#350: GRAF ORLOCK + GHOSTLIMB & BIG MACHINE - LIVE IN MANCHESTER

Tonight's bargain show saw US Grindcore band Graf Orlock play at the hard to find Aatma bar in Manchester's Northern Quarter. Joining them were Manchester's own noise rockers Big Machine and US Hardcore act Ghostlimb. The show saw a good turnout with even a couple of distros selling hard to find vinyl releases!

BIG MACHINE

Manchester based Big Machine make some big sounds despite only being a duo. They stepped in at the last minute after Mums were forced to pull out after losing their pedals. Best of luck to Mums and I hope the pedals are found! Big Machine played a set of high energy Noise Rock with just a drummer and a guitarist, with both adding vocals to the mix. Their guitarist Sacha Zucconi churned out some gnarly screams, whilst drummer Nick Colman would offer a mix of screams and clean vocals. Their short songs were made of jagged twists and turns, leaning towards a Math Rock influence. Nick Colman really stole the show with the most impressive and versatile performance this evening from behind the kit. He was just awe inspiring to watch, with an acrobatic way of playing every part of his kit. The only real downside of their performance were that the guitars and vocals weren't quite mixed loud enough compared to the drums, taking away some of the aggression. Some of the clean parts of theirs songs fell a little flat. Big Machine's sound reminded me of Leeds based Clenstch (who I reviewed earlier in the year), as well as Shellac and The Hyena Kill. 8/10.

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GHOSTLIMB

Travelling all the way from California to play a bargain show were Ghostlimb, a Melodic Hardcore trio featuring the guitarist of headliners Graf Orlock. Ghostlimb channeled a lovely balance between more Extreme Screamo/Hardcore combined with a pinch of old school American Punk Rock. The trio were full of good riffs, though the gravelly screaming vocals could have benefited from a more varied tone. Ghostlimb weren't quite as crazy as the two bands they were sandwiched between, but were still enjoyable enough and could give their songs oomph when required! 7/10.

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GRAF ORLOCK

Our headliners Graf Orlock hail from Anaheim, California. Graf Orlock's trademark is to combine lightning fast, spazzed out Grindcore, punctuated by samples from cult films to introduce each track. The quartet successfully implemented the film samples in a live environment, through the use of a sampler. The way the band would kick in to mad bursts of grind all in unison at the perfect moment was a sheer joy to watch and got the crowd's energy raised. Since there were some sound issues across the whole night, the backing vocals from the guitarist were much louder than their frontman, but he still managed to command the stage, often spilling out into the mosh pit and crowdsurfing. Their frontman had a really raw, throat shredding scream. Graf Orlock's songs were frequently noisy and unpredictable, injecting a sharp sense of humour as they bantered with the crowd. Their performance was suitably brief but very intense, with lots of energy. Graf Orlock come across as the kind of act that Grindcore purists might scoff at, but their live show cannot be denied, as they are simply a lot of fun and know how to have a great time! 8/10.

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August 9th 2016 @ Aatma, Manchester.

FRENCHIE'S LISTENING POST - JULY

Because I don't get time to review all the new music I hear in depth, I have decided to start doing some smaller reviews, rounding up the best (and worst) releases of each month! Just a short one this time as I didn't get a lot of listening time this month!

ALBUM OF THE MONTH:

DEATH GRIPS - BOTTOMLESS PIT

Industrial, Hip Hop, Hardcore Punk. Harvest Records.

Death Grips are a very difficult band to put into words. The trio are known for their violent and agro live shows, and despite announcing that they had split up a couple of years ago, it seems that plenty of new material and live shows keep rolling on. It feels like the momentum could come to a halt at any second, so a chance to hear new Death Grips material is vital. "Bottomless Pit" is definitely my favourite album of theirs yet, and it hit me instantly with "Giving Bad People Good Ideas", which smacks you in the face with Zach Hill's blastbeat drumming, roaring guitars that have a Hardcore and Black Metal kind of influence to them (made me think of Kvelertak), and of course MC Ride's macho stream of consciousness bellowing.

