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NOS Primavera Sound 2015: the review. DAY 3

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Foxygen. Photo by Hugo Lima [NOS Primavera Sound]

We told you Xylouris White would be one of the acts to watch on the last day of the festival and they didn’t disappoint. Too bad their entertaining lute-drums combo was witnessed by only a couple of hundred people, some of them laying down in the ATP meadow, enjoying the sun without having to see local hero Manel Cruz on the main stage, who gathered a huge crowd early in the afternoon (full of people who clearly need to check their priorities, of course). The Thurston Moore Band was next, interesting as always, but we would rather listen to Demolished Thoughts-era straightforwardness rock songs instead of seemingly endless guitar riffs that seemed to go nowhere. 

Now, Foxygen’s circus was pretty entertaining. Sure, if you saw their concert in Barcelona you noticed none of the theatrics was improvisation (he also broke up with both his girlfriend and boyfriend a week before…) including their stage exit mid-concert when they left their best song, “San Francisco”, playing in the background and then came back to butcher their second best song, “Shuggie”. Sam France knows how to annihilate his own band – they’ve announced this as their last tour ever – going out with a bang and having fun while doing it. Kudos.

Kevin Morby. Now we’re talking! It was Kevin Morby’s second time in Portugal (remember the first? We do.). Now presenting his second album, Still Life, with an added bass player that adds an extra layer to his songs (what a fantastic performance of “Harlem River”!) he has clearly surpassed what was already a great concert back in October. Songs like “Amen” (video above) or “All of My Life” sound even better live, and the final sequence of Bill Fay’s “I Hear You Calling” into his own “Parade” is already a live classic that we’ll be sad to see vanishing from his setlist when the time comes. A truly fantastic concert by one of the best songwriters of this decade and the best of day three.

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Death Cab for Cutie. Photo by Hugo Lima [NOS Primavera Sound]

Death Cab for Cutie was right next on the Superbock stage. Nostalgia was never my thing – and it still isn’t. Ten years ago, I’ve listened to Transatlanticism and Plans more often than I would admit today. But hey, I also listened to the Editors and Kaiser Chiefs’ debut albums and people would have to pay me for me to go through the pain of seeing them live in 2015. What drove me to see DCFC instead of one of the best bands I’ve ever seen live (Einstürzende Neubauten at the marvellous Casa da Música back in 2008)? I don’t know, but I’m glad I did. For the first time in Portugal, and after cancelling their gig three years ago due to heavy rain (maybe they just wanted to see Portugal vs Germany like everyone else) they’ve presented some sort of greatest hits set (”Crooked Teeth”, “Soul Meets Body”, “The New Year”) along with a decent selection of songs off their latest albums (including the beautiful opener “I Will Possess Your Heart”). But what really made DCFC’s Portuguese debut memorable for the fans was show closer “Transatlanticism”, which lead to a reasonable amount of tears being shed throughout the audience. 

One Direction for adults.

Not that there’s anything wrong with that – I would rather see 1D among thousands of hysteric 12 year olds than sit through five more minutes of The KVB or aligning myself with all this fake nostalgia that is pretending to be a massive Ride fan when nobody actually listens to Nowhere or Going Blank Again since the 90s. Unless you were one of those post-rock nerds who listened to all instrumental rock albums released between 2005 and 2007 then proceeded to experiment with similar genres, like shoegaze or dream pop. Either way, you’ll probably never listen to Ride again until they’re announced to play other festival.

Speaking of bands people only listen to once per year, Shellac has played for the first time outside their natural habitat, travelling from the ATP stage to the Pitchfork tent for yet another massive show that words can’t explain. And I wouldn’t do it if I could, go check them for yourself next year. No excuses!

The New Pornographers were up next at the ATP stage. Massive disappointment for those who were expecting Dan Bejar and Neko Case on stage. Bejar is simply irreplaceable – so irreplaceable that the only song written by him that the Pornos played was the amazing “Testament of Youth in Verse” – but Kathryn Calder’s stellar voice quickly made most of us forget Neko Case wasn’t there. By the apotheotic show closer “The Bleeding Heart Show” you couldn’t tell if it was Case or Calder singing the coda. A great concert that could’ve been something else if Bejar had nothing better to do back at home.

