goes on.

Giving air to new track Lyssa in the encore alongside usual set closer Catalyst which almost has a Mumford style sing-along feel alongside La Grange’s personal yet mysterious lyrics, the night feels like its come to its natural and enjoyable conclusion. It may not have been perfect as Kyla La Grange needs more material to really shine but after years of progress you finally feel that she’s proved the point that she’s here to stay.

Braden Fletcher

Keaton Henson and Wall live @ The Cinema Museum

Buried deep in-between Elephant and Castle and Kennington, the Cinema Museum is hardly surrounded by a plethora of noteworthy venues, but once you find it, your reward awaits. On the walls, hundreds of posters from movies gone by, figures and reels from the most iconic of cinema eras and a vast array of old cameras. It’s a visual feast from the off and in the large upstairs room where the show is to be held, there’s cake, pastries and a bar, making it a consumable feast also.

Opening the night’s audible enjoyment is Wall. With a string of recent material emerging of late, Wall’s delicate pop brew is bubbling with potential. Mid level lighting illuminates the relatively unknown artist’s makeshift stage as the likes of debut single “Magazine” pulse through the relics and members of the audience alike. As far as support acts go, you could hardly find a more fitting one. Autumn night, borderline rustic venue and the elusive Keaton Henson headlining; Wall more than aptly fit the soothing bill.

After Wall’s politely beautiful set comes to a close and the crowd have had a little time to traverse catering and fixtures, it’s time for Keaton Henson. Cellist Ren Ford takes to the stage to begin and plays two Bach melodies as an elongated introduction to Henson’s melancholy  tracks. A man who lives out of the spotlight, and doesn’t give interviews; the last time I saw Henson, he was so stage shy he played through a projection into a birdhouse, but tonight he looks more comfortable (he’s in the room for a start) in his own skin.
His interaction with the crowd kept to a minimum in between tracks mostly taken from last year’s debut record, what he does say is engaging in his endearingly shy way. Usually if an artist were to tell you they wanted to go home, you’d be offended, but from Henson, visibly unsettled by his own popularity (both of these nights of around 150 seats sold out in minutes), it seems like yet another part of his charm. This charm is, of course mostly built out of his painfully relatable heartbreak music and the seeming abyss of emotion that seeps out as such from his acoustic guitar but when joined by folk trio The Staves, everything seems lighter for just a few minutes.

The music isn’t so much weighty as the kind of sound that has the danger of putting you into a numb coma as all of your feelings blend into one of content and as Henson plays a few new songs, equally as personal but slightly more aware of his standing and the regard that many now hold him in, all present are lifted out of it and further into his hopefully less tormented soul. As the night comes to an end you realise that if music is Henson’s therapy, audiences are the therapist he doesn’t really want to see but desperately needs to and as he bares his soul, an hour at a time, he’s getting better at it. Here’s hoping that he does so more often.

Braden Fletcher

Live: The Xcerts / Yearbook @ Borderline, London

When you’re one of the most popular underground bands on the rock scene, surrounded by quite a lot of good vibes about your future, it always seems easier to pull off momentous occasions so when the Xcerts announced they’d be performing their second (and slightly less good) album, Scatterbrain in full at the Borderline in London, you’d be right to be cautiously excited.

On the night however, there’s a strange name on the bill. It’s Saul Goodman! For those of us who aren’t as hooked on Breaking Bad’s skirting characters as the Xcerts, we quickly learn that it is infact tonight’s headline act playing a series of new tracks including what must be a future single in “Shaking in the Water”, the band warm up for their own warm up act in short but sweet style.

So with the crowd having already had four songs of excitement, it’s time for Yearbook. The five-piece, whilst not yet a fully touring band, have created a buzz around their live set that just refuses to stop snowballing from the moment they plug in. The likes of -single “Everything I Own” fits in with the chant along “3’s and 6’s” from the free EP Squares and Circles in a well rehearsed and tight knit sound as lead singer Andy Halloway’s elastic voice dominates the small venue. With more material of a similar quality, Yearbook could see themselves selling out the Borderline very soon.

After all this excitement, you’d be forgiven for not even needing the headline act to go home happy, but you’d be sorely mistaken. From the opening pulses of Tar Ok, breaks title track “Scatterbrain” as the album play through gets underway. The crowd start to get on board as “Gum” gives them a respite but as “Slackerpop” blasts its way through the speakers, anyone contemplating standing still is won over. Considering the record as a whole isn’t exactly the best around, The Xcerts prove against the odds that on their day, they can be be. Roll on record three.

Live: Eyes on Film @ Proud Camden

When a Libertine joins your band, its natural that there’d be a little bit of excitement around it. So when Carl Barat announced he was joining relatively unkown Eyes on Film, naturally the Proud Galleries in Camden filled up. The converted stables always seem crowded as its one narrow corridor bustles with the borderline famous, usual Camden faces and the trendy night-trippers, so many don’t bother going through to the equally crowded main room for support The Tricks.

The band are your standard indie four-piece with a nice sheen. Sadly, even without many paying attention, they’re hardly going to light up the charts nor do they really light up the room. It’s entertaining but barely something special.

The room is far fuller in time for Eyes on Film. It starts loudly as the band sound like a mix between the likes of Art Brut and the more melodic end of Kasabian as frontman Dan Mills erratically moves about the relatively stage like a man possessed. Barat himself has a few guitar difficulties in that his trademark beaten up Fender won’t make a sound but once he gets into the feel of things he’s almost robotic to watch. After the show he indicates that he’ll stay with the band “as long as they’ll have him” and seems content with the Londoners.

All in all, there should be right things on the horizon for Eyes on Film, they may not be the best new band, but they’ve definitely got the material to let the hype that Barat’s bought with them continue in the coming months.

Braden Fletcher