Artwork by Alex Wynne. All photo’s by Peter Rea
– CAMP AND FURNACE, LIVERPOOL –
Headliners Super Furry Animals and The Horrors merely scratch the surface of the psychedelic universe; there’s a wide range of sub-genre’s that cross-breed and intermingle, spawning a hugely diverse array of artists and musicians that unite under a common crusade, for escapism. From minimal electro, shoegaze, kitsch pop and the spiritual; to doom goth, Krautrock, punk rock and garage and everything in-between, the acts here have travelled from every continent – it would be easy to build a roster full of big names from The States, but that’s not what this is about. For the 5th year, it’s time to surrender ourselves to the very capable and far-reaching hands of the festival’s curators, under the instruction to “Love and enjoy each other”.
Friday, early afternoon – the punters gather in numbers outside the gate waiting to rush in and catch the first bands. The street has been cordoned off around this row of factory units, which are just a stone’s throw from Liverpool Docks, and the commercial centre of the city. A wide variety of food is available from the many street vendors, there’s a shop in the gallery so you can purchase vinyl or t-shirts from the band that you’ve just witnessed, and there’s a trippy Virtual Reality experience in the ‘PRZYM’ chillout area. Projected abstract and colourful images from Inner Strings supply most of the indoor lighting, creating a snug and inspiring environment to hang out in.
Simply wandering between the Camp, Furnace, Blade and District stages gives me a buzz – muted pounding drums and basslines filter through the walls drawing you towards the darkened space of origin with the promise that what lies in store is, most probably, my kind of thing.
Lorelle Meets The Obsolete
Mexican shoegaze garage rockers Lorelle Meets The Obsolete are the first of four female lead bands on the main Furnace stage – the single ‘La Distinción’, from their recently released album Balance carries a blend of chilled synth sounds and cutting fuzzy guitar solo’s, tied together with the hushed vocals of Lorena Quintanilla. The drummer gnashes his teeth in an effort to maintain the tempo as broody basslines and beats steadily increase in intensity, building to thrilling crescendos.
Over in the neighbouring Camp stage, krautrockers Minami Deutsch are all smiles while bathed in green light as they ease the crowd into their minimal and progressive set. These are part of a growing roster of superb psychedelic rock bands from Japan, along with Bo Ningen, The Piqnic and Kikagaku Moyo, who are on afterwards. Understated vocals interject cutting beats and guitar chords that faze in and out of earshot. A looped, trance-inducing 10 minute riff is followed by a reprise of the same rhythm, immersing the crowd.
La Luz
Back in the Furnace, La Luz dash on stage after an effort to get here, and their set is sadly cut short as a result. ‘You Disappear’ and ‘With Davey’ from their superb second album Weirdo Shrine, produced by Ty Segall, paint a sonic picture of somewhere between the lazy surf of America’s west coast and eerie pine forests. Older material from their first album It’s Alive have been revamped and sound stunning. Shana Cleveland laughs as she sings while her microphone stand slowly sinks and her hands are too busy playing guitar to correct it. The crowd beg for more from the mischievous and lively quartet, but due to the strict schedule, six songs is unfortunately all we hear.
Sweden’s Josefin Öhrn + The Liberation, follow. Their forthcoming album on Rocket Records promises much after the release of In Madrid / Rainbow Lollipop. It begins with looped trance synth chords and spoken lyrics that steadily build to a euphoric and danceable beat. ‘Sunny Afternoon’ is another highlight, blending The Kills with The Velvet Underground.
Josefin Ohrn + The Liberation
The Pipettes Gwenno adds a welsh presence to the main stage in preparation for Super Furry Animals, and Cool Ghouls supply traditional garage rhythms with a distinctly Americana vibe, over on the District stage. A large crowd has gathered in the PRZYM chill-out area for Big Naturals – a two-piece from Bristol consisting of drummer Jesse Web and bassist Gareth Turner. Frantic, rapid and imaginative ever-changing beats are expertly complimented by a weird and wonderful array of sounds that Gareth manages to strangle from his guitar. The result is spellbinding, and the crowd are loving it. It was a pleasure to stumble across them.
