Music > Live Reviews

Norwich Sound & Vision 2016

16/10/16

For the seventh annual Norwich Sound & Vision Festival, we went all out. Or should that read we all went out, because we totally rinsed it. We've got loads of amazing reviews and many evocative photos of all the best stuff we saw over the weekend. Many thanks to our reviewers and photographers for staying out past their bedtimes and running between venues to give you, yes you, the full story of what went on where. See you in 2017, NS&V. We love you Norwich.

THURSDAY

Peach Club/Bald Wife/Cabbage/Bad Breeding at The Mash Tun 

by Stuart

After a brief stop off at a bustling Arts Centre to collect my wristband it was up to the Mash Tun for the duration of night one. This year the stage has been moved to the raised area at the back of the room – not entirely sure about that, I loved the fact that in previous years the bands are on the floor playing at eye level with us. First up were self-styled Norwich Riot Grrrl act Peach Club. I’ve been looking forward to watching them play for some time and they did not disappoint. Their playing had an endearing naiveté, but also an infectious exuberance – I loved how they were constantly breaking into smiles as they egged each other on. Some of the songs are stronger than others, but singer Katie was a true performer and drummer Rebecca looked like she was having a REALLY great time. The obvious Nirvana/Hole/Bikini Kill/garage rock references were all in place but there’s plenty of time for them to further develop their own sound.

Next on the bill were noise rock duo Bald Wife who I’ve seen play twice before, and I’m sorry to say I can’t really get with their music. For a start it was painfully, pointlessly loud – literally hearing damagingly loud. They don’t have any memorable songs, the sound was entirely one dimensional and their 30 minute set seemed to last an eternity. Full marks for the completely committed performance though, but sadly it just doesn’t work for me.

The room was buzzing for Cabbage, the hot new band from (near) Manchester, and probably the band most likely to soon outgrow these modest surroundings as they embark on their debut headlining tour. Witty, irreverent, cocksure and entertaining as fuck they delivered an almost faultless set of energetic post punk infused garage rock. Lead singer Lee Broadbent, sporting a fine Shaun Ryder haircut and exuding charisma, is upfront from the off, while the rest of the band’s gang mentality showed just how valuable the recent tour supporting Blossoms has been. Guitarist Joe Martin also takes his share of lead vocals and this works really well, giving the songs an extra dynamic. When he sings lead for their best known track Dinner Lady, this is where their mix of humour and music works best. Less successful is the final song Free Steven Avery with its refrain of DEATH TO DONALD TRUMP which feels too much like a novelty track. After he loses the election next month hopefully they’ll drop it, because the ‘new song’ they played suggests they have far better music to come. Extreme volume did them no favours, but their sound has enough depth to it to ultimately not be spoiled by it - nice one lads.

I’ve written before about my love for Bad Breeding; I’ve followed them closely from their brief set at the 2014 NS&V Festival through to the release of their excellent debut album earlier this year. I’ve spread the word as much as possible and this was easily my most anticipated set of this year’s festival. Almost as soon as the set began frontman Chris Dodd launched himself into the crowd, fixing us with his ‘I’m going to kill you’ stare. I love that moment, when the gap between us is breached and people start to feel uncomfortable. Of course, I’ve seen them before so I know Chris ain’t going to hurt us, but it means there’s no hiding at the back of the room. What was really interesting this time was the amount of people who left during the early part of the set, I would estimate maybe a quarter of the crowd literally couldn’t handle it. This wasn’t the comparatively easy listening of Cabbage, this was something a lot more challenging. That was the moment where for a second I wondered to myself if they really were as good as I remembered them being. Were they? Of course they fucking were, they were better in fact. When those that were staying settled in, the dynamic in the room completely changed. Instead of fearing Chris we actively sought out eye contact with him, we wanted him to come close to us. When Chris wasn’t on the stage it gave us the opportunity to focus on the other band members – guitarist Matt Toll is brilliant, playing guitar is clearly something he needs to do, as though man and instrument are both plugged directly into the mains. Even with the ferocious volume and what initially appeared to be a wall of noise, underneath that is some incredibly complex music, with hidden melodies and an intricacy that the early leavers completely missed. I was also able to really study the rhythm section and arguably the star of the show for me was bassist Charlie Rose. Rocking a brilliant skin look his huge bass sound underpinned and drove everything. Combined with the fluid, powerful drums of Ash Bennett the foundations of the sound were fully laid bare to me for the first time.

Chris’s performance really is something to behold, I can think of few frontmen who can carry off such ferocity. His commitment to delivering his message was almost fanatical. The set was littered with new songs as well, they’re already moving on from the album. The show was INTENSE. It felt cathartic. I felt completely drained at the end. Interesting to note that the crowd who stayed till the end were made up of lots of serious Norwich music heads too, this is not a sound with mass appeal, which just makes it all the more rewarding. They will come back to Norwich next year, I’ll personally make sure of it. A great night all round then, my only issue being the volume. There’s no doubt I have damaged my hearing through watching so many live bands over the years but at times last night it was genuinely painful. 

Daily Round Up (plus Chuck Mosley at The Owl Sanctuary) 

by Pavlis

The three day extravaganza that is Norwich Sound & Vision is both my favourite and most frustrating time of year. Favourite because there is so much live music to see, frustrating because it is so difficult to choose just who to see. As well as exciting line-ups at NAC and the Mash Tun, tonight is further complicated by the Owl Sanctuary hosting Chuck Mosley for a gig that is not part of NS&V.

