Georgia and Amy TitleIt’s been a couple of years since we last visited Birthdays in Dalston, so it was good to get an invite for the monthly Amazing Radio/Robomagic F.T.F.H. (Finding the Female Headliners) night. It’s a simple concept; all of the bands playing are either female-fronted or completely female, and if this is a typical line-up, then it’s worth making the effort to get the Overground out to Dalston Kingsland once a month. If you don’t live in London, don’t worry; I suspect this particular franchise might be making its way around the country soon. This month’s bill featured bands from Leeds, Stockholm and London, so it’s not just a parochial London thing.

Opening the bill, Actor (from Leeds) featured the stunning voice of Louisa Osborn against a backdrop of shimmering guitars and big drums. The songs are strong and the smallish audience warmed immediately to Louisa’s warm stage presence, but her incredibly powerful voice is the focal point of the set. A great start to the night and the bar was already pretty high for the remaining bands.

Dolores Haze (from Stockholm) brought along their own very vocal and very lively fans (probably not from Stockholm) and added another dimension to the evening with a slightly shambolic, spiky set of songs that alternated between thrash, angular and atonal guitar parts and faux-naif B52s style pop. If you threw The Cardigans, Television and Fuzzbox into a blender, then it might sound something like Dolores Haze. Music or performance art; you decide. Their fans certainly loved it and you definitely couldn’t ignore it.

So, on to the headliners, Nova Twins. Amy Love (guitar/vocal) and Georgia South (bass/backing vocals) have just released their first single, “Bassline Bitch” on Rob Hallett’s Robomagic label (reviewed by MusicRiot a couple of weeks ago) and we couldn’t wait for the chance to see them live; it’s fair to say they didn’t disappoint.

In a live setting, Amy and Georgia are the real deal. This isn’t some manufactured image backed up by session musicians; they can both play live and with the addition of drums, they have a huge sound. Georgia’s raw, visceral and melodic basslines are a thumping backdrop for Amy’s guitar, vocals and raps. It’s a fusion of metal, hip-hop and melody that’s almost impossible to resist and it’s delivered with style and assurance. They’ve got the material as well; the set included “Dirty Stop Out”, “Kiss”, Play Fair” and “Hit List” as well as the obligatory “Bassline Bitch” and they all sounded the business. Even the inevitable technical difficulties didn’t faze them; a failed bass lead was just a chance to have a bit of chat with the audience before blasting back into the set again. I think we might be hearing a lot more of Nova Twins.

So it’s a big thumbs up to Amazing Radio and Robomagic for the concept and an even bigger thumbs up to the bands for three great sets.

 

 

 

 

Annabelle Chvostek - 'Be The Media' - TitleIf you’re after an album that’s safe and unpredictable and you know exactly what’s coming next, then “Be the Media” is definitely not the album for you. Annabelle Chvostek’s fifth solo album moves away from the folky sound of her two previous albums “Rise” and “Resilience” to a sound that is lo-fi and embraces styles from indie thrash to psychedelia with several stops and detours on the way. It’s fair to say that with this album, you never know what’s coming next. Annabelle’s roots are in Canada, which may go some way to explaining the affinity to and parallels with Neil Young, who’s also had the odd change of direction along the way.

The album is built around live-band recordings with some overdubs added later and the raw, Stooges-like, power of the title song gives some idea of the direction the album’s taking, but there are still plenty of surprises to come. “Jerusalem” is mournful lyrically and musically with the added melancholy of some Middle-Eastern violin to season the mixture. “Black Hole” sets the controls for the heart of the sun with the simple, if bleak, message that we’re all irrelevant compared to the vastness of the universe, delivered over a soundscape that’s part early Pink Floyd and part Neil Young’s “Like a Hurricane”; it’s certainly dramatic. “This Night” is the closest the album comes to a love song, if you count ‘Your hand is the hand I hold to jump out of the burning tower’ as a lyric. Powerful yes: cheerful no.

“Carnal Delights” is the perfect example of the albums’s twist and turns. From a doom-laden minor key verse, the song bursts into chorus in 3/4 time that’s straight out of a sleazy 1930s cabaret routine; and yes, that is someone playing a saw (Lisa Gamble, actually). It’s an odd one, but the contrast works perfectly. “You Can Come Now” is probably closest to Annabelle’s earlier work with gentle electric guitar and a vocal that isn’t pushing at the edges her voice’s power; it’s very different from the songs it’s surrounded by. As if to cement the Shakey connection, there’s a stripped-back cover of “Like a Hurricane” featuring mainly mandolin and piano with a touch of guitar. It’s very different and it works.

“Inside the Scream/Screen” returns to the spiky guitars and claustrophobic technophobia of the title track before another change of pace to “Say it Right” which has a hint of Television-styled guitars and the album’s only example of swearing; one use of ‘fucking’ for emphasis and a bit of shock value is so much more powerful than using it in every sentence.

So Annabelle Chvostek, Tony Spina (drums), Jérémie Jones (bass and organ), Lisa Gamble (saw and backing vocals), Jordi Rosen (backing vocals), and co-producer Jeff Oehler have created a piece of work that moves from menacing to mournful to manic but never loses its grip on your attention; you may not know what’s round the corner, but you can bet it’s going to be worth hearing.

“Be the Media” is released on June 1 on MQGV (ABC123).