If you were expecting to read a really excited review of Underworld’s rave by the main stage, please go somewhere else. Still on the ATP stage, Ought stole the show by playing one of the most exciting shows of the festival, which is even more surprising if you take in consideration the fact that Tim Darcy’s voice sounds like the official soundtrack of being constantly bored/being hollow on the inside. (That’s a compliment!) Starting with a triad of some of the best songs in their debut More Than Any Other Day (”Pleasant Heart”, the frantic “The Weather Song” and “Today More Than Any Other Day”), Ought then proceeded to numb the audience with some slower but inspiring numbers (including some new songs) and then proceeded to rip it all again by playing album closer “Gemini” by the end of the set. By the end of the concert – after shouting WANT IT!/WANTED! countless times – you could see people in such a state of ecstasy that made them celebrate, run and dance all at the same time while trying to catch a glimpse of Underworld’s concert. I might have been one of them. Right on time to experience “Born Slippy .NUXX” live, the moment everyone was waiting for (and which made a lot of people leave the ATP stage before the end of Ought’s gig). That “Gemini” -> “Born Slippy” sequence was probably the most exciting combo I’ve witnessed live – a mix of old and new, of organic and electronic, of shouting and dancing – and it could only have happened in one festival. See you next year, Primavera.

DSS

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NOS Primavera Sound 2015: the review. DAY 1

Caribou. Photo by Miguel Oliveira [Point and Shoot]

On its fourth year in Porto, NOS Primavera Sound has set a record attendance of 77 thousand people who passed through the Parque da Cidade during the 3 days of the festival, including a sold out Friday session, with the likes of Antony, Patti Smith and Belle and Sebastian headlining. As usual, the quality of the acts built on a crescendo, with Saturday night ending on a bang, making up for a weak first day (please make it a full festival day next year – only the two main stages were opened, along with the Pitchfork stage just for Patti Smith’s acoustic/spoken word performance that ended up not being an acoustic/spoken word performance at all) although, to be honest, it went better than last year’s. 

Traffic jams meant we missed the unmissable Bruno Pernadas concert and arrived just in time for the second half of the Cinerama gig. David Gedge’s least known act provided not much more than a nice soundtrack for exploring the beautiful, green, and still uncrowded festival grounds: a scenic paradise right in the border between the city and the sea that would be a perfect setting for a festival if not for the chilling climate the ocean provides us with during the night. But we would never trade our warm sweaters for the sight of tarmac or concrete everywhere we looked.

Mikal Cronin. Photo by Hugo Lima [NOS Primavera Sound]

Right after Cinerama, Mikal Cronin made a nice move, trying to win the audience over by playing songs off the excellent MCII and not his (weaker) latest album MCIII. The live show lacked spark, though: “Weight”, “Shout It Out” or “Am I Wrong” are the definition of crowdpleasers, but they not only weren’t improved from the studio versions, they didn’t sound as good as on the record. His pop punk/garagy tunes may be suited for a late sunny afternoon, but it didn’t work out this time. 

Mac DeMarco. Well, what can I say. The dinner was nice, as always. NOS Primavera Sound has the best food stands of all music festivals I’ve ever been to, and I’ve been to quite a few. This year there were 0 chain fast food stands available, which lead to people having very few options besides trying traditional Porto dishes and sandwiches prepared by some of the nicest restaurants in town (Conga’s bifanas, Lado B’s francesinhas and, of course, Guedes’ pernil). The only festival I’ve been where dinner time needs his own slot on the timetable just like any band. 

FKA Twigs. Photo by Miguel Oliveira [Point and Shoot]

FKA Twigs. Such overproduced and carefully crafted songs, regularly accompanied by visual stimuli (check out her music videos) need more visuals when translated to a stage environment; they ask an experience instead of a regular concert. Twigs’ voice is stellar live, but her music is clearly unsuited for daytime in a festival – probably unsuited for a stage at all, but we’ll give her the benefit of the doubt.

