Cool Manchester

My Bloody Valentine - m b v (review)

By Mick Aneworderfan

I was 18 years old when My Bloody Valentine's Loveless came out. Back then, it just looked like music would have kept moving on in a constant progress. It just seemed natural: in 1979 Joy Division, 1983 The Smiths, 1987 Pixies, 1989 My Bloody Valentine.. it was just a matter of waiting to hear the next giant step forward... but after Loveless something went horribly wrong, at least for guitar music. It was just like the utter limit of evolution had been reached, and there was just nothing else to invent. The Americans started looking back with grunge, basically a watered down version of the Pixies for people to cool to lock themselves in the bedroom listening to their father's Led Zeppelin records. In Britain it got even worse. Blur's Modern Life Is Rubbish was the manifesto of a generation who was tired of experimenting and just wanted to have a good time. While nobody dared to say anything bad about My Bloody Valentine, all the other shoe gazing bands were subject to derision and were swept away by the reactionary tedious tide of Britpop, people so un-cool they wanted to sound exactly like the bands their parents heard at their same age. Music has never recovered since then, basically all the innovative energy was channelled into electronic and dance music, but nobody has ever dared doing anything innovative in guitar music, which became just bland and safe, or an imitation of former glories. My Bloody Valentine signed to Island Records, but the follow up to Loveless hasn't ever been completed in a sorry decline of paranoia which just meant a lot of money wasted.

In these last few years the band reunited to tour, but it was pretty understandable that nobody believed leader Kevin Shields when he said a record was about to be completed.
Well, it was! And it is amazingly excellent too. The ironic thing is My Bloody Valentine just sound like would have in the mid 90s, little or no changes are made to the formula, and yet they sound supernatural, and like coming from the future, for the simple fact nobody has ever dared to go further than them. So, by sounding like themselves 20 years ago, they just sound fresh and innovative, and a chord of theirs is enough to bury all the guitar bands of the last 20 years under their total insignificance. Any guitar record released between Loveless and "m b v" (that's how it must be written, and the song titles in lower case too) sounds now absolutely meaningless, like something just been made to entertain us in the meanwhile, but without any true ambition. The ambition is all here, in "m b v". My Bloody Valentine wanted to return with a masterpiece, and they did. The songs have amazing sounds and emotional melodies, nobody could have predicted such a return to form.

One might expect if Kevin Shields hasn't had nothing to say for the last 20 years, maybe he has just lost his inspiration and this new album would just sound weak, but it doesn't, it sounds like the record they should have released 20 years ago to save the music scene and just expose the Britpop retards for what they were. This is clear from the emotional start of She Found Now (oh, I'll use capital letters for titles after all), but it becomes definite and absolute by the second track, Only Tomorrow, a simple melody which might as well be a nursery rhyme performed with such a sheer perversion your mind starts tripping with no drugs. By the triumphant guitar finale, those few simple notes played with that passion show clearly the genius is back and ready to teach you once again how music can be made when you have true talent. Who Sees You, heavy sound and sublime tune, might as well be your favourite song on Isn't Anything or Loveless.

Unexpectedly, a psychedelic keyboard dominates Is This And Yes, as ethereal and sublime as the best guitar shoe gazing can be. If I Am sounds like a delicate interlude leading us to another small surprise: New You is as pop as My Bloody Valentine can be and in a fair world would be a hit single for weeks on heavy rotation on daytime radio. In Another Way is probably the best song of the album, the guitars are devastating like a hurricane and the acid melody is mind blowing, just when you think it's as good as it gets here's a solemn keyboard making it maybe the most beautiful My Bloody Valentine song ever, just what we've been waiting for these 22 years. There's more magic in "m b v": the heavy frenzy of Nothing Is light speeds us to the noise annichilation of the closing Wonder 2, a YouTube user commented "it's like surfing on a Boeing", and how appropriate. I just hope another user is wrong when he says "The sound of Kevin taking off on his spaceship for another 20 years".

