Decal, Decal Decal Decal. At the Funnel, Funnel Funnel. Sorry, my pen was
skipping tracks there.....
Wow, Phunk City eh? Run by those cute little fairy folk from Ultramack
records. Don't we love them? Actually, it wasn't just Decal at the
Funnel, it was Decal Vs The Wormholes. And there I was, standing up the
front waving my hands and waiting for some WWF style warfare until Singer
took me aside and explained slowly that the two groups were actually just
going to play music together, and not kick the shit out of each other as
I had hoped. Awwwwww. I suppose The Wormholes would have won the scrap
purely by outnumbering Decal, but I'm sure the U:Mack boys would have got
a few sly kicks in before running off screaming like the women they
really are. (Ah ha, only messin' lads, so I'm still good for those
concession passes yeah?)
 Well first off, The Funnel is a really nice place, with a nice
big, errrr, Funnel thing on the roof just over the bar. And it's got the
bestest oil heater type thing in the fucking WORLD!!!! I was freezing my
arse off outside Trinity for half an hour before Singer and his sister
turned up but boy did I warm up nice and quick when I got into the club.
Excellent stuff. And the sound system is ear-poppingly good too. And the
toilets are clean. (Not like the 'orrible Fusion bar, hehehehe) And and
and, it smells nice, and there's glitter balls everywhere!! (Well, two of
them anyway) The Wormholes kick off the evening's entertainment by
running up the aisles waving their intercontinental belts around and
screaming into the mikes about how they were going to kick Decal's sorry
ass. Oh wait, no, that's not what happened. Some bloke on a keyboard
started a catchy little organ tune on what looked like the worlds oldest
keyboard. I actually thought he was just some sound check dude because he
kept at the same little melody for ages, but then the drummer got up on
stage and kicked into a seriously head bopping beat followed by the bass
player and then wow, sounds a bit like Spiritualized in a way.....the
organ dude pulled on a guitar and strummed a bit and even played the
harmonica!! And then before I could say "Hey, you're playing a harmonica"
some other bloke got up on stage and pulled one of those snake charmer
pipes from his pants and started tooting it!!
For a minute I thought anybody who had brought an instrument got to jump
onto the stage so I started wrapping some tissue around Singer's comb but
I was beaten by Decal who jumped up and started kicking the heads of The
Wormholes and smacking them with chairs. Ah no, hang on, that didn't
happen either, they actually just started playing along with The
Wormholes for a while, but unfortunately just as it started to get really
interesting (nobody knew what to make of it at first) The Wormholes
fucked off and Decal just ended up playing by themselves for the rest of
the night. Not a bad thing at all mind you, with such classics as
Self-Storage and Pigeyes gets Whacked blasting out into the night sure
anybody would be happy with that. It's just that, well, there wasn't
enough Wormholes/Decal collaboration. Oh well, I suppose it'd be a bit
tricky trying to merge stuff like that together, but it'd sure be nice to
see them try it again some time.

Recently Stripe and Singer left Thayl to mind the S@E offices when they
fucked off to Galway for a bit of Primal Scream/Spiritualized/Fatboy Slim
watching, but when they came back what should they find but Thayl, curled
up in a little ball on the ground, whimpering for his mammy!!

Stripe: Thayl, are you okay?
Thayl: Whimper......
Singer: I think he's trying to say something!!
Thayl: Ugh....The Funnel Bar......gurgle.....Anodyne.....slutter....
Stripe: Nah, sounds like he's swallowed his tongue or something, you'd
better stick your hand in his mouth and pull it back out.
Singer: No, wait.....I think he's trying to review Anodyne's gig in The
Funnel Bar!!
Stripe: Quick!!! Get him some paper and a pen!! And wipe the spit off the
side of his mouth while you're at it.
Thayl: *Gasp* Thank you. Anyway, wow, what a gig!! Ohmygod,
it'sallsofuckingmindblowing!!
 Stripe: Argh, write slower, nobody can read that!!

Thayl: *Opps, sorry. I'm a bit mad right now. Ambulance were supporting
him, I remember that much. They were pretty darn good, and I'd never
heard of them before in my life!! They played a kind of ambient set,
well, a bit heavier then ambient. Imagine shoe-gazing while on  a bus
going around a sharp corner. You'll try to stand still but you'll move
about a bit, that's what Ambulance were like. A hint of Aphex Twin maybe?
These guys were groovy alright.
Singer: Come on come on!! Get to Anodyne!!!!
Thayl: Okay okay. *Deep breath* What can I say? I just can't describe him
well enough on paper. I'd have to hit your head with a baseball bat and
then push you off a high building, then you might start seeing the things
I was seeing through the smoke when Anodyne played.
Stripe: You'd better start making sense prettttttttty quickly or it's the
coal cellar for you!!

Thayl: Okay sorry. Well, from the second he came Mr. A. launched into
what I can only describe as "Death and Bass". It was scary, it thumped
your brain like a big fat bouncer after you've slagged off his hairy
knuckles. It was industrial-techno-metal-death-beats from hell. Anodyne
is an aural child molester, he stabs you with blades made of breakbeats.
I.......I can't go on......

Stripe pats Thayl on the back.
Stripe: There there, it's okay. You're safe here. <Pssst, Singer go get
some rope, he might go crazy at any second> There there Thayl. <Hurry up
Singer!!>

Thayl: It was great though, fucking excellent. And afterwards Mr. Alan
from Decal calmed us all down with some excellent drum and bass tunes,
and Maura held my hand for a while so I was okay then. My only gripe was
that the whole of Anodyne's set was a pure screaming wall of noise. It
would have been nice to have had a brief breather in the form of some
slower, less mind blowing sound. But then again, only the weak need to
take breaks......and Anodyne certainly isn't music for the weak.