Interpol. [There are more people clapping on that backdrop than when they first left the stage. Poor guys.] Photo by Hugo Lima [NOS Primavera Sound]

Interpol. Or the shadow of the amazing band Interpol once was. Paul Banks’ 2015 voice is frankly below average, and, even with a competent band behind him, he managed to ruin a show with an almost impeccable setlist (maybe better than the first two times I saw them back in 2007). Sure, timeless classics like “Take You On A Cruise”, “Slow Hands”, “PDA” were sung by many old fans, “The New” and “Pioneer to the Falls” are still two of the best songs of the 00s, but show opener “Say Hello to the Angels”, “Evil” or “Leif Eriksen”, in the early stages of the concert, were thrashed by Banks’ flameless voice. Once they were done with the weaker El Pintor songs the show got slightly better, but the least asked for encore I’ve ever seen in a festival setting (seriously, it was depressing) was a complete disaster: “Untitled” is probably the weakest song off the first two albums, “Stella Was a Diver and She Was Always Down” was never interesting live and I had to walk off the concert in the middle of the show closer “All the Rage Back Home”. You simply don’t put a close on your “greatest hits” concert, made to appeal to people who loved you ten years ago, with a song from your uninteresting last record. Interpol, please go back to room 2005 and throw the key off the balcony. Rest in peace, like my memories of them will.

The Juan Maclean. Photo by Hugo Lima [NOS Primavera Sound]

The Juan Maclean. Speaking of the mid-to-late-00s, The Juan Maclean sound like they never quitted that era. Electropop with female vocals? Ok, nothing new to see here. They certainly aren’t the most interesting band on Earth, but at least they seemed to be enjoying themselves on the stage – and so were everyone around us by the middle of the concert, especially those drug-fuelled tourists right next to the drinks stand on the right side of the Superbock stage. All in all, a very fun way to make everyone forget about the disaster witnessed just a few minutes ago.

But the only truly magical moment of the night came from Caribou. For about a hour and a half, Dan Snaith and the rest of the crew took care of us all. Putting his last album Our Love on center stage, starting with ”Our Love” and the fabulous “Mars”, the result was an unforgettable aural and visual show – admittingly with some least interesting building-up moments mid-concert that, although technically incredible, felt somewhat out of place on a late night show – that ended on ecstasy with a wonderful sequence that included Swim’s “Jamelia”, “Odessa”, the magnificent closer “Sun” and last years’s most infectuous tune, “Can’t Do Without You”.

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Review: INDOURO FEST, 2-3 May 2015

How to arrange a proper music festival 101 in 5 easy steps:

1.       Bring quality bands to your event

2.       Delineate a theme, music style or common ground to these bands

3.       In case of different attractions like the surrounding environment, other art events and fun stuff, reassure if worthwhile or unnecessary.

4.       Respect your brand, but also believe in it and don’t be afraid being a bit flamboyant promoting it

5.       Pray for good weather!

This should be enough to a great music festival, and INDOURO FEST seemed to follow these steps, although I’d like to see a bit more branding on Serra do Pilar, hence the 4thpoint; and if you’re about to call me a “capitalist marketer”, I’m just saying: an Indouro porch would be nicer than a Super Bock one.

Also, the fifth obviously failed, welcome to the North, folks. However, the worst was yet to come, as two of the most expected bands didn’t. Thanks to the TAP pilots’ strike, Clinic and Toy couldn’t make it on time to their shows, leaving Indouro to reorganize its schedule, as there were no actual replacements for those. This, and also seriously, would an awning for the audience to be rain-free be too much to ask, since the fact that a bit more than a hundred people showed up in the 2nd and 3rd of May, resulted in Indouro missing the 6th step of arranging a music festival: be prepared for anything.

DAY ONE – 2ND MAY

But enough criticism, because for what really matters, Indouro gave it to us: great concerts. And if The Lost Rivers (starting a bit late due to filling up Clinic’s spot) were somewhat, well, lost in their power trio wall of sound, Electric Litany gave us the great start for the festival. Nevertheless, kudos to TLR and their 10 minute-mark jam of a final.