Death Grips continue to experiment and make weird sounds, with very abrupt changes. The slower Witch House/Hip Hop kind of styles aren't quite as prominent as their older works, aside from the fantastic "Eh" which harks back to the sound of their breakout album "The Money Store". Every track here is full of colourful production, wild aggression and silly, dark humour. The novelty and the intensity never seems to let up and it is one of those kind of albums that you just have to listen to and be swept away with, rather than have someone explain to you what it sounds like! I absolutely adore Death Grips because they are a band that have absolutely no subtlety, are completely crass, loud, obnoxious and in your face... Yet make completely innovative and scary music. That is something that is all too hard to find in these "why so serious?!" days we live in! 9/10.

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APHEX TWIN - CHEETAH
Acid Techno, Electronic. Warp Records.

Named after Richard D James' love for vintage synthesisers, "Cheetah" is his 3rd EP since the release of his Grammy Award winning "comeback" album "Syro". Usually Aphex Twin always sounds ahead of his time, but the two "Cheetah" tracks that open the record sound distinctly nostalgic, mixing Atari era Arcade game sound effects with old school beats. The compositions here are surprisingly linear, settling on 4/4 techno beats, a far-cry from his insane ADHD rhythms of tracks like "Windowlicker" or even "Minipops". The best track over these 30 minutes is undoubtedly "CIRKLON3", which was released with a new music video directed by a 12 year old boy. This song is distinctly cool and dance friendly, with the sounds of dripping, acidic synthesisers. Near the end of its 8 minute run, it shifts up a gear into a delightful wonky bass groove. As a whole the EP is closest in tone to "Analord 02" for you hardcore Aphex fans, or "Selected Ambient Works 85-92" for the more casual fan. "Cheetah" represents a rare time where Richard D James seems to be looking backwards rather than forwards, but the only troubling aspect of this release is that none of the other tracks really manage to outshine "CIRKLON3", with a lack of variation throughout. One for the more serious Richard D James collector, with wonderful artwork to boot! 7/10.

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THE AVALANCHES - WILDFLOWER
Hip Hop, Rap, Psychedelia, Electronic. Modular Recordings.

It will only take about 1 minute after you hit play before a huge smile appears on your face! I don't know why or how it has taken 16 years for The Avalanches to make another album, but they haven't lost any of their joy or scope in the process. With a great ear for sampling in mind, "Wildflower" is much more Hip Hop oriented than their debut, but still with plenty to make you want to dance. MF DOOM, Danny Brown and Camp Lo lend their rhymes. The sound of the album isn't worlds away from that Stones Throw Records sound, with an exquisite flow and track sequencing reminiscent of "Madvillainy". It is also similar to that 2004 classic because this journey of sound is very varied, quirky and full of positivity. The Avalanches implement a lot of psychedelic touches, with the sounds of flutes and acoustic guitars surfacing to emphasise the bouncing beats and basslines. Simply put, "Wildflower" is sheer bliss from start to finish! The Avalanches have come out of hiding at seemingly the perfect time to drop some good feels on the world, completely out of the blue! 8/10.

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CLIFF MARTINEZ - THE NEON DEMON

Original Score, Electronic, Ambient. Milan Records

The soundtrack to the film Drive had a strong influence on the direction modern electronic music would take, looking back towards the synth sound of the 70s and 80s. The latest film from Drive director Nicolas Winding Refn sees him collaborate with Cliff Martinez once again and the momentum of the Drive soundtrack continues. The 80s synth pop sound of tracks like "A Real Hero" is only glimpsed at here, with only two fantastic vocal tracks featured, "Mine Sweet Tempest" and a surprisingly great closing track by Sia. The rest of the soundtrack shows composer Cliff Martinez tighten up his craft even further, with an incredibly diverse Ambient and Electronic score. The album is full of dreamy motifs that reflect the themes of beauty in the film. A pounding rave track "The Demon Dance" by Julian Winding is another great highlight. The score works so well on its own devices that it will make you want to seek out the film. A truly immersive and atmospheric gem. 8/10.

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BADBADNOTGOOD - IV

Jazz, Fusion. Innovative Leisure.

