20 October 2011ACR live @ Band On The Wall and then again
Tickets for Saturday 12 November are available now direct from Band On The Wall priced £17.50 and also Ticketline, See Tickets or by calling 08452 500 500.
On Saturday 22 October he plays The Donkey in Welford Road in what will comprise the world debut of Liberation Doll, his new band with Sally Barker, drummer Lee Allatson and bassist Ian Crabtree. Admission is only five of your British Pounds. Liberation Doll will release its debut album in 2012.
Then, on Monday 7 November, Kevin will play a show with his old friend Patrik Fitzgerald at The Musician in Clyde Street. This gig will also feature the first live appearance in over a decade by Ruth Po! of Po! fame. Tickets for this one are £7 in advance from wegottickets.com or £8 on the door.
19 October 2011Section 25 live review @ The Factory, MCR
I'll be honest, this was my first visit to FAC 251, opened within the building of the iconic ex-Factory head office, turned three-storey nightclub and venue - a bare-bricked environment perfect for live music, with possibly the scabbiest toilets this side of Deansgate, but a live room that does a decent job with a low ceiling and capable soundsystem. Most importantly, it's all about the atmosphere and tonight there was plenty of it, with good reason – it was the Blackpool band's first return to the venue since their 2010 Retrofit gig. But what made this show a bit special was the business of launching a new Section 25 EP, Invicta, their first new material since 2009's Nature + Degree and their first single since 1988's Jonathan King-upsetting Bad News Week 12".
It also marks a significant step forward for a band already unsteadied by founder-member Larry Cassidy's death in 2010 – this is the brand spanking new Section 25, still loud and still melodic but with a confidence and energy, most of which exudes from live-wire new vocalist, Bethany Cassidy. The more masculine vocals are supplied by limping bassist Stuart Hill (he nearly cracked his ankle a few days previous to the show) and the rest of the band, Stephen Stringer on guitars and bleeps and Vin Cassidy working hard to provide a human percussive element to the setlist's demanding rhythms. Where once there was brashness, there is now beauty with a bite. You could be listening to a new band, such is the shift in direction on some of the older offerings tonight.
From The Hip favourite The Process opened proceedings, presented in its Retrofit finery, before the set quickly shows signs of lifting off with a tough electro rendition of early single, Beating Heart. It's songs like this that benefit from the feminine touch of Larry's daughter, although she does display some gutsier vocal-skills on other songs. The only perplexing change to their catalogue is a slow, almost lounge, version of Rememberance. As an album track, it's a definite techno-pop highlight, but slowed down misses the mark somewhat – it sounds better when pepped up. Thankfully, it's all uphill from here with new electrodisco favourite, Inner Drive and the totally-revamped New Horizon holding sway with the by now busy, loyal and partisan crowd. The new song is a bit of a firestarter when played ‘live, gearing the band up for a boisterous brace of older tracks.
Later on, Beth's sweet-as-toffee tonsils turn into a far grittier soundbase for the always-snarly Wretch, a song from The Key Of Dreams that still surprisingly stands out in the dry-ice haze of a recession-gripped Britain. "You snivelling wretch", she spurts in a barbed manner that belies her approachable and friendly demeanour. The band gamely keep time, before unleashing more post-punk vitriol with Girls Don't Count – it doesn't sound like a sound that recently celebrated its 30th birthday.
Composure remains throughout the last two songs, Garageland and the cracking new single, Colour Movement Sex and Violence, the latter a contender for being the prettiest and most melodic song of theirs since Crazy Wisdom. Or Desert. Or Inspiration. It sounded great on the radio a few weeks back – it sounds even better piped out of a proper rig.
The encore predictably (but thankfully) consists of Looking From A Hilltop, a signature song of sorts and, with my eyes closed for a few seconds, a veritable reminder of how much Beth sounds like her mum occasionally. Absolutely nowt wrong with that – the newcomer has clearly made Section 25's key songs her own, even pausing to dance her arse off throughout the show. They'll be installing mirrorballs next. As an aside, it's a shame they didn't have any nice merchandise installed – people would have coughed up a few quid for an Invicta EP afterwards.
The band have a couple of key live slots coming up, including a support role for Peter Hook and the Light at the Salford Lowry and a stint at Antwerp's BIMFest – you really should make an effort to turn up early to see them.
Remembrance (Slow version)
Girls Don't Count
Colour Movement Sex and Violence
Looking From a Hilltop
More info at fac51thehacienda.com
The book, which is priced at £30, contains over 400 unpublished photos of the band and 200 plus images of rare memorabilia. There are Forewords by Peter Hook and Stephen Morris and the Introduction is by Moby.
The first 750 copies only, will 1) be hand numbered and signed by the author, 2) include a genuine unused ticket from New Order's 24 May, 1984 gig at Leicester Palais and 3) enter the buyer into a free draw for one of three A2 size Limited Edition prints. Two of the best photos from the book, plus another unpublished shot of the band, exclusive to this print, will each be produced on archive paper, signed by the photographer, in a numbered run of 20.
More info at www.fromheaventoheaven.com
Title: From Heaven to Heaven: New Order Live - The Early Years (1981-1984) at Close Quarters
Author: Dec Hickey
Format: Hardback 198 full colour pages - 268mm x 325mm, landscape, art book-style format.
18 October 2011Hannett - Maverick Producer Genius Musician
As Paul notes, of particular interest to Factory aficionados are the brief chunks of reworkings of The Durutti Column's Self Portrait (given a powerful syndrum overhaul), Calcutta by The Names and Hannett's own The Music Room, not to mention First and Second Aspect of the Same Thing flexidisc tracks.
1. Martin and John Cooper Clarke - quick verbal quip
2. Office in a Bottle - Martin on vocals, synths along with John Hurst and Diane
3. Martin on synths, metronome, etc.
4. Martin on syndrums
5. Martin on synths, etc.
6. Bernard Sumner talks about Martin
7. Martin on Synths, etc.
8. Martin - strange piano mix
9. Martin on Synths, etc.
10. Martin plays bass
11. Chrysler - Belt and Braces
12. Benavila - Belt and Braces
13. Joe Smith - Belt and Braces
14. Derry - Belt and Braces
15. Trouble in A Major - Pete Farrow
16. Hold On - Pete Farrow
17. Sailaway - Pete Farrow
18. Maybe he’ll - Pete Farrow
19. Old Man’s song - Pete Farrow
1. Hooky talks about Martin
2. Manchester Boys - George Borowski
3. Who is Innocent - George Borowski
4. Dangerous City - George Borowski
5. Giant - Belt and Braces
6. Questions - Belt and Braces
7. Grapes - Belt and Braces
8. Money - Belt and Braces
9. Banks of The Dee - Belt and Braces
10. Chains - Belt and Braces
Maverick Producer Genius and Musician - Martin Hannett is available to buy direct from Ozit Morpheus.
Post punk cult band The Names emerged in the winter of 1977-1978 as The Passengers, gathering immediate attention on the local Brussels scene. In 1979, after a series of successful gigs and a crucial step forward opening for Magazine, they recorded their first E.P. ("Spectators Of Life") and attracted the interest of prominent label Factory Records in Manchester.
Their first British studio session (at Stockport's Strawberry Studio) produced the single "Nightshift" / "I Wish I Could Speak Your Language (Fac 29). Receiving enthusiastic reviews in the UK and abroad, it marked the start of a long and fruitful collaboration with producer Martin Hannett. The album "Swimming" followed as well as more singles, including "Calcutta" and "The Astronaut".
- extract from the official website biography