brainwashed

  • Increase font size
  • Default font size
  • Decrease font size

Githead, 25 September 2005, The Sugar Club, Dublin

What surprised me most about Githead was how light hearted they were. Sure their name should hint at some sort of humour but their studio work has a seriousness about it that made me imagine four people on stage staring at their shoes. Thankfully what I found was a friendly, funny band that interacted warmly with the slightly anaemic looking audience.



The underground supergroup (consisting of Wire’s Colin Newman and Robin Rimbaud a.k.a. Scanner on guitars and Malka Spigel and Max Franken from Minimal Compact on bass and drums respectively) is on their longest tour yet with a stint around Europe.


Support for their Irish show was provided by the Dublin band Crumb. To me they sounded quite dated, they’re obviously influenced by the meeker British indie rock of the eighties. They had no real presence on stage. They would have passed for entertaining if not for the guitarist’s terrible tone, he had the treble turned up so high that everything he played was masked by a grating high pitched noise. This is a shame because from looking at his fingerwork he had a nice technique.

Githead launched into the instrumental track “Antiphon” from their Profile album. Spigel’s bass was the most prominent part of this song and indeed most of the set. Her tight, fluid playing drove the band all evening, except for “My LCA (Little Box of Magic)” where Newman played bass and Spigel took to the mic and guitar. Counter to this strong bass presence, both Newman and Rimbaud set up a rhythmical shimmer of guitar. At times their playing blended together as they weaved in and out of each others’ riffs. Rimbaud looked very comfortable with his instrument considering he’s best known for twiddling knobs. In fact, the highlight of my evening was his playing during the final song “Raining Down” (another Spigel vocal moment) where not only did it sound good but the poses he pulled were very entertaining. Another memorable moment was “To Have and To Hold,” which sounds tremendous live. Newman’s whispered vocals were just audible enough over the band. The addition of Franken’s live drumming to the pre-recorded drum machine beat fleshed the track out into a truly memorable performance.

With any luck Githead will make a return to Irish shores sometime soon.


 

The Eye: Video of the Day

Do Make Say Think

YouTube Video


read more >>>

Review of the Day

aphex twin, "26 mixes for cash"
Warp
One of the better 1990s music trends was when the remix truly evolved into an art form. Artists like Meat Beat Manifesto, The Orb, and Autechre were some of the first who not only transformed a song into something almost completely new, but left their mark with a distinguishable sound that made the new version identifiably their own. While Richard D. James tended to follow more of the music trends than lead them (whether it was techno, ambient, drum and bass, breakcore or whatever terms hipsters, IDM listees, and record stores were coming up with that month) he excelled in the craft of transformation. A large percentage of Aphex Twin's popularity rose because of the remixes he did for then-popular worldwide acts like Nine Inch Nails, Jesus Jones, and Curve. (Another large percentage might arguably be chalked up to advertisement music, be on the lookout for 15 Ad Themes for Cash soon!) People bought 12" singles and CD singles in the early-mid 1990s because anything that had Aphex Twin printed on it was usually a sign of quality, and, no matter how little the original artist was liked, the remix would satisfy. 26 Mixes collects some of the more popular remixes along with some unreleased and scarely printed songs, arranged on two discs, with disc one containing more of the quiet stuff and disc two containing more of the beat-saturated loud stuff. It's an excellent document for those who aren't willing to pay high prices for things like the super-limited noodly Philip Glass/David Bowie track, are too embarassed to own a Jesus Jones record in their collection, or have absolutely no clue who Nav Katze, Mescalinum United, or Die Fantastischen Vier are and where to find them. It's not chronoligically arranged, but through the magic of programmable discs, the evolution can be charted, from the bashful, timid, faceless-era Richard D. James of 1990-92 through the "I have a bloody tank"-era Richard D. James of 2001. Fans will delight in the inclusion of two unreleased remixes: one from Selected Ambient Works 2 and a remix of Windowlicker (although shockingly not the one by V/Vm), but that Beck remix just didn't make cut. Maybe next time, Becky.

samples:


read more >>>

Login Form


tgcd24-seal.jpg

Search


http://soundcloud.combrainwashedcom


Donate towards our web hosting bill!
Shop
		at the iTunes store