As the consortium admit "quite a difficult venue sound wise" - the band sound great, Mark not so as he is buried in the echo/dynamic of the hall - all that being said this is a good capture. Trouble is can't hear the words much - which is a pity. I have to thank Mark and Toby and chums for making this available.
Starting with a muscular slightly different take on "Reformation" the band feels both tight and loose - described by some as more of a jam session than a gig. Since its debut earlier in the year "Wolve Kidult Man/50 year old man" has split into two songs. The latter is now a lengthy six note circular riff building around a manic one beat drum push that morphs into a swaggering blues reminiscent of "Code:Selfish" era Fall but adding certain stop-start dynamics which give a dub-like feel with synth sounds dominating. Due to the acoustics the lyrics are mostly inaudible but seem to revolve on Mark having to explain something given his age - I know how he feels! The blues then transcends back to the initial driving riff and Mark does some trilling and yelping building to a nice intense end.
"Sparta" seems oddly untogether but for all that is competent and towards the end is beset by some hideous feedback problems. There is thumpy four to the floor version of "Wings" where Mark is mostly drowned and Keiron tends to dominate - it effortlessly morphs into the aforementioned "Wolve Kidult Man" which is all growling synths and blues derived changes - I would imagine that when one is able to listen to this properly it is going to be a Fall masterpiece with is neo-prog riff laden changes and intense battering rhythms - its so memorable as a piece of music that I was trying to think what it sounded like and then the realisation hit me that it sounds like "The Fall" - only this band can take the various elements of rock, blues, prog etc and morph it into this insistent unforgiving but beautiful noise. Mark growls and trills and its a pity the words are not discernable as there appears to be quite a bit of lyrical endeavour here. Some excellent noise coming from Pete's guitar also. This is immense and I can't wait to hear a studio version.
A tempestous "Fall Sound" reinforces the importance of EP's contribution to this iteration of the gruppe with nigh on perfect layers of synth noise adding to the tumbling rock noise created by the rest of the band. This is joyous stuff.
Debut of "Can, Can" a jerky, poppy thing built around a short synth riff with chord changes adding tension, and then scratchy guitar noise, almost a jam type thing with little vox from MES, as the band appear to be trying the whole thing out. Pete introduces a rising chord sequence which resolves all the jamming but generally this is "work in progress" I would guess. The title appears to reflect that there is an element of "Can" like playing.
"Over, Over" is mutated into a strange alien offspring which is suitably wonderful - audience (?) participation brings in contrapuntal countersinging which gives one a touch of a brain flip as its all out of kilter - Mark drives it on towards the end with some chutzpah - he actually says "tank you"!
"Alton Towers" makes its second appearance - it has developed somewhat into a semi-psychedelic ramble over jazzy chords with cocktail lounge drums with excellent alien twitterings from Elena's synth as Mark narrates and opines. Mark complains about the microphone. There is a lot going on here with a lot of references. I'm taken back to the west coast of America in the 60s and the same time I am in a theme park in Staffordshire - challenging and thought provoking.
"I'm me Mark" is presaged by comments re orange juice and the Witchfinder General. When it gets going it's glorious stuff! Plenty of dynamics here, destroying the myths of some nay-sayers that the band is just one riff and Mark ranting. It bodes well for the new album. I'm required to say to you, as the duly appointed representative, that this one is definately a Fall classic. The riff is amazing and Keirons drums are excellent under sharp chords from Pete.
"Systematic Abuse" is suitably intense and closes the set proper.
Dave S has played exceedingly well all night but comes into his own on an exceptional "Blindness" where he is able to capture both the spirit of Barbato and play his own particular style. Greeway plays some great reverby chords. Mark plays with the words entering new phrases about "Saint Gabriels Wish" (sic- the support band with ex Fall member Karen Leatham). It drops down to some great drum and bass about half way through and concludes in the usual maelstrom of noise, keyboard solos, and transcendent joy.
All in all a great gig with the debut of "Can, Can" and the development of more recent material.
Well worth a listen chums.....
Photos and ticket courtesy of the exceedingly affordable Mr Timpers Jim