To NAC to collect my wristband and to check out Suffolk’s Animal Noise. Josh, Birdy and Jack describe their music as experimental indie. The rhythm section is very busy and clearly more than competent, there are strong vocals and the tasty jazz-inflected guitar hints at Michael Chapman. For all that it is enjoyable enough, it is not really my bag and I make my way to the Tun for Peach Club.  

Last time I saw Peach Club, they were a trio playing a compelling, ferocious, riot grrl-influenced noise. Tonight, as a four piece, they are less intense than I remember. The songs are great, they have a strong stage presence but something seems to be missing. They are not truly grabbing me by the throat and demanding my attention. Whatever, they are a good – bordering on very good – band and well worth watching out for.

A quick jog to the Owl Sanctuary and I am just in time for the last three songs from Bloodshake Chorus. I won’t say too much as I know fellow Outline contributors Smiley and Jay were there but I will say this was excellent. Dressed like zombie-butchers and looking like a cross between Alien Sex Fiend and the Cramps, they play glorious 60s British-invasion and psyche rock. I’ll definitely be checking them out again.

Back to The Mash Tun for the righteous noise that is Bald Wife. Messy, noisy and shouty as this is, the likes of Sick, Blood Red Leaf and Five Minute Shame are, beneath the chaos, very good songs. With a new one sounding like Young Fathers jamming with Saint Vitus and that is very promising indeed.   

When dinosaurs roamed the earth, back in 1987, my local record shop got hold of some copies of Faith No More’s debut We Care A Lot on import. How and why is a mystery but it seemed to be on every time I went in the shop. I fell in love with it and Chuck Mosley has been one of my favourite vocalists ever since. I wasn’t going to miss him at the Owl. Again, I’ll not say a lot as Smiley will review it. Mosley is a legend but this was not a legendary performance. Still, as slightly odd and disappointing as this was, it is always good to hear Death March.

Things wind up back at the Mash Tun with the frankly awesome Bad Breeding. Intense, fiery, furious, raging and downright brutal, Bad Breeding must be one of the most exhilarating bands around right now. The sound is rooted in both US and UK 80s hardcore but there is a fearsome intellect at work and the song-writing goes well beyond those roots. Having Chris leave the stage to stalk among the audience, screaming and spitting the lyrics in people’s faces – mine included - is an experience as scary as any thrill-ride at Alton Towers, all the more so considering what a quiet and polite guy he is off stage. Bad Breeding were one of my band’s of NS&V2014 and they have repeated it this year. Go catch them live, go get their self-titled album, go on, it may just be life changing.

FRIDAY

Daily Round Up 

by Stuart

I had one major problem with night two. Both the Owl Sanctuary and NAC had such brilliant line-ups, I’d have been happy to have spent the whole night in either venue, but this is Norwich Sound & Vision and I want to see everything. I was therefore delighted to arrive at NAC and be told things were running late – great news! Straight up to the Owl then to catch most of King’s Lynn hardcore merchants Knowpeace. Sadly the early evening crowd was only just beginning to arrive, but as with the previous time I saw them they impressed me. They have a brilliant drummer, huge bass lines and a real complexity underpinning the noise and screamed vocals. I can see no reason at all why they won’t be playing to bigger crowds very soon.

I headed back down to NAC to see Scottish two piece psych outfit Man Of Moon and I’m so glad I made the effort as they turned out to be one of the highlights of the whole festival. It was refreshing to see a two piece band doing something different with the setup, more akin to early Public Service Broadcasting than White Stripes. The drummer also provided electronic touches and the heartfelt vocals combined to make a full, expansive sound, with The Road and Sign making full use of the motorik beat. As with so many recent shows at NAC the sound and stage lighting was excellent. I really hope I get the chance to see this band again.

Back to the Owl next for the bulk of Magoo’s set. I don’t understand how, but I’d never seen them play until Outline’s 15th birthday party back in July. This was now my third time seeing them and at the moment I feel like I could watch them play every month. Not at all the twee indie band I’d always assumed they would be, but actually a brilliant, powerful live act. Locking themselves into a tight groove, the choppy guitar, up front bass and busy drums are topped off by the crazed playing of Dave on second guitar/effects. A fantastic band.

Luminous Bodies were one of the bands I was most hyped about seeing and they more or less didn’t disappoint. Very loud, very heavy, very 70s and very psychedelic. They have two drummers, even if one drum kit refused to behave, Tracy the bass player was so hammered she fell off the stage mid song and continued to play whilst lying flat on her back, the guitarist appeared to get an electric shock and all the while main man Gordon sang and soloed his ass off. It all fell in on itself in the last five minutes unfortunately, but for the most part they were brilliantly out of control. Check out Stay Dead on their Soundcloud page and pray they come back soon.

We all love a bit of John Robb don’t we? The funny, knowledgeable, engaging, passionate writer, broadcaster, label/magazine/record label supremo and of course, founder member of The Membranes who were the headline act at the Owl. John has become so well known for all of these endeavours that you could be forgiven for forgetting that the reason he has been able to make the most of these opportunities is because he is first and foremost a musician. It took a moment to get used to seeing him on stage, game face on, in the zone, calling us forward, cajoling the crowd to fully join in and it all worked brilliantly. The sound was massive, Peter Byrchmore’s guitar playing made you forget there were only 3 members on stage. Heavy and rooted in post punk most definitely, but on a night where psychedelic music was at the forefront, they had an unexpected grandeur. Completely worthy of their headline status, this was another highlight of the whole festival and a proper coup getting them down to Norwich.