BadBadNotGood are one of the leading lights in modern Jazz. As opposed to Kamasi Washington who has a nostalgic sound leaning towards the Jazz highs of the 60s and 70s, BadBadNotGood sound like they belong in 2016. Even though they are using more saxophones and natural instrumentation than on their previous albums, this is an album that can also appeal to fans of Indie Rock and Math Rock bands such as Three Trapped Tigers. The album has some phenomenally good instrumentals, combining the Hip Hop feel of their collaborative album with Ghostface Killah, with plenty of funkiness and twisting rhythms. "IV" is an album that has a lot of energy and playfulness. Though even when they slow it down on a highlight Soul track with a female vocal, they still sound invigorating. Perhaps their best work yet! 8/10.

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STEPHEN MARLEY - REVELATION PART II: THE FRUIT OF LIFE

Ragga, Reggae, Hip Hop. Ghetto Youths United.

If you didn't already think Bob Marley was incredible enough, you also have to take into account that his children are all highly talented too! The second part of Stephen Marley's "Revelation" series focuses strictly on the Ragga sound, basically combining Hip Hop and Reggae together, in a similar way to his brother Damian Marley, who did a fantastic collaborative album with Nas, "Distant Relatives". Fans of Bob Marley and the more traditional instrument based Reggae might not think much of it, but "Revelation" does a solid job of bringing Reggae to a modern Hip Hop audience. Every track features a collaboration, with Hip Hop stars old and new, including Dead Prez, Black Thought, Busta Rhymes, Waka Flocka Flame, Twista and many more. The productions are solid and most of the guest rappers actually turn up! Skip that appalling track with Pitbull at the end though! 7/10.

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VARIOUS ARTISTS - UNDERGROUND MUSIC COALITION COMPILATION

Extreme Metal, Grindcore, Hardcore. UMC.

For the bargain price of zero pence, you can download this fantastic compilation made by the great community at UMC, supporting underground extreme music all over the world and helping small artists to tour, get gigs and promote their music. This compilation features only the UK artists in the UMC, showcasing some of their latest music. The whole album shows so much talent, proving that the Extreme Metal scene still has plenty to say and deliver. My personal standouts include Forged In the Furnace of the Sun's ripping political Grindcore, Boycott the Baptist's brief "Fuck Off Trump" is a hoot, After the Abduction's technical deathcore, Pist's Pantera loving NOLA riffs and Impavidus revitalising the Gothenberg Melodic Death Metal sound! Please google UMC and download it for free!

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SEGA MUSIC TEAM - OUT RUN [REISSUE]

Electronic, Chiptune, Original Score. Data Discs.

The wonderful folk at Data Discs have done another fantastic job restoring classic Sega Mega Drive/Arcade games onto vinyl. This is a beautiful package with all new artwork with a cutaway sleeve allowing you to display your own choice of artwork. The vinyl disc has been remastered on 180 gram vinyl on a limited tri-colour disc. As for the music itself, this memorable 16-bit score has some triumphant and energetic themes that will bring a huge nostalgic smile to any gamers over the age of 25.

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AN INTERVIEW WITH RIFF FEST

RIFF FEST is an annual Extreme Metal festival that has taken place every August for the past two years at The Alma Inn in Bolton. Unlike many other music festivals, this all day event is completely FREE entry. Riff Fest showcases many of the UK's greatest Extreme Metal acts, with a leaning towards (but not restricted to) Sludge and Doom Metal. Over the past years, established acts such as Slabdragger, Iron Witch, Widows, Boss Keloid and the mighty Raging Speedhorn have all performed.

Riff Fest 2016 will take place on Saturday August 27th with Liverpool's Doom Metal titans CONAN headlining! 

Poster artwork by Alex Aspinall

I spoke to the man behind Riff Fest, Adam Swarbrick to find out more about the festival.

Adam performing with Boss Keloid at The Alma Inn.

So Riff Fest hits it's 3rd year in August, how did this project start and what inspired you to make it happen?

