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Künstler
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Sea Power brings experimental rock music fused with cinematic soundscapes. An intoxicating atmosphere evoking the sublime wilderness in musical form, upon a stage decked out with foliage and shrouded in fog. Guitar monoliths tower, cornet and viola trace constellations above a world both beautiful and on the brink. Foliage, fog, and glowing atmospheres create panoramic, immersive experiences where the post-industrial and the primeval collide. Time Out named them Live Band of the Year, a reputation reinforced by tours with The Flaming Lips, Interpol, Pulp, The Killers, and Manic Street Preachers.
From CERN’s particle tunnels to Beijing’s clubs, from New York’s Bowery Ballroom to the dinosaur halls of the British Museum, Sea Power explores the alternative edges of rock music and reimagine it as the sound of ecological mythology, a soundtrack for the Anthropocene.
Sea Powers members are Jan Wilkinson, Neil Wilkinson, Martin Noble, Abu Fry, and Phil Sumner.
“Two fingers for the dead, two fingers for the living. Two fingers for the world that we all live in.” Two Fingers
“Sea Power belongs to a parallel present tense, running alongside our mundane reality, which doesn’t seem to have a chronological start or end point. They are that vital thing: a band who, had they not existed, no one else would have thought to invent them.” The Quietus
Stereolab hit a sweet overlap between sugary pop and adventurous experimentalism, rooted in tranced-out psychedelic drone that was both wonderfully modern and bathed in stylistic trends and instrumental sounds of the sixties and seventies. Early shows were based on their touchstone sound: a pulsing simple beat, guitar chug, and bubbling vintage analog synthesizers which can feel very kindred to recordings of the "Krautrock/Motorik" style pioneered in Germany by acts like Neu! and early Kraftwerk, or any garage band which had discovered that playing one riff or even just one note repetitively and toying with texture and dynamics makes for a very different sort of musical journey.
Except on this one there is a French woman singing pop melodies and harmonies. Overlaying Tim Gane's guitar chug-a-lug with the exquisite voices of Laetitia Sadier and Mary Hansen made for an infectious brand of pop-retro-futurism that, just like Krautrock, later evolved into an electronica-flavored style of gadget-oriented sound as modern technology began allowing for more innovative sounds. Sometimes associated with more retro lounge, tropicalia, and psychedelic genres, Stereolab often references its influences quite directly but always has its own identifiable voice and is ultimately predominantly remembered and filed as an indie rock band, and live shows were always clearly just that: rock.
Collaborations with Sean O'Hagan resulted in many gorgeous lushly orchestrated records (unfortunately seen less often in their live performances), Mouse on Mars gave them a playful electronic club sound, and influential producers John McEntire and Jim O'Rourke always made their records impeccable sonic adventures. Live, the rock foundation of their catalog always leapt out and kept audiences moving. There is a reason collectors obsess over each recording this band released, as though each song is often stylistically similar to a lot of other releases in their catalog, the pop sensibility makes every melody a delectable piece of candy, and you want to gorge on more.
ben-morgan-1
...Oh the heavy water how it enfolds, the salt the spray the gorgeous undertow.... From the sea to the land beyond.
A BSP gig is like drowning and then rebirth. When they're at their hysterical, chaotic, insane best - often accompanied by giant dancing bears and onstage acrobatics - BSP can channel most of the alternative and indie influences of the last 40 years to create something truly original but weirdly familiar.
Capable of live sound-tracking movies and now experimenting with Brass Bands. Always just one great leap away from mainstream success, which they deserve but certainly don't need - one of the last remaining integral English indie bands with their credibility intact.
...Always, always, always the sea, Brilliantine Mortality!
pitchforkdisney
Fantastic, intimate gig at The Haunt in Brighton last night. Top songwriting, tasteful guitar playing. Charming and playful. Grace and class. Fantastic, intimate gig at The Haunt in Brighton last night. Top songwriting, tasteful guitar playing. Charming and playful. Grace and class.
howfarr
Brakes is a four member indie rock band from Brighton England. I have always been a fan of the indie rock music scene and was pleasantly surprised when I gave Brakes a listen. I loved their style and how Earnon, Thomas, Marc and Alex came together to make some musical brilliance and put their differences aside.
It was truly a pleasure listening to them, so I know I had to go see them live in concert. Luckily I had another friend who was just as obsessed with them as I was so I called her up and we were off to see Brakes live! The venue was small and full of your typical groupies and fan girls. They opened up with their 2004 single "Pick up the Phone" that made everyone melt in their socks. They really liked to crack jokes in between songs and pick on each other, it made everyone feel a part of the family. They began playing songs off their 2005 album 'Give Blood' for a bit then ended the set by playing 'Rock is Dodelijik' which was their 2009 release. I was so glad that I caught them while they were in town and only wish them the best!
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