Gabrielles Wish 20th Anniversary Review

By Rob Haynes

It’s been a long and far from straightforward journey for Gabrielles Wish, and twenty years on from their inception their four studio albums are being re-released, capturing key points in a complex history. They were uncovered and championed by Manchester scene legend Rob Gretton, and what was planned to be their debut album, Processed (produced by Martin Hannett’s right-hand man Chris Nagle in 1997) fell into limbo upon Gretton’s death. Its belated CD release finally came in 2010.

The band’s early sound was based around the huge grinding bass lines of Darren Moran, like a scabrous Peter Hook, over which vocalist Robert Corless barked nowty North Manchester litanies amid a blizzard of Paul Ryan’s guitar and Paps’ Hawkwind-like splashes of keyboards and samples, nailed down by the thumping drums of Nick Harris.

Tracks like Manhole and Guppy churn out layers of dense noise, creating the kind of psych-rock whirlwind that these days is practiced by fellow Mancunians Gnod. Like all bands starting out, their initial influences were plain, a DNA splice from the coolest bands in their native city. Joy Division / New Order comparisons would never be far away, and Corless’s accent and attitude made comparisons to Shaun Ryder inevitable. Tracks like Always Absent conjures the inevitable spectre of The Fall, a band with whom GW would go on to share many a bill. Nevertheless, Processed was worth a release in its own right, although by the time the world finally got to hear it, the band’s sound had moved on considerably.

While Processed lay in the vaults the band would have to wait until 2003 to make their studio CD debut (1997’s Live and Bobbins was a cassette-only release sold at gigs). When it finally arrived, Portal was a far sleeker, polished creature. A crisp, professional production from Mark Burgess collaborator Yves Altana was matched by considerable musical progress on the band’s part, notably the introduction of the lithe, fluid drumming of new recruit Bo Walsh. Blue Skies is a confident, anthemic opener with Moran’s bubbling bass propelling along underneath a wash of synths, recalling the epic surge of Chameleons.

Vinegar Milk almost nudges pop territory, admittedly from a somewhat lairy angle; Dateless Wonder spreads Corless’ Manc snarl over an urgent piece of bass-driven venom, while their growing confidence led to some unexpected experimentation. Orange Light is as moody and nocturnal as its title suggests, and the album closes on the Eno-esque calm ambience of Human Arms.

Portal was their definitive statement of arrival. After numerous false starts this was an assured and highly effective way to make a belated debut - and worth the wait.

By the time of 2006’s Reformer the band had undergone further change, with former Wonky Alice keyboard player Karen Leatham joining and the record being released on another new label, Small Adjustments.

The expanded musical palette that had opened on Portal was further explored here, although to less immediate effect. The brooding Claw is far from obvious choice for an album opener, even though it crunches up a gear for its finale. New York Girl has the swagger of old and a riff that grabs the listener by the scruff of the neck, but more often it’s the unexpected turns which capture the imagination - Say is like a dream fragment, a surprising and affecting slice of Durutti Column-ish whimsy. Optical One reveals further steps into ambient experimentation before exploding back into an unexpected horn-laden climax, and atmospheric closer Position Oldham St Manchester is an extended instrumental streaked with the sound of tyres on wet road surfaces which could have been a film soundtrack for a Northern film noir.

It’s a long distance from their psych-splurge beginnings for sure, and overall made for quite a difficult album - one which requires repeated plays to give up its undoubted rewards.

A mere year later Circa saw another personnel change with Steve Bunn replacing the longstanding Paul Ryan on guitar. The results were a grittier sound and more focused songs, perhaps in reaction to the previous record, perhaps simply due to the new blood in the band. Whatever the reason, the album opens with Cunning Stunts, as punchy a track as the band had recorded. Moran’s bass leads many of the songs although lying more democratically in the mix than the dominant sound of before.

If You Want or the impressive Into The City married the band’s musical advances with an assured songwriting confidence. It was a short album, with little of the extended experimentation of before - but it has to be said that this was to the record’s benefit.

Gabrielles Wish go into 2013 planning a new album but change would seem to be the only constant in the band, with Leatham and Walsh both recently departed. The future of this tenacious and enigmatic group remains ever unpredictable, but take this opportunity to savour their intriguing past.