I left and rushed back to see Purson at NAC, who had ended going on stage around 45 minutes later than scheduled, and once again I was glad I’d made the effort. I really like their two albums, had enjoyed their Norwich show earlier this year and the touring they’ve been doing since have helped to take their live show to another level. I still feel they could cut loose a bit more and at times Rosalie seems very controlled but she has an incredible voice and is an excellent guitarist. Combined with the brilliant lighting this was a classy headline show that seemed to go down really well with the Arts Centre crowd.

I had to make a tactical decision to miss BK & Dad (by virtue of having seen them so many times) which made me very sad, but otherwise this was a perfect night of varied and at times scintillating music.

Man of Moon/BK and Dad/Flamingods/Purson/Black Shuk/Taryn Everdeen/Peach Club at Norwich Arts Centre

by David

Friday – day two of this year's Norwich Sound and Vision, and Norwich Arts Centre have certainly thrown themselves in where some venue eagles may fear to tread. As well as hosting conference sessions during the day, and a Music Glue drinks reception in the afternoon, the Arts centre team have also sound checked four bands in the main auditorium and set up for a Sonic Youths showcase in the café bar. And all before the doors open at 7:30pm for the main event. No wonder they picked up that glass trophy at the Live Music Business Awards.

Well, almost. It was always going to be tight, fitting four acts into a running order that starts at eight and finishes by eleven, so hardly surprising that we are twenty minutes late with the first band taking to the stage. Man of Moon are from Edinburgh and are Chris Bainbridge on guitar and vocals and Mikey Reid on drums. Stop right there. I know what you are thinking. But Man of Moon exist in a world that has apparently never heard of Meg and Jack White, Drenge or Royal Blood, and instead play an atmospheric blend drawing influences from Scottish antecedents as disparate as Mogwai, Beta Band and Primal Scream. Throw in some Radiohead, a bit of 'Dark Side' Floyd and even a dollop of Golden Earring and you may just begin to get the picture. They deserve to be big. Dare I say astronomic?

BK and Dad are well known to Norwich audiences. Leo (guitar) and Pip (drums) set a different trajectory from Man of Moon yet still discover previously uninhabited landscapes. Theirs is a blistering assault of shifting tempos, shredding guitar work and a relentless assault on the senses that is physically exhausting for the audience, let alone themselves. They are most impressive when stood against a wall of stroboscopically projected light, or in an open field (or skate park), but tonight under the velvet smokiness of the stage lights Leo assumes a mystical shamanism but Pip is drumming his socks off almost hidden from the audience.

Flamingods create a vibe of international psychedelia which initially hits the buttons that Tuareg bands like Tinariwen are so good at pushing, but then add jazz-infused saxophones, a beautifully carved Thai phin guitar, electronic effects as well as drums and percussion. What you end up with the musical equivalent of an Arab souk, with each musician laying out their individual wares, yet collectively creating a kaleidoscopic vista of sound. Kamal Rasool's hat and waistcoat leave the sartorial memories, but it is the rhythms and the music that leaves the lasting impression.

Purson are one of the most eagerly anticipated acts to perform at this year's Norwich Sound and Vision. Hailing from London, they are riding the wave of psychedelic revivalism with a melange of progressive rock guitar and good old fashioned pop sensitivities. It is therefore a real shame that, with only forty five minutes before the venue's midnight curfew for amplified sound, Purson are only just taking the stage. The set list is rapidly reviewed, one song is shortened and three are dropped altogether, but what remains is a delight for anyone who remembers the late 60's or is discovering that liberating sound for the first time. It is joyous, it is theatrical, it is acid-tinged. Purson may have been one of the legendary Kings of Hell, but tonight we are in a conjuring up a retro heaven.

Back in the café bar a Sonic Youths showcase provided three local acts with a chance to perform in front of an audience of glass-recharging loud-talking music industry bigwigs. Not that these 14-19 year olds seem phased by the challenge. Taryn Everdeen is the first to grab their attention with  personal songs inspired by the world as observed through her fifteen year old eyes. The keyboard playing is still a little sparse, some of the lyrics are a little clichéd, and the voice hasn't quite decided in which direction to go, Kate Bush or Kate Nash, but she has a confidence and talent that will continue to flourish. Songs like Baked Beans show a quirkiness that is eminently endearing.

Black Shuk impress with each and every outing. With drummer Aaron alone on the cramped stage, guitarist Aaron and bass player Tom Coath stand on the bar floor in front of their amps, leaving Harry Buxton to smash through the fourth wall and bring the music right out into the audience. Although he shares lead guitar and vocals with the two Aarons he is without doubt the front man, and a real star in the making. With strong songs, a great name, and a confident stage (or floor) presence, this band seem to have everything going for them.

Peach Club have emerged in the last year as a dynamic force in riot-grrrl rock, a real punnet of power that are back on the tracks after line up changes threatened to derail the train. Tonight, in the confined space of the Arts Centre bar they do not seem quite as intimidating as they have when I've seen them previously, but singer Katie and guitarist Charlie still manage to bring the set to a close with some pretty intense shared vocal duties, and the band's attitude is palpable even from the back of the room. Onwards and upwards.

Daily Round Up 

by Pavlis

Speaking frankly, I’m knackered after day one of NS&V 2016. All my good intentions of having a lazy day to recharge my batteries for day two get derailed. So, I am not at my most forgiving when Edinburgh two-piece Man of Moon takes to the stage over twenty minutes late. I dunno the circumstances leading to this but it is a relief that Chris Bainbridge (vocals and guitar) and Mikey Reid (drums, samples and vocals) are actually very good. Mixing Mogwai, Explosions In The Sky and Twilight Sad, the music is close to enthralling, albeit that the duo’s presentation is unexciting.

