Youthmovie Soundtrack Strategies @ Leeds Festival 2005
By Luke Ramsden"Hello, we've got a wake-up call for a Mr. Ramsden here. Yes, a bunch of tracksuit wearing oiks are waiting for you on the main stage, they said something about your mother looking for a pianist?". Okay so that never happened but first port of call for Saturday was the multiple legged, wheelchair riding, chavtastic [c]rap machine that is the Goldie Lookin' Chain. If Morrissey happened to be standing next to me, I bet he'd be thinking 'this joke isn't funny anymore'. And unless you're 12 years old or intoxicated you'd have to agree with him. However, much of the audience was neither pre-pubescent nor legless (Friday night was quiet) yet everyone lapped up the immeasurably immature antics of Wales' 2nd longest running practical joke, beaten only by the claim Welsh is actually a real language. Seemingly more new than old material is unsheathed this morning. In turn this transforms the main stage into something more reminiscent of the comedy tent. Songs with punch lines? God-love the GLC as 10 odd thousand bleary eyed festival goers burst into laughter at the conclusion of the finale at the line "I'd be more worried about your brother, he's f**ing your mother". I've only just been stitched back up. You had to be there. The GLC have had to raise the audacity bar when it comes to lyrics and I think they may have just done it. If you are Morrissey, don't worry, it will all be over by Christmas.
Two brilliant examples of complicated, exciting geek rock came next over at the NME tent interspersed by some pikey 70's wannabe dungeness. The Blood Brothers aren't on form today, they rush through a schizophrenic set without pause for breath, mixing the 1 minute wonders with their 5 minute beauties in a confused pig trough of ideas and intents. The 3 joint lead vocal screeches mixed with intense instrument pounding, when done right, re-illuminates the fact the Blood Brothers can be awesome on their day but they fall a tad short this afternoon [6/10]. Less said about The Dead 60s [5/10] the better. 'Riot Radio' is the highlight of a set that never gets off the ground, but the crowd who seem to have arrived especially for the three scousers seem happy enough as they kindly evacuate straight afterwards to leave some gaps for stylish duo Death From Above 1979. The two man sonic noise machine fair better than The Blood Bros but still don't finish off the job just as they appear to have it all wrapped up. Drummer and vocalist Sebastien getting heads a nodding and feet a tapping but little more upon ultimate completion. 'Blood On Our Hands' is still a barnstorming near highlight of the day with its electro clash leanings. [7/10]
To the Carling Stage we ride to check out two potential big players in the indie-dance revival in 2005. The Blood Arm and We Are Scientists don't intend to disappoint and on this large platform, thankfully don't get stage fright. Not surprising as they contain two of the most confident and charismatic frontmen around. As The Blood Arm vocalist Nathaniel Fregoso attempts to chat up a female punter on the front row, he stops midline to burst into 'Do I Have Your Attention?' Jagger would be proud, Mick Hucknall too, probably. Turn your back for a second and he's gone. Stand confused. Turn around. OMG! He's climbing the tent pole! The crazy loon! A standing ovation later (granted, you don't have much choice) and The Blood Arm [7/10] vacate to be replaced by the brilliant We Are Scientists. If I had to place money on the next big things, these guys would be prime candidates. Sublime dance rock for club, gig, anywhere. Vocalist Keith Murray has enough about his voice to single him out as something special, there's nothing revolutionary about the instrumental side but when placed together with the lyrics and vocals it just turns out to be hideously catchy and enjoyable, more so than anything else on the market right now. Any of these songs could be released as a single and receive widespread acclaim. Tracks like self explanatory 'This Is A Hit,', 'The Great Escape' and trademark 'Nobody Moves, Nobody Gets Hurt' all brim with immense playability. No excuses, you should have been there. [9/10]
I still don't trust Bullet For My Valentine There's something not quite right about their brand, certainly not bland, take on metal. Maybe it's the hugely melodic vocals, or the hairstyles, or the laughably faux-metal song titles. Or maybe it's because as oppose to last time when they rocked serious face supporting Funeral For A Friend, I distanced myself from the alter of metal and those that worship at it. Conclusion: You can't just nod along to BFMV and enjoy, you have to get stuck into them like Bruce Dickinson would to a fine pair of leather jeans. The carnage down the front appears to have not bean beat throughout the weekend though so BFMV should be credited with that acclaim. After a Best British Newcomer Kerrang award and these successful appearances, Bullet For My Valentines star is rising at a tremendous rate. You'll have to prise those devil horns apart.