The idea for Riff Fest came one evening in the pub. I said to Jim [MacGranthin, boss at The Alma Inn] "let me have the bank holiday weekend in August, let's get all our mates together and have a party", in its simplest terms. The emphasis being on a party full, where all the UK's riff merchants and fans can come together in one place at the end of summer and have a right ball. I love that idea.


Do you work alone or do you have a team?

I book the bands and Jim's the financier [laughs]! Alex Aspinall my old friend since my school days provides the artwork.


What on earth do you do to convince such great bands like Slabdragger, Raging Speedhorn and Conan to headline a free festival?

Good question. Maybe it's a few things. The first years success took me by surprise. A pleasant surprise. It was a great feeling seeing how much everyone, bands and punters alike had a whale of a time. I like to think the event and the name gathered a good reputation after that. Throughout the year I was thrilled to hear from people that that day was the best day of the year. It's so good to know people enjoyed themselves so much. We'll continue to provide a fun day, free of dickheads and drama as long as people want such an event.

As to how bands of such stature come down to a tiny pub in a shit hole town for a free event, I'd like to think we're all pals and down for a good knees up at the end of the summer. We're all pals and in the same game at the end of the day and everyone enjoys booze, riffs and barbecues [laughs]!


Do you put a lot of your own money into Riff Fest and do you manage to turn a profit, break even or perhaps make a loss?

This year I've had to dip my hand in my own pocket a little, but it's down to Jim for the majority of the financing. I steer well clear of that [laughs]! I'm quite happy just arranging the best line-up I can.


The Alma Inn is considered to be one of the homes of great Metal in the North West, what makes the Alma special to you?

Again, good question. It's been a hub of rock and metal, punk, rockabilly, you name it for as long as I can remember. I've been a patron here for 10+ years and it's always been almost like my second home for that entire time. It's a great old fashioned pub, full of decent people who like music. Simple really. Then Jim came along however many years ago and really gave it a kick up the arse and installed an unrivaled rig. Add into that his technical know how, you've got all the ingredients required for the loudest, best equipped small venue in the country. Hands down.


Which band are you most looking forward to seeing at Riff Fest 2016?

To have bagged Conan as the outdoor headliners is a real coup. We've had them on here a number of times, but not since way back in like, 2011 or something. So it's gonna be excellent to see a band who've gone from playing their trade in small venues in crappy towns, to go on and pretty much conquer the world, come back and show us just how far they've come.

I'm looking forward to Foetal Juice. They're going to spice things up a bit. The crowd should go absolutely apeshit for them men. I'm really excited to see that. A grind/death metal band with 10+ years of experience in them, don't fuck about.

Shout out to my homeslices in Chubby Thunderous Bad Kush Masters. They're really favourites of mine. 

STRAIN! Perhaps an unknown name to some unfortunately, but they were the kings about 10 years ago. And now, a reformed Strain return with a new lineup. Gonna be amazing. Great memories of watching Strain destroy the Alma when I was younger. I've been missing Strain for many years, I think they were ahead of their time, I know that they will rule at Riff Fest and make everyone a fan.

Also, ENOS! A band rarely seen around here, they were one of the first names I had down and I'm really excited to have them up here.


Do you have a performance from the previous two Riff Fest's that stands out the most in your memory?

BongCauldron at the first Riff Fest. There's some cracking footage online where it's kicking off as they play 'Bigfoot Reigns' and Jim has to come in and wrestle through the crowd to fix the roof because it's falling down [laughs]! I watch that frequently and smile.

Obviously Raging Speedhorn. I grew up doodling their logos in my school books, and to book them at my local and have them level the place is something I'll take to the grave with me. So that's a really cool thing and I love that.

And finally, what are your future plans for Riff Fest. Will it always be free or do you want to expand?

To tell the truth, we were approached to expand the festival into an outdoor event, elsewhere, which, whilst initially flattering, wouldn't have worked. As I said at the beginning, it's a party full of all our friends at the local. Let's just continue to have fun and headbang down at the local. 

...And here is that footage of BongCauldron courtesy of Monster Riffage! This will give you an idea of the craziness that will take place at Riff Fest '16!

