02 Academy, Brixton, London, Fri 9th March
And I did sometimes wonder if what made them burn so bright also made them burn half as long, with their releasing just three albums then quitting at their peak. As if contrapedal forces finally reasserted themselves, they split into the proggy, jazzy Mars Volta and the “cleaner, more accessible” Sparta. And the two were never as good apart.
So will the reunited band manage to reassemble, like that movie scene where the split parts of the amulet recombine to reignite the magic? Or, would they just be, to quote an old lyric, “dancing on the corpse’s ashes” of their grand reputation? They’re clear still at the top of the crowd’s heart, spurring many singalongs. But initially, it veers towards the second option.
Much of what permitted ATDI to perform their magic trick was the twin guitars - the switchblade edge of Jim Ward combining with the corkscrewing of Omar Rodriguez. (Who’s cited Frank Zappa, Robert Fripp and John McLaughlin as his influences.) At the Drive-In are still driving, still full of force. But those twin guitars merely make a wall of noise to underline the vocals. it’s switchblade at the expense of corkscrew. Despite the fact that it’s Ward who’s absent from the reunion. (Seemingly dropping out at the last minute, and replaced by Keely Davis, also ex-Sparta.)
I had given up all hope and started to figure I should just settle for what I was getting, when relatively suddenly they managed to click back in. What had been pure frontal assault gains depth and breadth, and songs take on strange and unexpected elements. Even the ones you know well.
They strike up noise between tracks, meaning the next number erupts from it as if a sculpture arose from a single stroke. And, something I previously witnessed from seeing their re-reformation incarnation Antemasque, in the midst of well-known tracks such as ’Enfilade’ they introduce long, slower and much more hypnotic sections – influenced more by soul and reggae than hardcore punk. They’d stretch for long enough to leave you almost forgetting the original number, before breaking back into it. The original ADI didn’t tend to pull such switches , and were more given to superimpose each element over one another. Which perhaps that gives them an extra novel effect.
The encore, perhaps predictable but still a welcome choice...
Cafe Oto, Dalston, London, Sat 11th March
The legendary trance/ drone/ impro outfit Vibracathedral are celebrating their Twentieth anniversary. Somehow I have only succeed in seeing them once before, in a short set at the Colour Out of Space festival. So, even though I was only up in London the previous day, tonight I’m back.
Some music you need to search a little before you find a way to listen to it. As if your head’s a radio, you need to tilt it to the right angle for you to tune in. But VBO are almost the opposite. As the five members bang, strum and pluck away, barely ever looking at one another and seemingly just off on their own thing, the surprising thing is how perfectly it all fits together. It’s not head-scratching music, it’s heart-lifting.
This may be partially down to the magic unifying power of the held drone. Provided in the opening section rather wonderfully by someone simply tra-la-laing. At times you feel like they’re packing a rhythm section a more conventional band would burn their A+R contact list for, even when their ‘drummer’ is merely hitting cymbals placed on the floor.
Perhaps there can be no bigger praise than saying how much it reminded me of Terry Riley. Not just the raga influence. Or the metronomic pieces, playing what often sounds like snatches from riffs or melodies, or the ‘holy groove’ sonic shimmer. Or even the sense of the eternal present, where the music somehow shifts into something else entirely without you noticing until they’ve done it.
More because it has Riley’s spirit, his combination of wig-out exuberance with transcendentalism. Plus, many years before punk, he brought a DIY approach to music which these guys are still channelling. There’s black boxes which get twiddled from time to time. But instruments include the aforesaid cymbals, a rather battered violin whose bow looks almost fully frayed, and a toy piano. It conveys the sense that this joyous sound stems chiefly from a state of mind, as if once in the zone they could cheerily play for hours if given the chance.
The only downside… And it should be acknowledged it must be hardest of all to mix an impro set, when you can’t be sure what you’ll need to capture. But the sound quality was often patchy, sometimes harsh and abrasive in a way which might even match a noise outfit but not these sound carriers. However, these problems were mostly confined to the earlier part of the set.
Not from Cafe Oto but in full flight…
Cafe Oto, Dalston, London, Sat 17th March
If hippie bands would smoke and punks snort something before their set, GodCo would seem to have jabbed their mitts in some mains electricity. Their sound’s agitated and angsty with trebly, scratchy guitar more skating over the surface of songs than leading them. Tracks don’t push ahead so much as proceed in spasmodic jerks, often pulling abrupt tempo shifts on you.
Their songs aren’t the righteous rallying cries most associate with punk, they’re simultaneously more immediate and more obtuse, shot through with sardonic humour. Like they less want to reach out and fix the world, and more plan to draw you into their messy web of personal relations. “I want a dress with no blood on it”, went the words to one number.
It’s an odd mixture of exhilarating and frustrating, ramshackle to the point of uneven. In fact, for a band with songs and a set-list, it had many of the ups and downs of an impro outfit. In fact, Vibracathedral Orchestra were more consistent despite being an impro band! The singer (who in police parlance I now know to be called Normandy Sherwood) frequently wandered over to a box of tricks of some kind, but I was no clearer by the end what it was supposed to be doing.
That somewhat odd photo the venue used for the gig, with the top of the guitarist’s head just poking in (reproduced above), does fit the occasion. They seemed to come off the rails a couple of times, the drummer (who plays a more active role than in a regular punk band) picking them up again.
But then this is the type of music where that can just be part of the point. They seemed to somewhat divide the audience. Not what you expect from a cult punk band reformed and returning to London, serving tracks up with practised ease, but more in the spirit of the day. Back then, to please everyone was seen as the same thing as pleasing no-one.
They close with a Devo-like deconstruction of ’Totally Wired’. It turns out you can simplify a Fall guitar line, who knew? Whether that was a special tribute to the recently departed Mark E Smith or a regular feature of their set, I’ve no idea.
Couldn’t find any current footage so here’s some back-in-the day stuff. Guitarist Craig Flanagin looks to be the only member in common ‘tween then and now…
But then this is the type of music where that can just be part of the point. They seemed to somewhat divide the audience. Not what you expect from a cult punk band reformed and returning to London, serving tracks up with practised ease, but more in the spirit of the day. Back then, to please everyone was seen as the same thing as pleasing no-one.
They close with a Devo-like deconstruction of ’Totally Wired’. It turns out you can simplify a Fall guitar line, who knew? Whether that was a special tribute to the recently departed Mark E Smith or a regular feature of their set, I’ve no idea.
Couldn’t find any current footage so here’s some back-in-the day stuff. Guitarist Craig Flanagin looks to be the only member in common ‘tween then and now…
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