I leave NAC intending to catch Magoo at the Owl but it starts to rain so I make a quick detour to the Mash Tun for the ever-brilliant Emily Winng's country-jazz-pop-calypso-show tunes. I've been trying to come up with a comparison ever since I first saw Winng at Old School Studios a couple of three years back. Tonight, it finally came to me. A female Ry Cooder based in East Anglia may go some way to summing it up. Sometimes melancholy, often joyous, Winng is witty, clever and just damned fine entertainment.

Back to NAC and it is time to have my earwax cleared out by BK & Dad. The Norwich-based psyche-noise duo opens with possibly the best version of Loggerhead I've heard and step up the intensity from there.

As good as BK & Dad are, I have seen them umpteen times so I don’t stay for the whole set and head to the Owl for Luminous Bodies. With two drummers, two guitars and bass, Luminous Bodies create a defiant lo-fi noise rock that mixes Boredoms, Bardo Pond, Iron Butterfly and Mudhoney. Gordon looks like he has stolen J Mascis’s hair but has a righteous bellow. Luca demolishes and rebuilds his kit repeatedly throughout the performance. Bassist Tracy spends more time off the stage than on it. Co-drummer Dan and guitarist Tom anchor the whole thing with solid, heavy playing, with the latter using a bow in a way that recalls neither Jimmy Page nor Jonsi of Sigur Ros. Chaotic but oh so enjoyable.

He would hate for saying it but Membranes bassist/vocalist, author, journalist, label boss, Goldblade frontman and all round top bloke John Robb is a bit of a hero. After the farce of Chuck Mosley yesterday, I am a little worried that this won’t live up to expectations. Oh, ye of little faith, Pavlis, ye of little faith. This was nothing short of a-bloody-mazing. Nearly 40 years after forming, Robb, Peter Burchmore and Rob Haynes make a racket that is as essential as it is glorious. This is not a band resting on past glories, this is a band still pushing the boundaries. Hum of the Universe from newest album Dark Matter/Dark Energy may be the song of NS&V2016.  

Finally for day two and it is down to the Playhouse for Graceland at Hopeless Clothing’s launch party. With no stage and the band being seated in the narrow bar, I couldn't see anything of them but they sounded good. With a new one sounding like Wild One as covered by Iggy, Graceland may not reach the heights of Luminous Bodies or the Membranes but they don’t disappoint.

Sound of Silents: The Pasture & The Plough at The Octagon Chapel

by Felix

Enclosed in the Octagon Unitarian Chapel’s eight walls, the BFI Britain on Film project hosted a selection of silent films from Norfolk and Suffolk; the soundtracks of three bands accompany. Last year in a similar event for Sound & Vision the subject was the city life of Norwich – this time images of agriculture and the countryside fill the projector screen above the church organ.

Two piece Sink Ya Teeth played to a compilation of trains, filmed from carriage windows so that every shot sweeps past the cold landscape, picking out farmers in their crops and passengers waiting on platforms. The music was on track, the rhythm of the railway realised in pop soundscapes of bass and drums.

Broads play to the harvest: haybales the size of ten men and several ancient looking tractors shunt around the place as workers pitchfork the stuff into the trailers. Their Mogwai melodies and synthesiser drone crescendos present a sort of ethereal nostalgia for these black and white pastoral scenes, of scything and binding and the kind of spindly farming contraptions you’d expect to find in steampunk fiction.

Finally Alex Carson & Wooden Arms take to the stage, a trio (usually a quintet) of double bass, violin and grand piano, their soundtrack an alt-classical folky mix designed to fit the images of rural socialising. Country fairs and animal agriculture make up this last third: chicks are born in the hatcheries, pigs and cows are shown off at competition until the ominous ‘taken to slaughter’ card flashes up. A brilliant nocturnal scene at the end in which an expert gets hold of a bat and plays with it in his hands, and then to finish the whole event in Halloween style a silent play about a young witch who tries to fit in at school.

These archive films would not normally be seen by the general public (though many are available on the BFI website) if not for these kind of events, and the artists who soundtrack them are clearly devoted to creating a cinematic experience fitting to the kind of worlds that we’re shown.

Hannah Lou Clark/Plastic Mermaids/Big Joanie at The Mash Tun

by Alex

After Cabbage and Bad Breeding turned the Mash Tun into a total sweat fest on night one of Sound & Vision, night two was a more reserved affair but still made way for some fantastic live music.

Opening, Big Joanie’s sound is difficult to pin down, rolling between grumbly rock and almost MIA-esque hip-hop in parts of their lyric driven numbers. Consisting of Steph, Chardine and Kiera, all black women, it’s no surprise that their music considers topics like “how black women have crooked realities in this often white supremacist world” (Crooked Room) which, as a white male, it’s difficult for me to connect with thematically. But from a musical perspective, the trio’s honesty and clear passion for the messages they convey comes across powerfully in every song.

A little later on, Isle of Wight troupe Plastic Mermaids inundate the Mash Tun in an extravaganza of disco belters. Five trendy looking guys man an array of guitars, keys and more, pouring out a wash of glistening, Everything Everything/Two Door Cinema Club reminiscent indie pop, with hints at noughties new-rave in there too. But Plastic Mermaids’ hidden weapon is Rain, a female vocalist who “performs with us sometimes”; on the final song, her soaring, operatic voice expands beyond any expectation, filling the room in a jaw dropping performance, a perfect example of synergy between genres that wouldn’t usually go together.