Thanks to Riff Fest and Adam Swarbrick for taking the time to chat.

#349: THE VVITCH

2015

Directed by Robert Eggers

Supernatural Horror, Psychological Horror

The VVitch has taken the Horror community by storm and for good reason. I've not bought a Blu-Ray on the day of release for a while now, but after hearing all the glowing reviews, I was excited to see it. Well after one viewing I was completely impressed, I could have easily watched it again right away if I had time. This is my kind of Horror film because it thinks outside the box. If I was to compare it to the recent The Conjuring films (which I also really liked), both have supernatural elements, are set in periods from the past yet their impact hit me in completely different ways. The Conjuring relies more on jump scares and periods of silence that suddenly explode into loud frightening moments that catch you off guard. The Conjuring films have some unbearably tense moments where I felt like I couldn't look at the screen. The VVitch was different though, I never was so scared that I had to look away, and it doesn't really push the jump scares so much. What it does really well is just builds up a very creepy atmosphere.

In a rare move for a Horror film, The VVitch gives away its antagonist almost immediately (well, within the first 10 minutes) which took me by shock, as films in the supernatural genre tend to like to build up the suspense and make the big reveal at the end of the film. I thought it was a bold move after seeing that scene, I was completely hooked. The pacing of the film is excellent and there are practically no wasted moments in the film. The expanse of the surrounding forest is used to beautiful effect, and throughout the film it feels like something is lurking and watching in the trees in the background. The film has a low key but effective plot that keeps you guessing right 'til the end. In particular I loved the creepy, vocal soundtrack that sounded like witches chanting in a ritual. Also this has to be the finest performance from a goat in a film since Island of Death! The whole film is like seeing your favourite Black Metal albums come to life! The VVitch is a supremely enjoyable Horror flick, and whilst it doesn't do anything particularly new, it will manage to creep you out effortlessly, in a similar way to The Babadook before it, or perhaps creepy classics like The Wicker Man or Don't Look Now. 8/10. 

#348: THE NEON DEMON

2016

Directed by Nicolas Winding Refn

Psychological Horror, Body Horror, Surrealism.

The Neon Demon is the latest film from director Nicolas Winding Refn, most famous for his runaway hit film Drive that starred Ryan Gosling. If you saw his follow up film Only God Forgives, you'll know the director took a left turn into extreme violence and experimentalism, which ended up really polarizing fans of Drive. It's safe to say that if you didn't like Only God Forgives, and are wanting to see a more story driven film like Drive again, you'll probably be best off avoiding this one!

That said, if you happened to like Only God Forgives, there is a lot to like here. From the brilliant 80s looking opening credit crawl, The Neon Demon moves at a slow, dreamlike pace and keeps you guessing where the movie is heading for the most part. 16 year old Elle Fanning stars as a model who has only just arrived to L.A. and is admired and hired by all the most esteemed photographers and modelling agencies, leaving more experienced, hard working models left in the dust. The film's dialogue is purposely a little wooden, building up a feeling that you are in this plastic Barbie Doll world. As the film goes on, the innocent Elle Fanning finds herself under threat from a sinister motel owner (in a very good supporting role from Keanu Reeves) and her jealous model peers who will go to any lengths to see her out of the modelling industry.

If you are used to Nicolas Winding Refn's previous films, you'll know that his visuals and music takes the centre stage instead of the script and plot. Refn likes to use dialogue sparingly, although there is suitably more here than his previous film Only God Forgives which seemed to lack a script entirely! Visually the film nods towards the colour tinted lenses of Michael Mann, the slow, dark and dreamy feel of David Lynch and the colour coded scenes of Dario Argento's Suspiria. The film itself is even more beautiful to look at than the largely female cast of models. The Neon Demon boasts one of the best film scores I've heard, probably since Drive. Cliff Martinez returns with a pounding Industrial/Electronic score that made me want to get out of my cinema chair and start raving! Hearing this score played loudly in the cinema kept me interested even during points where there wasn't a lot going on in the plot.