I’ve been a big fan of Dungen for some time, and despite the Super Furry Animals appearing now on the main stage (Furnace), I choose to head to Camp. These Swedish prog rockers are having issues with their equipment, but their shortened set is outstanding. Since their inception in 2000 they have released a number of unique compositions, blending heavy jazz drumming with minimal deep basslines, beautiful synth chords, epic guitar solo’s, soaring strings, and a flute. If I could understand the Swedish vocals it would add another dimension, but nevertheless, the language sounds mellifluous.
They start with the stunning instrumental, ‘Fredag’ (Friday), and then treat us to songs from their latest album ‘Allas Sak’ (Everyone’s Thing), as well as highlight ‘Mina Damer Och Fasaner’ (Ladies and Pheasants?), all while wrestling with their equipment but apparently failing to get the sound that they want. It’s still superb and, for me, the highlight of day one, but they can’t continue. “We are sorry, the equipment is fucked up”. They throw everything into an astounding and angry rendition of ‘Panda’, leaving the crowd momentarily thrilled beyond belief, and then bitterly disappointed by their early departure.
Dungen
Electronic psych pioneer, 78 year old Simeon Coxe III of Silver Apples is next to welcome revellers to the Camp stage, kicking off the evening’s ‘PZYK Colony’ program that includes Demdike Stare and Howes. An oblong shaped screen has appeared above us, filling the empty space over the crowd with 4 walls of projected imagery. He sits almost motionless on stage under his trademark cowboy hat, patiently triggering samples through various pedals and switches to create the disjointed soundscapes that he’s helped to craft since 1967.
Back in the PRZYM, cellist and film score composer Oliver Coates, who has worked with Radiohead’s Jonny Greenwood and Massive Attack, calms the weary and fragile with carefully crafted ambient sounds, electro beats and string arrangements. In contrast, over in Blade, it’s about to kick off – MDME SPKR take to the stage donning ape masks and looking to cause trouble. Pounding primitive and raw drumbeats are accompanied by deep, phased, chugging bass guitar riffs and Lau Betti’s deep shrieking vocal. A song about love, ‘Rearview Mirror’, is a highlight, creating a mosh pit that continues with the thrilling finale, ‘Babylon’.
The dreamy ambient shoegaze sound of Russia’s Gnoomes is the next stop. Their set gradually flows into something quite euphoric – ‘Roadhouse’, from their debut album ‘Ngan!’, is a superb finale that gets everyone moving. Glasgow’s Helicon draw the night to a close, for me. A band described to me by someone here as “A bit like Ozric Tentacles, but not”. This Scottish psychedelic rock band are all about pounding beats and minimal basslines, with deep and moody vocals. My legs are giving way. More tomorrow.
Saddar Bazaar
Day 2: Saturday starts earlier and is a whole lot busier. The bluesy slide guitar and meandering sitar of Saddar Bazaar welcomes weary revellers and eases us back into it – the perfect hangover cure. Snooker player Steve Davis is interviewed in the PRZYM ahead of his DJ set later tonight. He talks humourously of his passion for collecting vinyl since the 80’s. A band at the Blade stage downstairs can be heard through the floor, so I go and check them out.
Taman Shud are an incredibly loud alternative rock band from London. The shirtless drummer pounds the beat and sings indistinguishable lyrics in a deep voice over fuzzy synth notes and growling guitar chords. It’s a fantastic performance that sets the tone perfectly or what is to come later in the evening.
Delta blues Spaniards Guadalupe Plata slowly draw a very large crowd at the main stage. The rock and roll drummer with meaty lambchop side-burns gets most of us dancing, along with groovy basslines provided by an assortment of interesting looking instruments – a ‘tub bass’, which is essentially a broomstick in an upturned tin bucket with one string attached from the top, and also a 3 string bass that looks like a wooden shoebox with f-holes. There’s occasional singing in Spanish from the guitarist who has mastered the craft of slide and whammy bar, to a T. The tempo is infectious and it’s impossible to remain motionless while listening – everybody has a great time.
MDME SPKR
Tau somewhat continue the theme over in Camp with lazy Americana blues and spiritual beats. “Mother I feel your heartbeat”. There’s also native American chanting and twangy guitar hidden under layered percussion. Members from other bands can be spotted wandering around and enjoying all that is on offer. The weird and wonderful Virtual Reality experience is very popular – you’re plunged into a blackened world with accompanying repetitive electro music, and a vibrating seat. You can freely look around the space that contains 3D images of twigs, triangles, and freaky looking faces that fade in and out of view.
