This new film about Oasis’s glory years is rousing, heart-rending and really f**king funny
Live Review: Esben And The Witch, Deaf Institute, Manchester
Thursday, November 11
She could be a catatonic Native American, contacting a spirit from beyond the smoke in a ceremonial bollocking. The words to ‘Argyria’ bellow from her tiny frame, summoning our attention as though she’s been doing so for centuries. Pounding, transient blasts on pulped drum skins entwine through a maze of sounds akin to Florence Welch fronting an operatic Indian Jewellery during an ’80s goth-pop explosion. Guitarists Tom Fisher and Dan Copeman build the strongest of platforms for Davies during ‘Battlecry’ which, in all its post-stoned intelligence, is quite ravishing.
“Be quiet!” our seducer Davies demands on set finale ‘Eumenides’. Ever commanding, she herself gets louder and louder until this spookiest of fairytale endings becomes an edge-of-seat, semi-acoustic techno trance. There’s body convulsions, making their silhouettes look like this is some kind of ritual occurring. A stage set of glowing skulls and street lanterns wrestle with our imagination against a rapidly increasing joy wrought from doomy sounds.
The Brighton trio may not be the easiest listen for mainstream audiences, but with this radical amount of stage presence and an all-knowing artistic accuracy, they’re certainly welcome to break a tom or two around us.
Delving into the murk and noise of their past, the Boston veterans’ second post-reunion album is a superlative indie rock collection
Two kings of the indie dancefloor unite for a warm, timeless take on 20th century pop and rock
This unruly second album delivers a sucker punch to anyone who had the Kent duo down as a novelty act
Justin Vernon’s third Bon Iver album is a weird and wonderful thing