The first hour or so is relatively easy going, with a few tense moments hinting at possible horrors that might potentially unfold. For the uninitiated, it may take a while to get into the films slow pacing, and it is a film that requires some patience. Fortunately, the film is driven by a wonderful and mysterious atmosphere that I found kept me engrossed throughout. After the first hour or so comes the true biting point of the film. The last half hour descends into something reminiscent of an 80s David Cronenberg film, and the most violent parts of Drive and Only God Forgives start to turn up. The film isn't particular violent in the way of physical violence, but turns into a gross out Body Horror film that will either have the audience walking out feeling sick, or enjoying the film even more if you are into extreme cinema! The guys behind me in the cinema couldn't resist shouting "WHAT THE FUCK IS GOING ON?" during a rather repulsive scene that nods towards Nekromantik. A couple even ended up walking out before the film had finished! The last third of the film is genuinely mental and oppressive, and easily the biggest talking point of the film.

Nicolas Winding Refn doesn't seem interested in making a commercial hit film like Drive again. He is the kind of director who has the ability to wow his audience with one hand, and then genuinely repulse them with the other. As a whole I think this was a better all around film than Only God Forgives, which went to too absurd and violent heights. If you are willing to stick with The Neon Demon, there are some truly wonderous moments to be found, particularly in how immersive the visuals and score are. It felt like it could have easily been a giant music video rather than a film. Just don't go into the film expecting another Drive! 8/10.

#347: SHURA - LIVE AT HMV MANCHESTER

Shura has just released her debut album "Nothing's Real" and to celebrate this event, she performed a short stripped down live set as well as signing copies of the album for fans. Shura explained how she grew up in Manchester and that it was her first time ever performing and signing at a record store. Shura performed vocals and keyboards, and was joined by a guitarist. There was a strong crowd of about 75 fans who applauded as she walked onto the makeshift stage.

Shura opened with "What Happened to Us?" She explained to the crowd that these live versions would sound rather different to the album, which has a much broader Synth Pop sound. Shura revealed a very natural sounding voice, slightly huskier pitched than on the album. The acoustic guitarist gave this song almost a bit of a Country twang. The emotive chorus "I was never ready for your love" hinted at a broken relationship.

Shura had a lot of fun banter with the crowd and came across as a very genuine, charming person, and despite the album's title, very real. However perhaps it was because it was a hometown show or playing to such an intimate crowd, but it was easy to tell she was feeling very nervous. During her song "Touch" she did miss a chord change, having to stop the song briefly and then find her way back into it. But this moment was actually warmly received by the crowd, and I think her confidence actually boosted because of this. Her next song "Make It Up" was the highlight, with her voice soaring to louder volumes and the guitarist now on an electric guitar sprinkling textures over her keyboard playing. Shura's performance was a very honest one, and despite making a couple of mistakes, was very much entertaining and something the die hard fans will certainly cherish.
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July 11th 2016 @ HMV Manchester. Photos by Rich Smith of Digital Bath.

#346: KAMASI WASHINGTON + SARATHY KORWAR - LIVE IN MANCHESTER

SARATHY KORWAR

Jazz drummer Sarathy Korwar has just released his new album "Day to Day" on Ninja Tune Records. He lead a trio this evening at Manchester Academy, opening up for Kamasi Washington. Joining Korwar was a keyboardist and a nylon string acoustic guitarist. Each composition the trio performed was built around recorded vocal samples, which Korwar explained were recordings he made of Indian singers who had immigrated from Africa.

The trio opened the evening with fast, technical playing with a strong focus on twisting rhythms. The drums were relatively laid back as the keyboardist and guitarist both explored middle eastern scales. The keyboardist had that classic jazzy Fender Rhodes kind of sound, whilst the guitarist had a definite Flamenco influence in his finger picking approach. The drums reached a crescendo by the end of the piece, with a flare for lively rolls and snappy fills. Their second piece escalated from a Funk influenced groove into the avant garde, with a discordant middle section reminiscent of a vintage Horror film. In particular the guitarist really shined on their third composition, with a lengthy solo part. The trio closed with the longest track, which is where band leader Korwar really shone, with a wide pallet of percussive sounds.