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Electric Litany. Credits: Francisco Vaz (Omessa Magazine)

At the first look, Electric Litany shares the same feature sound of modern indie rockers acts like Wild Beasts or Editors, and there’s nothing wrong with that. Also, nothing interesting, so why they differ? Maybe because of their sudden silences in mid-song followed by crescendo, perpetuating an improved and more instrumental version of the song, or also the fine guitar reverb built in cahoots with the unfading synths, as the rhythm section dictates if it’s time to wither or explode. Great band chemistry and great performance, showing why “immigrant” acts (frontman Alexandros Miaris is Greek) may be an improvement to older hometown selves.

Next were The Limiñanas, also showing how multiculturalism can improve things. Native French, English, Italian, be it: they sing it. Obviously inspired in Serge Gainsbourg’s secular pop, don’t expect much more than on-beat drums, a repetitive organ riff and incessant guitars while the feminine try not-much-to-sing-as-to-speak-but-end-up-in-singing-anyway. Let’s face it, it’s an easy way to make a melody, but you can’t go wrong. And although it felt like it missed some aggression and change, Limiñanas sure were competent. Can’t lie, would be much more enjoyable if it hadn’t start to rain.

Yes, of course the rain contributes to the outcome of one’s “enjoyability” of a concert. Even if you’re impermeable up to your sleeves with your best raincoat and wellington boots, it still can annoy you and your constant trickling wet face. But who said it can’t have positive influence as well? Tristesse Contemporaine (translating to Contemporary Sadness in English) turned something bad as an eleven hour wait to a flight (courtesy of TAP pilots’ strike) only to play during rain in something no other than galvanizing, thought-provoking dancing minimal electro pop. Truth be told, frontman rapper Michael Giffs knew how to turn around the audience, giving them some words and appreciating the acclaim back, other than saying “thank you” and moving on. Trust me, I for one do not give an ass if an artist is communicative or not, in most cases I appreciate the ones who aren’t, given their related music performance vibe. But then there are occasions like this when people are watching you while raining, here you can really thank their support/endurance, because that’s dedication, and also because it fuels them up to continue. Not only was that the case, but also Tristesse’s fitting urban depressive sound came together to make this concert one of Indouro’s memorable moments.

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Tristesse Contemporaine. Credits: Francisco Vaz (Omessa Magazine)

Speaking of personal disposal, The Lucid Dream sure are great shoegazers, and again, quite incredible amount of noise for a trio, but I wasn’t in the mood for no introduction nor conclusion, just middle fuzzy rock tunes. Still, in overall, much more structured and better quality output than the previous rock trio The Lost Rivers. I’m sure given a second chance I’d enjoy better The Lucid Dream, although not so sure if I’d understand the spokesman guitarist’s strong British accent.

The day had been long, Clinic was missing and White Haus being the most setup complex band of the day, their soundcheck took a bit while. Reasons why João Vieira urged to start his concert as soon as possible and why even fewer people were enjoying another stiff and jig electronic performance of his and theirs partners in dance. At least it stopped raining, giving us some rest from the first day of the festival.

DAY TWO – 3RD MAY

If in the day before there was some doubt on whether it would be raining or not, there wasn’t on the second and last day of Indouro. It rained all day!

Possibly the only positive aspect of Toy’s cancellation, at least you’d spend fewer hours at the festival, with fewer bands and an earlier headline. And given this strategy of spending the fewer hours possible at rain, here’s how I arrived promptly in time to one of my Indouro’s favorites, Yuck.

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Yuck. Credits: Francisco Vaz (Omessa Magazine)

With a new frontman for their second album, following the depart of original member Daniel Blumberg, the green raincoat superhero sure knew how to tease the public (“Fuck Lisbon”, “Just kidding”). As for the Yuck trademark sound, it teases itself, being the most youthful, revival 90s cool rock of the bunch. Playing their older songs switching the vocalist here and there but keeping the core of the song, gliding in their current ones (even originating a mosh during “Middle Sea”, who would’ve thought), the best was saved for last, playing two new songs from the upcoming third LP ­– at first listening, I’d say they’re trying to be less one-tone for song, but it’s a Yuck still – and, as it’s being usual, “Operation” rocking the fuck out of Serra do Pilar. Rock‘n’Roll is alive and well, it’s only a question of where can you find it.