Hannah Lou Clark isn’t the noisiest artist on tonight’s bill, nor does she have a big stage production, but from the first note she plays it’s her very raw, very honest talent that merits her the headline slot. Suddenly we’re not in the back room of a pub in Norwich, we’re in a dusky festival field at sunset, or in a quiet bar in a Western movie, saloon doors creaking quietly in the wind. Her lyrics inspire vivid images of lust and pain, and accompaniment from guitarist Ellie Jones (and a drum machine) bring a moving substance to the musical performance. It’s Your Love sounds coarse and golden, Cowboy Joe entices with its gloomy melodies, and Kids in Heat epitomises Clark’s songwriting talents with a downbeat chorus hinting at essences of Angel Olsen and Courtney Barnett. There are a couple of technical hitches, but as Clark puts it, “you have to embrace the guitar demons… it makes it more punk rock”. I’d hope to see the same set with a full band one day, as some of the depth the tracks have on record are lost in this context, but as a stripped-back performance, it’s a glorious way to end a night of equally brilliant music.

 SATURDAY

 Let’s Eat Grandma/INHEAVEN/Yonaka at Norwich Arts Centre 

by Alex

In their third consecutive appearance at Sound & Vision, it seems only right that Let’s Eat Grandma – a.k.a. teenage multi-instrumentalists Rosa and Jenny – should be closing the festival to an audience of friends, family and fans from the very beginning. Accompanied by two equally phenomenal new acts, it’s an evening of excellence and one we who were there are lucky to have witnessed.

From Brighton, Yonaka take to the stage first, and boy do they kick things off with a bang. Lead vocalist Theresa Jarvis moves with a wraith-like demeanour, jerking frenetically as she spits her half-sing half-rap lyrics with vicious intent. George Edwards and Alex Cosby flank her on guitar and bass, rocking out just as wildly as they produce the thunderous, noise-rock body of songs like Blue and Ignorance. On drums, Rob Mason is the backbone of the set, literally and figuratively, as he hammers intensely on his kit and effect pads to complete Yonaka’s almighty sound. Anaesthesia showcases Jarvis’ soaring vocals, and upcoming single Drongo looks set to be the first step towards greatness from this band who aren’t for the fainthearted.

INHEAVEN are an act just with a just as promising 2017 ahead of them, and it’s clear why, as the reverb heavy All There Is bounces out to fill every corner of Norwich Arts Centre. In leather and velvet, James Taylor fronts, his vocals mixing gloriously with pink haired bassist Chloe Little’s in an iconic scene of rock and roll reverence. Baby’s Alright pops and fizzes in a call to arms for “lonely kids of the USA”, descending into a distorted haze of guitars you wouldn’t be hard pressed to find on a Teenage Fanclub record. Drift has essences of the Jesus and Mary Chain, as does Regeneration, the quartet’s debut track and tonight’s closer. “I don’t wanna bring you down, I just wanna fuck around / this is my generation”, Taylor preaches, embodying teen angst, pride and pure, slick style. It’s tricky to say whether they’re destined for the commercial mainstream, but with a debut album in the works for release early next year, you can bet your ass you’ll be hearing more from INHEAVEN very soon.

The metronomic drumbeat that opens Deep Six Textbook cuts unmistakeably through the air as Let’s Eat Grandma perform a playground handclap ritual centre stage. It’s an honest reminder that as both musicians and individuals they’re still very young, but unlike a lot of teenage creators, Let’s Eat Grandma embrace their youth, rather than distance themselves from it. It’s this simple statement that sets a tone of innocence and vulnerability, inviting us in to the twisted world of these two mysterious performers. The first instrument switch-up comes as Jenny takes to the saxophone, before Rosa initiates the glockenspiel introduction to Eat Shiitake Mushrooms. There are no breaks for ad-libs or applause, but the latter comes in raptures anyway.

Further cuts from I, Gemini arrive back to back; ghoulish recorder whistles introduce Chocolate Sludge Cake, where the multi-tasking aspect of Let’s Eat Grandma’s performance gets a real spotlight. They take turns playing drums – Jenny first, then Rosa – as well as multiple keyboards that almost pulsate with vivid noises, all besides delivering an iconic, wispy vocal that sends chills to the bone. Rapunzel starts with an ethereal piano section, like a music box opened late at night, before a kick drum cues its bouncing chorus it’s impossible not to tap along to.

The duo’s true masterpiece is Donnie Darko, an awe-inspiring ten minute plus build up of sequencer blips, followed by guitar, then keys. The girls lie on the floor like stubborn children on a bedroom carpet, or sit beside their mic stands staring like caged animals at the front row. It’s theatrical and enchanting, and made poignant by the delightfully simple repetition of lyrics; “I saw you in the Yellow Pages…”, Jenny croons softly. But the show can’t go on forever, sadly, and we’re treated to Sink as a short encore, before it’s time for bed.

Teen Brains/Claws/SHVPES/Black Foxxes at The Mash Tun 

by David

Saturday evening – the final push for those of us that have already forsaken two sensible bedtimes in the pursuit of musical nirvana. This is the excitement and buzz that Norwich Sound and Vision annually provides. Ostensibly established as a showcase and talking shop for the local music and film industry, it has evolved and developed over seven years into what is now also a three day wrist-banded festival to challenge and compete with Brighton's Great Escape and Sheffield's Tramlines. It is a time for venue-hopping, scrutinising set-times, and priority juggling for music lovers from within the city and beyond.

Unlike some of my friends and acquaintances (who are busy plotting their criss-crossing routes between the final night venues) I have plumped to install myself at The Mash Tun at Charing Cross and settle for a combination of local names and visitors – Teen Brains and Claws who I know and love, and SHVPES and Black Foxxes who I have not seen before. Experience of previous Norwich Sound and Visions tells me that, whilst you may be frustrated by what you miss, you will never be disappointed by what you do manage to see.