The Cooper Temple Clause have never been famed for their live show histrionics and lead vocalist Ben Gautrey seems as bored and rooted to the spot as ever but luckily for him the light show and sound is fucking mind-blowing tonight and more than distract from the charismatically void frontman. The tempestuous orgasmic illuminations during 'Panzer Attack' would be enough to flaw a whole army of epilepsy sufferers in one fell swoop. Terrific. Cooper Temple Clause are the sole reason my ears have been ringing since the weekend. 'Promises, Promises', new single 'Damage' and before mentioned 'Panzer Attack' being particular hostile to the earlobe region. I'd hate them if it didn't sound so damm good. Another point of interest is the fact the band must have swapped instruments about half a dozen times each throughout the set. A talented if not visually pleasing group of musicians they definitely are. The new material on first listen doesn't sound as hookful as the classics from debut 'See This Through And Leave' but they all still fit into the defined brackets of fizzling rampage over growled vocals or slow, atmospheric building into sonic explosion of noise. Signs look good even if 2-3 meander off unnecessarily. Unfortunately those wiry TCTC fellas seem wise to what could potentially happen come 8pm and seem to purposely hold off playing 'Filmmaker' and 'Who Needs Enemies?' till the very end (if ever, anyone know if they eventually did?). Their evil scheme didn't work though as a minor exodus in the direction of the Main Stage proves. Regrettable ending but still excellent performance. [8/10]
The Killers ahoy! Final preparations take place on stage as a suitable viewpoint is established. You know, just in case frontman Brendon Flowers doesn't just stand at the front in a suit, looking forlorn (naturally, he inevitably does just that). What follows is a bout of one hour long Killers karaoke. You could have plonked 50k people in a field and played 'Hot Fuss' for the same effect. Little else could have been expected I guess but surely something might have been done to liven up proceedings. Gamely every line is sung back at the poof-ily named vocalist as he yawns his way through the hits he's relayed a billion times since The Killers timely explosion last year. Nothing at fault, nothing overly exciting. Perhaps that's a little unfair. Because principally Killers' material is absolutely sublime, unmatchable pop music. It's what all pop music should sound like. Maybe that's why live, it sounds so tame. The 4 singles have been heard so many times it's reached near levels of unbearable magnitude, but as a live Killers virgin it was nice to finally close that chapter of Las Vegas pop history. The new song isn't worth mentioning at this stage, the usual immediate Killers charm not seeming all too visible on this occasion. B-side 'Under The Gun' contends for the highlight position, as well as the awesome 'Midnight Show' but 'All These Things That I Have Done' is the climax with the 'you know which part I mean' 'Soldier' bop causing tens of thousands to deny their military ties. You get the impression the whole crowd knows what's going on here. This is all very nice and we get to sing one of the best albums of last year out in the open as oppose to the shower but ultimately this ain't one to tell your grandkids about. The most uninteresting band in the world that happen to write great pop tunes? That's The Killers. [7/10]
Forget about Pixies, fucking fuck Kasabian. The Comedy tent was where it was at Saturday night. 3 words - Youthmovie Soundtrack Strategies. Having missed 65Daysofstatic & Saul Williams at the expense of The Killers it was time to indulge in some proper, talented, emotion inspiring music. YSS are leading the way in terms of the UK for this guitar laden, landscape creating, primarily instrumental music. And unlike the international super heavyweights of Explosions In The Sky, Pelican et co. Youthmovie Soundtrack Strategies even have a dose of vocals thrown in for good measure. This is insanely good. But obviously as you actually have to open your mind and think a little, the rabble thankfully steered clear. Hence, a sparse, if passionate crowd are gathered to witness the perfect antidote to some of the dirge that must have been pedalled at the festival today. The perfect come up or come down (depending on how the rest of your Saturday night was
planned) was provided. An apt, if unlikely highlight of the day. [9/10]