Lola Colt is a sextet band composed by equal parts of male and female performers and this simple explanation/fact might help you find out why their sound is so rich, complete and loud. Music directly taken from any OST you can think of, their abrasive reverbed guitars, the tambourines louder than drums, psychedelic keys, the impeccable roaring voice of the female singer… all of this to a fantastic combo with the power to make the venue rumble. Seriously, I remember a section of a song with all their parts reaching a climax louder than any other act passing by during all Indouro Fest. Formidable.

Without Toy to continue this quality run of concerts, Malcontent gave their best to support this wave of satisfied ears, but any wave they’d create it would bump against the Northern Sea strength of British Sea Power.

Talking about ending in style! British Sea Power presented us with this strong five of a female violinist accompanying frontman Yan and the guys on guitars, bass and drums, enchanting us through the everlasting rain drawn in the blasting lights from the stage, turning away our attention from the tiny slideshow at the center of the stage. The longing strings charged with the upbeats of the drums surrounded in melancholy uplifted us to stratospheric levels of coziness in heart, from the great start with “Machineries of Joy” to slow-paced “A Light Above Descending“, right before the fully charged anthem “Waving Flags”, driving us to the great fest of infuriating rock of a final, while the band cheered us with a beer up high in between song. What cool guys. What a finish. And what concert to premier BSP in Portuguese territory. Lucky who got to witness this, and lucky Indouro to be associated with such moment. Let’s hope for future editions, better weather and fewer cancellations. Here’s the setlist as well for the concert, although at the end they went in a hurry and missed a few tracks. Come again!

– BSC

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Bandas com Wulf no nome

Kylesa + Lazer/Wulf. Hard Club, Porto, June 22nd 2014

I have to start this review by stating that I only went to see Kylesa for old times’ sake, having heard absolutely nothing they’ve released after 2006’s excellent Time Will Fuse Its Worth, back then when I used to think The Mars Volta was the best band on Earth and spent too much time – that I will never ever ever ever get back – listening to Tool records.

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Día de la Música 2013 review

First of all, my apologies to those who were more anxious regarding our review on Día de la Música, the event that took place at Matadero Madrid, outdoors, past June 21st and 22nd. It has been a rather busy month. Srsly. And secondly… well I have to admit that there isn’t much to say about it. It wasn’t bad, I had a good time (as in it was fun), although good company always helps in that field (:3). But, with no further delay, here are the highlights of this light and low-cost (this you’ve gotta hand ‘em) urban festival – VERANIEGO!

In the first day there was plenty of people. It was so cheap, and Spaniards have such a huge love for music made-in-Spain. Even when it’s not that good, like awful Lori Meyers (I only heard ‘em slightly, but everybody seemed to enjoy it; even on the queue to take a piss there was this guy who approached a friend of mine and I to be outraged acknowledging our dislike for that act), or when it’s better, like Hola a Todo el Mundo. And then there was one of the most acclaimed indie acts of 2013, Autre Ne Veut, which I wasn’t able to watch as I was having a delicious stake in Madrid on some sort of celebration (not gonna get into details, soz). Oh, and The Horrors was, in a scaring way, quite bad, adding ugly illumination and stuff like that. Had to left before the end, not without ordering an expensive gin and tonic – told you, it was a celebration! Meh…

Fortunately, there was yet to happen a second day saved by, and I’m starting by the very end, Disclosure. I thought I disliked them, by hearing their LP a couple of times, plus that catchy single (RIGHT? AND IT STARTS TO SPREAD?), but c’mon, what a fucking party, gals and guys, geee! 9.0/10, to say the least. Oh, and Darkstar with some beer before those tapas and always very pleasant conversations was cool and gave me a good profile pic for me [sic] fcbk page. Finally, this review wouldn’t be “complete” – will never be without the quotation marks, as I lacked the interest to watch the other unknown or dislikeable names in the line-up – without the amazing performance of Waxahatchee: she was (is) cute, her band played nicely, her songs are sweet, the “““crowd””” (lol, three people) was the best, and then that beautiful cover of “Knocking on Heaven’s Door”…

Sure, I missed Spiritualized, but for that price, it’s pointless to regret going, or to complain about it too much. It was what it was: okay. Let’s wait and see what these guys will do next year. They had already had great acts. I can only wish them luck!

-RC