Teen Brains have come a long way since I saw them support Menace Beach at the Arts Centre, and have departed their native Lowestoft for the bright lights of London. What remains, though, is an infectious enthusiasm for their particular brand of psych post-punk and a batch of songs that now extend to three EP releases. The Mash Tun stage is a peculiar beast, basically three steps leading to a hole in the wall through to the adjoining room. It is a bit like a stage set from The Young Ones, the one in which Rik and Vivyan smash through into the house next door only to find a rock band playing in the neighbours' lounge. Speakers are positioned either side of this gap, leaving a space of about twelve feet through which to observe the band. Vocalist Tyler Darrington is clearly visible, as is periodically the drummer, but we have to crane our necks or move to get sight of either of the other two band members. Not that it spoils the quality of the music.

CLAWS are a favourite on the Norwich circuit, and old friends of Teen Brains. Tonight is my first chance to see them since they were forced to prematurely cut short their set during a Sofar Sounds session a couple of months ago, and my last before they set off on their 'Daydreaming of EU' tour of Germany and Italy later this month. It is a spirited performance, enhanced by the dynamic, if at times uncoordinated, dancing from an enthusiastic member of the audience. This, too, is a band whose surf-punk vibe is forged and held together with an obvious love of performing, and it is always a pleasure to watch them play.

SHVPES (pronounce it 'shapes' – vowels are just so last year, darling) are a five piece metal outfit from Birmingham who may not be playing to the biggest crowd of their career, but manage to pull out of the bag one of the most entertaining sets I have seen in years. Refusing to be confined by the limitations of the stage area, guitarists Ryan Hamilton and Youssef Ashraf are happy to exploit their wireless guitar freedom by wandering happily amongst us. Not to be outdone, vocalist Griffin Dickinson takes it one stage further. Trailing the microphone lead perilously in his wake he wanders next door, leaps over the bar and pours himself a pint, all whilst continuing to sing. A quick backward somersault later and he is heading back towards the stage, but talk about breaking the fourth wall. These boys don't just break it, they pulverise it.

Unfortunately the antics of SHVPES rather overshadow the exertions of headliners Black Foxxes who, although playing to a much healthier size of audience, struggle to maintain the interest of those still reeling from the previous act. To be fair, Black Foxxes are an incredibly tight, and incredibly loud, three piece band that hail from the West Country and play an intense form of rock that at times borrows from the grungy grit of Nirvana. Strong songs and killer choruses prove that Black Foxxes have all the right credentials, and provide an impressive alternative to those of us not desperate to experience Let's Eat Grandma at the Arts Centre. Either way, they produced a valiant, and worthy, climax to my Norwich Sound and Vision.

Daily Round Up 

by Pavlis 

So much for getting some rest after day one. I am at the Arts Centre for Viv Albertine in conversation with John Robb. Viv’s book Clothes Clothes Clothes Music Music Music Boys Boys Boys is one of my favourite rock-related autobiographies. Witty, entertaining, it is also deeply personal and emotional with moments of trauma. John Robb leads the conversation with a deft, subtle touch and Viv is an engaging raconteur. Some of her comments about music in general and the role of punk may be a tad surprising but this is a compelling hour or so.  

Next up at NAC is Rat Scabies in conversation with Push. Whilst this doesn’t quite meet the standard set earlier, hearing the former Damned drummer and journalist/author Push (AKA Christopher Dawes) discussing the mystery of Rennes-le-Chateau is still an entertaining and enjoyable way to fill a Saturday afternoon.   

At the Millennium Library, Outline stalwart Stuart Preston is putting on a showcase of four local artists.  First up, Chad Mason has a good voice, some decent songs and is wittily talkative. I hesitate to use the term singer-songwriter but can’t think of a better description.

I last saw Abigail Blake at a Sonic Youths showcase a while back. Then, it was just her, a harp and a guitar and it was, well, a bit twee for me. What a huge leap forward Abigail has made in a relatively short time! Adding electronics (written and produced by the lady herself) and looping her harp, there are strong hints of the Knife, Fever Ray and the Massive Attack of Unfinished Sympathy. 

With a sound bordering on easy listening, 80s TV soundtracks, Jaztec are clearly very talented and good at what they do but it is really not my thing. After 15 minutes, I wanted to don a shiny suit with the sleeves rolled up, Miami Vice style, and head to a bar for sophisticated cocktail. 

Ably backed up by DJ/producer Happy Ghost, Luke Peter Foster has gained considerable confidence since I first saw him a year ago and is developing into a decent performer. That said, as with Jazztec, his spoken word/hip hop is not really my bag but I can’t deny that there is talent there.  

Back at NAC, Matt Watson is playing in the bar. I like Mat’s music – a lot – and the mix of songs from debut Grounded, this year’s The Endless Shipwreck and a cover of Billy Bragg’s Great Leap Forward is, for me, bang on. The muted response from the audience is both surprising and disappointing, given what good songs Stories from the Sea and A Brighter Day are. 

In the auditorium, Yonaka come on like a heavier Duke Spirit. It’s Ok but doesn’t grab my attention so I head off to the Mash Tun after a couple of songs. Speaking to people later, that may have been a rash move as I am told that things pick up when some technical issues with the guitar have been sorted. 

Whatever, I am at the Tun and CLAWS seem reinvigorated since I last saw them. Recent EP Daydream is great but Brainwash and the title track have an increased urgency and energy. Singer Josie is smiling throughout and this might just be the best performance I have seen from the Norwich four piece. 