Rob Haynes

Guest reviewer Rob Haynes is a freelance writer, formerly Art Editor at Big Issue, Robs music career has seen him play for Gold Blade, Inca Babies, Membranes and Boz Hayward.

To find more info on Gabrielles Wish check out their website at www.gabrielleswish.net

The Cornelius Crane - E.P Too

Review By Gary Lee

The Cornelius Crane are a three piece alt-country outfit hailing from Manchester. E.P Too takes us on a four song journey into English Americana, if you can imagine such a thing. They wear their influences on their collective sleeve with the words NEIL YOUNG very much bold, underlined and italicised. Shades of The White Stripes, Crosby, Stills and Nash and even a suggestion of (Manchester's Best Kept Secret™) I Am Kloot abound on this delightful little release.

First track 'Oklahoma and Me' is a jolly bit of four chord alt-country/blues. Simple, effective and with the guitar turned up to 'The White Stripes,' it sounds a bit like one of those TWS album tracks where they take themselves less seriously and start to have a bit of fun. But with better drumming, obviously.

Next up the bafflingly but, never-the-less brilliantly, titled 'They Sailed Like they Never Heard a Song'. It starts with a lovely bit of flair on the guitar, just an easy but great sounding slide of the finger up and down the fretboard, cool. In fact there's some very nice guitar playing going on in the background all the way through, subtle but effective. They introduce some female vocals into the mix too, it really works to boost the harmony a little. Possibly the strongest track on the E.P in this reviewers opinion.

'Don't Blame this Heart of Mine' opens with a harmonica straight from the throat of Neil Young himself. To be fair, the whole track is detrimentally heavily influenced by Mr Young. It's a good song, it really is, but you can't help but think "Heart of Gold" when you hear it and it's never good be as good as that, I mean, what is? However, it has a banjo which can never be a bad thing.

Closing song 'Pan and the Goat' is the slowest, most acoustic track on the E.P. Sweeping vocals implore "Would I shed a tear?" "I don't think so" comes the defiant answer.

On all four tracks the crisp production shines through adding the extra sheen that all good Americana should have, tying the E.P together and giving 'The Cornelius Crane' a 'sound' which sometimes takes bands years to find. They can obviously play too, which certainly helps their cause!

Visit the band on their Facebook page

2012 is nearly over, whatever people think it has certainly been memorable - especially when it comes to the music released this year. Here are my ten favourite songs:

10. Michael Kiwanuka - Home Again

The top ten starts with a song from the very beginning of the year. Mr Kiwanuka was names as the "one to watch" all over the press but sadly he hasn't really hit the big time yet with this song only making #29. If ever there was an argument though for chart positions not equating to quality this is it

9. Jason Mraz - I Won't Give Up

This ballad has been played not stop on the radio since its release and quite rightly so. If Westlife were still around its pretty much a guarantee that they would have covered this one with added key changes and over the top strings. Thank heavens for small mercies!

8. Owl City - Good Time

With a bit of help from Carly Rae Jepson, 2012 was the year that Owl City stopped becoming a one hit wonder and I'm so pleased it happened. Hopefully 2013 will be the year everybody else realises how brilliant this act is.

7.  fun. - Some Nights

The best band of the year. More on this later...

6.  Beyonce - Love On Top

I think it's fair to say that "4" was a bit rubbish, especially after her Beyonce's last album. Love On Top was easily the stand out track, catchy as hell and her best song since Crazy In Love. Let's hope we here more like this and less like Run The World from her on 2013.

5. John Legend - Tonight (Best You Ever Had) ft. Ludacris

While everyone rediscovered John Legend through The Voice overusing Ordinary People, this track got absolutely nowhere in the UK Charts this year but was a hit in the US. I hope at some point people over here realise how good it is and make it the huge hit it deserves to be.

4. Of Monsters and Men - Little Talks

The most remarkable thing about 2012 was the amount of very very good songs that never made it highly in the charts while the likes of Flo Rida and Chris Brown were having huge hits with substandard s*** [rant over.] Little Talks should have been huge.