Ulrika Spacek draw a large crowd, their sound verges more towards indie, like a combination of Radiohead, Placebo and The Twilight Sad. The ‘Experimental Afro-noise’ of Germany’s In Zaire are also popular, with heavy reverb vocals over multiple drummers (three, at times) and muted guitar riffs.
I’m more readily familiar with LA Hell Gang and bands of their ilk. Songs from their superb album ‘Thru Me Again’ such as ‘Her Way Has Come’ and the awesome ‘Last Hit’ assure they will have make many a new fan. It’s like Dead Meadow, with the swagger of The Stone Roses. The singers massive shades could easily be mistaken for a VR headset. There are plenty of great riffs and cutting guitar solo’s to maintain interest over pounding drums.
Harald Grosskopf
Harald Grosskopf looks absolutely thrilled to be here as he takes photo’s of the main arena, which display multiple projections of his own face. The 66 year old German musician played with a variety of krautrock and progressive rock bands in the 70’s, as well as releasing 7 solo albums. Images of street scenes fly by around him as he flows through a blissed-out set, adding live top-end percussion from his electronic drum pads, over his colleagues superb synth playing; all with a huge smile across his face. It’s danceable and trance-like with an occasional deep 4/4 beat, creating a soundscape that’s easy to get lost in.
Portland’s Wooden Indian Burial Ground are a dirty garage rock and roll band who soon become my new favourites after their superb set. From here on in, the night becomes loud, brash and brutal. The drummer is awesome, thumping out rapid rhythms without missing a beat as the guitarist breaks his instrument mid-set and borrows one that’s lying around… almost breaking that as well. ‘Spazz Pony’ kicks things off with “na na na na na” lyrics, and an infectious guitar riff is swiftly followed by another infectious guitar riff. There’s dancing, they request a smoke machine and get their wish, and the crowd are going nuts. They finish with an awesome cover of ‘a band from their hometown’, I need to know what that was… straight after the set, I rush up to the store to buy their stuff but unfortunately there’s nothing to be had. More of this, please.
There’s a mad dash for The Horrors, but I’m after something a whole lot heavier, and also, some chilli, chips and cheese. The Wytches seem something of a guilty pleasure, but the fact is, I enjoy them very much. These young lads from Brighton write intelligent lyrics that are wailed at us in a thrilling fashion over spooky doom goth rock chords and beats that keep you on your toes. They play a number of new ones from their forthcoming album ‘All Your Happy Life’ (out on Friday) and the crowd lap it up. Old favourites from ‘Annabel Dream Reader’ bring about much head-banging and facial expressions of pure awe and delight. Did that fresh-faced friendly looking lad really just play that awesome guitar solo? Yes he did. The world is their oyster.
The best, though, is saved for last. Baba Naga fill the relatively small Blade stage to bursting point, and those lucky enough to be in here won’t forget it in a hurry. These ‘Psychedelic Shamen’ from Sheffield release a couple of singles now and then, but tonight it’s all about one repeated bassline. I’m not sure if this was maybe improvised and then exploited to it’s fullest in the spur of the moment, but, however it happened, for 20 minutes or more, it has the crowd in a state of wild delirium. The guitarist repeatedly garnishes that groove with quite frankly obscene, spiralling, wailing, wah-wah laden solo’s, and the drummer’s manic pounding keeps everything grounded. They stop, and then start it over again. And then again. One of the PZYK Crew declares himself temporarily off-duty and wades into the heaving moshpit. When they do finally finish, the crowd raise the roof and someone climbs on stage to hug the guitarist. We all flood out of the venue into the rain, with that bassline still running through our minds, and big smiles on our sweaty faces.
This will surely go down as another hugely successful event, and is a must on the calendar for all fans of anything psychedelic. I’m sure I could’ve done this all over again, seen entirely different bands, and still had a great time. Whether you’re into chilling out or freaking out, there’s something on offer for everyone in this friendly and welcoming environment. No matter who headlines, it’s worth coming to check out any of the performers on the roster and sample the atmosphere. It’s a thoroughly exhilarating way to spend a weekend.
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I like to go see fresh new music at Manchester's superb selection of smaller venues, and then share my enthusiasm.
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