PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
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Music reviews with Attila the Stockbroker
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
Full of mysterious religious references and radical sound design, the Scottish duo’s new offering is candidate for album of the year, suggests SIMON DUFF
MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
TWO live gigs in 2015 stood out for me. I was at one, and would have so loved to be on the guest list for the other. They were both by the mighty and often misunderstood industrial/experimental/orchestral/punk visionaries Laibach.
I saw them in Brighton earlier in the year on a cold, wet Monday night and was transfixed by the sheer power of their presence — sweeping, anthemic and dominating, both visually and aurally. There really is no-one like them. Gig as motivational political rally. Check out their latest album Spectre at laibach.org.
Then in August they performed in Pyongyang, announced as the first musicians from our subculture — in the widest possible sense of the word — to perform in North Korea. They weren’t, actually. My mate Steve from the Newtown Neurotics was, at the World Festival of Youth and Students in 1989, standing in for yours truly who was touring Canada. But let’s not split hairs here.
I saw footage of interviews with a member of the audience and when asked what she thought of Laibach’s performance, which among other things included some unique deconstructions of many of the songs from The Sound of Music, she said: “I wasn’t aware that such music existed in the world. Now I am.” Possibly the finest ever example of North Korean diplomacy. Laibach and enjoy it, Pyongyang, indeed.
Newtown Neurotics have just released a brilliant live album Triumph over Adversity which captures the energy and impact of their music — and Steve’s passionate and still relevant words — at a gig in west London nearly 30 years ago. And they are back on the road next year, details at neurotics.org.
Among the new breed, there are plenty of young, strong, loud women performers emerging this year. Efa Supertramp is a bilingual Welsh singer-songwriter with a great new album Rhyddid Yw Y Freuddwyd (Freedom is the Dream) out now on the Afiach label, facebook.com/EfaSupertramp.
The Tuts are an all-girl shouty three piece from Hayes (or ’ayes as they call it) with the attitude — and many of the riffs — of the Clash and you can’t say much better than that. They’ve got a new EP out now, facebook.com/thetuts.
The Wimmins’ Institute have been raved about in these pages already but their debut album Badass Lady Power Picnic, facebook.com/theWimminsInstitute really is shockingly good, although it should actually have been called Jammin’ in Jerusalem of course. They should be adopted as mascots by the real WI as it attempts perestroika into the 21st century.
Best music news of 2015 was that The King Blues, the finest band half my age I’ve ever seen, are re-forming. Worst news was the closure of The Square in Harlow, a fantastic and unique venue in a town where it is so needed. Shame on the council for not supporting it.
Just a few thoughts from a year, as ever, spent in music and words. Beery Clashmas everyone!
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