‘The Garage ain’t the ideal environ for squawky Vancouver rawk duo Japandroids to take to. Its toilet floors unblemished by the scummy erosion induced by incomprehensible urinary misfire; its walls plastered in woefully Photoshopped posters vainly attempting to entice to some inconsequential show from an ever to remain unheard of: put simply it’s a venue more sterile than many a hospital bed. Its upstairs is air-conditioned for fuck’s sake. But this is the last night of a frenzied UK tour which has taken in three London dates in the space of a week and, as the squiggly sweat-haired Brian King persistently avows, they’re in the mood to unapologetically “destroy the place.” And who the heck are we to stand in the way of an unrestrained luminary, the beam puked across his face throughout as indebted to the intake of oz upon oz of JD as it is to the innate mirth located within imminent LP, Celebration Rock.’
Posts tagged The Garage.
Now an institutionalised bimonthly installation on the London circuit, Fred Perry’s Sub-Sonic Live night next week returns to The Garage where pioneers are to be in plentiful supply. Curated by legendary disco whiz Greg Wilson, the Manc mastermind brings his so-called Reels Of Steel set to London for the very first time where he’ll be joined by hip hop progenitor Afrika Bambaataa, whose revered Planet Rock: The Album turns thirty this year. Tickets priced at £5 are available here although you can have a stab at winning a pair here.
And just as Wilson aims to celebrate the past whilst carving the future next week, having looked forward to the show we now look back to the last, conceived by esteemed Windsorian Andrew Weatherall. First up the Screamadelica producer opted for London/ Berlin pairing Night Angles, whose streamlined futuro disco-cum-sci-fi Morricone cut Space Lines streams below.
Weatherall also plucked Warm Digits out from the North: described by the psych powerhouse himself as “Machine funk kraut-a-delia”, their frenzied electro pummel Weapons Destruction is here for your immediate delectation.
‘Whilst Merilahti may oft be classed with PJ and Persson and Siouxsie Sioux and her heroine Björk – certainly at points her vocals do sound quite redolent of each of the aforesaid – she ought to be added and not merely analogised to this sequence of exceptional vocalists.’