Sarathy Korwar and his trio were very well received by the crowd and they played an exciting and lively set, chock full of virtuoso talent. 8/10.

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KAMASI WASHINGTON

Fresh off a stunning Glastonbury performance, Kamasi Washington must have been feeling a spiritual peak as he stepped onto the stage, sax in hand, dressed in robes. He performed with the same 7 piece band that played Glastonbury and on his stunning triple album "The Epic". Between playing, Kamasi had a great rapport with the crowd, introducing his band and telling funny stories. In just two hours it felt like the audience got to know Kamasi and his highly talented band. His line-up consisted of Miles Mosley on the double bass, Brandon Coleman on the keys, Patrice Quinn on vocals, Ryan Porter on trombone, and two drummers, Tony Austin and Ronald Bruner Jr (brother of Thundercat). Kamasi told stories of how they all grew up together and started playing instruments from the age of 3 years old! Kamasi himself said he started as a drummer, but was outmatched by his two drummers, so switched to saxophone!

Kamasi Washington and his band kicked straight in with a rich cacophony of natural sounds, with the keyboards being the only electric instrument of the night. His band soon showed their Soul and Funk influences during a virtuoso display of pure musicianship. At first Kamasi took a slight back seat, as he would take time away from the sax to watch his peers from the side of the stage. Once they had all warmed up, the night really took off, and when Kamasi performed his first lead solo, the crowd went wild for it, blown away by the sheer force and magnitude as an array of notes flew at the crowd like machine gun fire!

The next song saw Brandon Coleman AKA Professor Boogie switch to a keytar and get his Jan Hammer on, which had the audience in a frenzy. He lead a wild funky track with his insane playing, stealing the show in this moment! The band then stripped the intensity down a little bit, playing their most emotional song which Kamasi dedicated to his hard working grandma, "Henrietta, Our Hero". He brought out his father Ricky Washington on flute as a special guest, who remained for the rest of the show! The song began with a cool piano sound and a modal saxophone melody. Vocalist Patrice Quinn took the reigns with a soulful lead vocal. Daddy Washington performed a beautiful Jazz flute solo in the middle. This lengthy ballad appropriately stripped back some of the virtuosity for a much more melodic and chord based song. The strength of the playing and the beautiful lyrics made for a very powerful and emotional tribute. By the end of the song I could see that some of the people sat around me in the crowd were moved to tears, and the band won their first standing ovation.

The band mixed it up even further by collaborating on a song that bassist Miles Mosley wrote for his own solo album. "Abraham" showed Mosley going mental on the double bass, with astonishing fingering and fast playing that seemed to defy physics! He created some genuinely eerie sounds from his instrument, even picking up a bow to play it! It soon became evident that Kamasi Washington was far from the only Jazz superstar on the stage tonight!

The 2 hour show climaxed with an insane drum off by Tony Austin and Ronald Bruner Jr. as they played for about 5 minutes each. It was a mind boggling display, and it was hard to pick out a winner as the two had two very distinct styles. After climaxing with another song from "The Epic", the band were cheered back after another standing ovation. As they closed the night with an exciting encore, much of the crowd ditched their chairs and walked to the front of the stage to dance.

This evening I and the Manchester audience were treated to more than some of the richest sounds in Jazz music. Before us stood a real family, not a band. Kamasi Washington and his band have clearly dedicated their whole lives to their craft and have come together to perform flawlessly, with so much fire and passion. But even more than that it was their tight knit chemistry that shone on stage. The band didn't just pour out virtuosity, but sheer emotion and feeling in their playing. Kamasi and his band play like a best of the entire Jazz genre. His triple album and his live show gave us the expression of John Coltrane, the spirituality of Sun Ra and Pharaoh Sanders, the Soul of Roy Ayers and Quincy Jones, the Funk of Herbie Hancock, and the versatility and sheer coolness of Miles Davis. Yet rather than sounding like a pastiche, they sounded nostalgic and fresh at the same time. This is without a doubt one of the greatest live shows I have ever experienced! 10/10.

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June 28th 2016 @ Manchester Academy.