Back at NAC, Inheaven offer up an enjoyable take indie tinged with 60s garage and 70s classic rawk. I'm getting hints of Jesus & Mary Chain, a less fey British Sea Power, the Sonics and Rumours-era Fleetwood Mac. 

In the bar, Chris T-T is just brilliant. Worst Government Ever should be an anthem for the disaffected and disenfranchised. As performances go, this is a good one. 

Away from Sound & Vision, Revenge of the Psychotronic Man are at the Owl. Despite clashing with most of Chris T-T’s set, Let’s Eat Grandma and Shvpes, I was not going to miss this for anything. RotPM play brutal, enthralling, exhausting, cathartic noise rooted in 80s UK and US hardcore. Musically, this makes Bad Breeding sound like Bon Jovi, although the show is not as intimidating. I’ve got to ask why there are no more than 25 people in the Owl for this and why this is not part of Sound & Vision. Hey ho, it is still brilliant. 

Finally, it is back to the Tun for Black Foxxes. After RotPM, this is a bit of a comedown. That is not to say it bad. It is far from that. This is heartfelt, soulful classic rock with a touch of post-rock feedback and experimentation, coming on like a flab-free Crazy Horse covering Mogwai. 

Daily Round Up

by Stuart

My mammoth 12 hour Saturday shift began with a hangover and too little sleep, but nonetheless I was back at NAC at 12.15 in time to take a seat to listen to John Robb in conversation with Viv Albertine. Viv showed what a funny, intelligent, articulate and absorbing woman she is. I think we all could have listened to her talk for hours and I genuinely regretted not taking my 14 year old daughter along, for Viv really is an inspiration. The next ‘in conversation’ was with writer Push and erstwhile drummer and founder member of the Damned Rat Scabies. This was another entertaining hour, hearing about Rat’s early years and influences, and the pair spoke at length about their book Rat Scabies & The Holy Grail and the strange goings on in the tiny French village of Rennes-le-Chateau and its associations with the aforementioned Grail. Still, Rat didn’t talk about his time in the Damned and I know I wasn’t the only person there who was disappointed by this.

I wasn’t able to stay for the last talk with Brix Smith-Start in conversation with Adam Buxton; instead I headed up the Millennium Library for the afternoon. Chad Mason was the first act on and as with the previous time I’d seen Chad play, he charmed the pants off me. I love his witty between song banter, and his beautiful acoustic songs worked perfectly in the open space of the library. Abigail Blake manages to do something completely original by combining harp and electronic music. Looping her own playing she delivered a lovely confident set with sweet vocals sitting nicely on top of her self-produced backing tracks. Jaztec are a two piece who, like Abigail, are striving to do something different with their sound – and their fusion of ambient electronica with jazz and funk blends really well. They’d be perfect for the soundtrack events at the Octagon Chapel, or playing a live score to some long forgotten silent B&W gem. Final act Luke Peter Foster played a great set of hip-hop and spoken word, combining his lyrics with the excellent music created by his partner in crime Happy Ghost. Luke has only just turned 19 and yet was completely at ease playing in a different type of venue to a different type of audience. Four excellent talents put on a brilliant afternoon of free entertainment.

I was finally able to grab some food, but still had 30 minutes to kill, so called in at Marzano’s to have a look at the BBC Introducing event that was taking place and got to enjoy Jack Breeze-Lamb’s set of loud synth steered electro, especially as it worked so well with the visuals which combined his show. An unexpected treat.

I headed over to the Mash Tun to see Teen Brains begin the evening. I’ve enjoyed them live before and was keen to see how far they’ve progressed since the last time I saw them over a year ago. Progressed they have, but they are a long way off being a great live band and tonight were hampered by appalling vocals. It’s not a problem I’ve noticed before so benefit of the doubt is given, but they were hopelessly out of tune I’m afraid. They have added some good new songs to the set and Wash Away off their new EP is the best song they’ve written, but they need to play lots more gigs and work very hard on improving the vocals.

The Arts Centre was sold out tonight and there was an expectant crowd in place when I arrived to catch the last 20 minutes of Yonaka. Not the sort of music I would ever listen to or normally see live but they were very impressive, belying their lowly status on the bill. They’ve clearly played lots of live shows and it’s paid off. INHEAVEN were on next and were also a very impressive, tight live band who have played loads of gigs recently. Baby’s Alright is their one brilliant live song, I could have listened to that on repeat. I found the singer’s faux American singing voice irritated a little, but they played well and were well received. I had been advised to make a point of seeing folk singer Chris T-T perform and what a revelation he was. Whilst he’s been around for years and many people seemed to have seen him live I stood in the bar of the Arts Centre with no real expectation, and yet 30 minutes later I had witnessed one of the highlights of the entire weekend. Political, funny, moving, humble and captivating he absolutely blew me away. Just playing his guitar, or singing acapella, especially when he sang acapella actually, I felt very lucky to be able to watch Chris perform. His renditions of some of A.A. Milne’s children’s verse put to music were exquisite and everything about his performance endeared him to me. Have a listen to Waiting At The Window or Market Square if you don’t believe me.