3.  fun. - We Are Young

This song was massive practically everywhere else in the world before it hit number one in the UK nearly six months after it's release! I'm just very happy that the UK realised just how great it was eventually. The album "Some Nights" is full of songs as catchy as this one, fun. are easily the best band of 2012.

2. Gotye - Somebody That I Used To Know

This is the best selling song of the year after selling approximately 1,236,237,250,000,000 copies [I may be exaggerating!] Somebody That I Used To Know is a song that seems to have burrowed itself into my head and will not leave. Given that the song was released in January and is still selling well in the top 75 in December it seems that I'm not the only one under it's spell.

1. Kylie Minogue - Timebomb

What a year Kylie has had! 2012 for Kylie fans has been known as #k25 when Kylie has celebrated 25 years in the music industry and us fans have been spoilt with some amazing treats. She has performed at The Proms in the Park and the Diamond Jubilee, she had an "Anti Tour," a best of album, a monthly "Tweet to unlock" on Twitter, Holy Motors, a guest appearance at the Hit Factory anniversary concert and The Abbey Road Sessions. As well as all this she released Timebomb, a throbbing dance track with a stylish video to accompany it.  Kylie, I salute you!

Most people will probably disagree with the songs I have named here, but that's OK. These were my personal favourites and it has been seriously enjoyable listening to them [again and again] when I was making this list.

Merry Christmas to you all!

Manchester Pride, the UK’s leading Lesbian, Gay, Bisexual and Transgender (LGBT) community festival, has today announced a 2012 fundraising total of £52,000 for North West LGBT and HIV charities and revealed plans to overhaul next year’s festival.

The event, which is designed to celebrate and champion Manchester’s LGBT community through a series of events every August, also raises money for good causes although this year’s total is down by 50% on 2011.

Organisers attribute the drop to a combination of relentless rain over the Big Weekend in August, the bank holiday falling early and acts being confirmed later than usual which led to lower than normal attendance figures - all against the backdrop of a UK-wide decline of 20% in charitable giving.

“Bad weather cancelled many local and national festivals this year so whilst we’re disappointed not to have matched last year’s fundraising total I’m glad we were able to generate a profit for our charities, many of which rely on us to keep operating,” explained Manchester Pride Chief Executive, John Stewart.

“In its current format, Manchester Pride does a good job of fulfilling its objectives of celebrating and campaigning for LGBT people but as a charity we also need to significantly increase fundraising. We will achieve this by introducing new elements to Manchester Pride, looking to change those aspects that people who come don’t like and by examining how we can reduce our costs again in 2013. I’m confident that next year will see a much fresher festival and significantly more money going to charity.”

Organisers are keen to stress that Pride-goers will have a say in the changes. Community and online consultations that started in the Summer will continue next year as organisers begin to shape Manchester Pride 2013.

The popular Manchester Pride Fringe, which has taken place in the week prior to the Big Weekend, will eventually move in 2014 to become a summer arts festival staged around the city centre in addition to showcasing the best in LGBT arts and theatre talent. In 2013, the Fringe will be extended to run for two weeks prior to the Big Weekend so that people have more chance to enjoy it.

Also planned for 2013 is a new Manchester Pride Community Festival, a free to enter event in the Village which will take place in early Summer and bring together all of Manchester Pride’s charity partners to showcase their work and raise additional funds.

The popular, flamboyant parade through the city centre and the HIV vigil, both free to attend, will continue as part of the Big Weekend with the majority of the festival’s entertainment taking place as part of a paid-for event in the Village. Once inside, wristband holders are promised new undercover areas and more space in the outdoor main stage arena with fundraising activities playing a much more prominent role throughout the weekend.

Although changes are planned for 2013, organisers are committed to Manchester’s Gay Village remaining at its heart putting paid to rumours of a move to a festival park format.

John Stewart continues: “Manchester Pride is the only pride in the UK to consistently raise money but it needs to evolve if it is to continue to meet its aims. We hope that by spreading events through the year, adding new content to broaden our appeal and overhauling the Big Weekend festival site to bring some of the entertainment undercover will generate more money for charity and refresh the festival for the thousands of people who enjoy it every year.”