The reason for the sell-out crowd was the homecoming show of Let’s Eat Grandma, days before making their national live TV debut on Jools Holland and just a few weeks after playing a festival in Canada. They’ve come a long way in the year since I last saw them perform – they are a lot more focused, there’s less instruments on stage, their act showed a lot more maturity and it was by far the best I’ve seen them play. It really did feel special to be in the room, the audience paid rapt attention, there were moments where everyone was completely silent. The crowd was a great mix of young and old and it felt like there was only one place to be in Norwich on Saturday night. There are still parts of their act that I’m less keen on, but the musical backing especially really did do them justice here. As their set finished reasonably early there was still time to nip back to the Tun to catch their headline band Black Foxxes. Another act who I wouldn’t normally see live, they provided a nice alternative end to the festival. Slick, loud and well played, their sound is emo infused noisy alt rock. There were several people there who really loved them and it’s easy to see why they’ve been getting played on Radio 1 and performing at Reading & Leeds. Like Yonaka & Inheaven I was just impressed watching a quality live act.

Sadly that was my lot. I would have gone on if there had been anywhere else to go, but as I made my back home I could do nothing but look back on another brilliant 3 days of Norwich Sound & Vision. Once again my wristband had allowed me to see some brilliant live music and events. This year’s programme was so full – Friday had eight different stages of music, and yet every venue I arrived at had an audience in place ready to be entertained. All the venues more than played their part, I hope they and more will be on board next year, but biggest thanks of all must go to the organisers for once more providing me and many others with 3 days and nights of wonderful entertainment.

In Conversation: John Robb with Viv Albertine, Push with Rat Scabies and Adam Buxton with Brix Smith-Start at Norwich Arts Centre

by Nawaza 

So this wasn't your standard quest for musical enlightenment, it was more of a fly-on-the-wall experience, an intimate delve into already intimate biographies. John Robb emerged on stage with a shy and reserved Viv Albertine, previous guitarist for The Slits, to discuss her biography Clothes, Clothes, Clothes, Music, Music, Music, Boys, Boys, Boys; it's a mouthful, which funnily enough isn't how the Johnny Rotten blow job story ends. Viv may have seemed to be a more reserved version of her former punk-rock self, but she's as honest with her words than ever before. Listening to how Viv came back to the music industry after 15 years and her method of developing a self questioning form of meditation will make you question everything about yourself - you're cool but questions are always good - know yourself and know your future...that kind of thing. Viv's narrative structure with plucks of dry wit, as she back and forthed with John, was more than just reminiscing about the punk-rock days gone by, it's a "bare all and fuck it" account of a life that begun with a rocky start, a hard ore middle and smoother sailing for the future.

Next to hit the hot seats, were previous neighbours and grail diggers, Push and Rat Scabies, fire-starting beater of skins for The Damned. Now these two know each other well...after all they did research and write Rat Scabies and the Holy Grail together. If it wasn't for the musical interlude, the Grail gab-filling could have easily become a full meal. Not to say that the Grail gab wasn't interesting, although it may have left any aspiring drummers searching for inspiration a little disappointed.

The finalists for the seats, were 'abnormal for Norfolk' Adam Buxton and bubbly Brix Start-Smith of vocals/string-plucking fame with The Fall, chatting about her biography The Rise, The Fall and The Rise. After being judged for doing what Linda McCartney did for Wings, it was nice to find out more about Brix's layers that lead to her meeting Mark E. Smith and becoming a fully fledged member of The Fall. The fact that she studied alongside Bret Easton Ellis at Bennington private liberal arts college gave you an insight into her inspirational peers and her creative writing even at the age of eighteen. Life after Mark and The Fall was surprisingly even more bizarrely exciting, and continues to be. Like Nigel Kennedy and herself being 'couples besties' with Gary and Michelle Lineker, which is quite surprising at first, and then shocking as Brix tells all about Gary's present for the Republic of Ireland during the 1990 World Cup...which was unfortunately delivered while Gary was out on the pitch. Seriously, Google it. I'm kind of hoping Adam works that bit of classic sports ball comedy into his next show now. Seriously, why aren't you Google-ing right now!

Chad Mason/Abigail Blake/Jaztec/Luke Peter Foster at the Millennium Library 

by David

The Saturday afternoon gig at the Millenium Library is one of my favourite parts of Norwich Sound and Vision. Just for a couple of hours the needs of the music industry delegates and local movers and shakers are put on hold as the artists come out to play instead for the people of Norwich in what is, in effect, their building.

First up is Chad Mason, a fine songwriter with a loquacious and sometimes surreal line in between-song banter. We learn that he once used to work for doughnuts at his local library, which had since been re-designated as an 'Information Centre'. His amiable nature and gentle songs put visitors at ease and provide a gentle and gradual introduction this afternoon of music into our most pioneering of venues.

Abigail Blake continues to break new ground as she performs her fusion of twinkling harp refrains against electronic beats, topped off with a beautiful voice and original compositions. Elegant, bold, and contemporary. Just like The Forum.

Another meeting of the contemporary and quintessential comes in the shape of Jaztec, the pairing of Lobster's former front man, saxophonist Dominic Trevor, with ambient electronic producer Alex Guy. Once again the Library comes alive as gentle pulsating beats reach out and velvety sax notes drift between the ordered shelves. This is easy listening, but with a razor-sharp edge.

Final act is a alternative spoken word and rap artist Luke Peter Foster, assisted with beats from Happy Ghost. Laidback and chilled, yet with a deeply personal and honest line in lyrics, this is a polished performance that cannot fail to impress. The man himself wants to remove his sweater mid-way through the set, but admits that he had earlier spilled curry down his shirt. Instead, he feels sufficiently at ease to simply sit on the edge of the table and let the lyrics flow, but also has the confidence to leave the stage and access his audience. A worthy headliner to a great afternoon.

This is the second year running that the Library has allowed live music to be performed as part of Norwich Sound and Vision. Café Marzano, in association with BBC Introducing this year picked up the baton and arranged a free evening of electronic music to follow once the library had closed.