In order to undertand my insatiable hunger for this ultra-delicious label, you'd have to go back in time to late 1993 or early 1994. I cant pinpoint the exact moment I began to take a serious interest in Warp, but it was probably one of two incidents. In 1992 and 1993 I was buying records on the Too Pure label, simply because of the labels' strength. Stuff like Mouse on Mars, Pram, Th'Faith Healers and Stereolab brogut great pleasure to my ears. The label still holds my interest today with acts like
Laika, Scala and Seely. Anyway I picked up a copy of Seefeel's "Time to Find me" EP with remixes by none other than the Aphex Twin. This record was amazing, the depth and quality of Sarah Peacocks voice wrapped me in immediately. I had to get more stuff by this group. After picking up their previous two EPs on Too Pure ("More Like Space" and "Plainsong"), I began to scout around for stuff by this Aphex Twin person. I didnt really know much about them, 'cept for a small interview I had read in Lime Lizard magazine (RIP). I picked up a copy of Selected Ambients Works 85-92, which was on
R&S records, and then Selected Ambient Works II which appeared about March 1994 to the best of my memory. I was hooked. The beats of 85-92 mixed with the floaty ethereal ambience of II was enough to make me want everything this bloke had ever released. SAWII didnt leave my tape deck for about six months, and sometimes I couldnt listen to it when I was depressed because it was such an emotionally charged LP. SAWII was released on Warp, and I began to investigate into the label further.. as for the other incident,
about the same time, I came back home late one morning after a long, heavy night out and the acid was still seriously mashing my brain into shit. I turned on the telly and the video for (sym)(biotics) from the "Motion" Video was on MTV. The pictures of these huge bugs and eggs merging with this little robot, which was flying around this dark, spotted landscape, made my already damaged brain turn cartwheels inside my skull, and I sat there unblinking for about five minutes wtaching this video.
After it was over, the usual MTV fare of Janet or Celine came back on and I switched off the TV, and went upstairs to bed where I stared at the ceiling for a few hours. The next day I went about finding this video, or who made the music. As it turned out it was Autechre, who were also signed to Warp.
 Seefeel, after releasing their debut LP on Too Pure ("Quique") had also signed to the label and their first release on the label was an EP called Starethrough. They released their second LP, "Succour", on Warp but this was very disappointing by their EP standards. I continued to pick up Warp stuff from their back catalogue, like the Polygon Window LP and Speedy J's "Ginger". At this time the label was recieving a lot of press (relatively speaking) for the success of the whole "Artifical Intelligence" thing, but then the media went nuts for
drum'n'bass and jungle, and the herds moved onto other things as Warp took a back seat, while people like LTJ Bukem and Grooverider were being showered with praise. But to me, Warp was putting out infinitely better stuff. Autechre's "Anti" EP with the track "Flutter" was incredible. At the time it was the most unusual thing I had ever heard. The music was constructed in such a way that no two bars contained repetitive beats. This was a musical statement against the Criminal Justice Bill, which
later became the Criminal Justice Act. The "Garbage" EP, also by Ae, was way more ambient, VLetrmx21 was like some majestic classical piece, I listened to it over and over. The "Tri Repetae" LP was much darker and harder than Amber, but it still shook me to the core, and hearing barely recognizable snippets of it at their live performance in the Furnace in pitch black surroundings will stick in my memory for quite a while. The "Anvil Vapre" EP was also very impressive, the video for "Second Bad Vilbel" directed by Chris Cunningham
(currently in the news for directing the Aphex "Come to Daddy" video) was also a late night comedown shocker.
 As for Aphex, I had picked up the On singles, and then sometime in 1995 I think it was, he released Ventolin, which gave me a serious fucking headache when I heard it piped through the listening post headphones in Virgin. I bought it straight away. He also released the "...I care because you do" LP and the mental "Donkey Rhubarb" EP, with those lunatic teddy bears featuring in the video. He collaborated with Philip Glass on this EP, which resulted in a strings version of "Icct Hedral". Highly reccomended listening.
 As for other artists, they never really did as much for me as Aphex and Autechre did, up until the last two years. Acts like RAC and Freeform were weaker IMHO. Nowadays I feel Warp have a much stronger hand, and I buy more or less everything that comes out on the label, bar Jimi Tenor who I dont really enjoy at all. Red Snappers' brand of jazzy techno was a breath of fresh air when I saw them first in the summer of 1996 in the Olympia. It was also a change from the usual Warp sound, and I picked up the Prince Blimey LP and was quite impressed... when I first bought the Port Rhombus EP
by Squarepusher, I didnt understand it all (I had missed out on the Hangable Auto Bulb EP by Aphex), the drills were very complex and disjointed and I missed the point, but after picking up Feed Me Wierd Things (on Rephlex) and his consequent EPs, I dont see how I ever lived without the snare rushes.
 Aphex also does a similar line in drill beats these days. The Girl/Boy EP was a change from the expected, and anyone who's heard the lunacy of "Bucephalus Bouncing Ball" on the Come To Daddy EP will see that theres still a lot of fresh ideas and sounds to be created with this music. A new act on Warp are Broadcast, who to my ears owe more than a nod to Stereolab. They have released their first LP on Warp entitled "Work and Non-Work", which is a collection of older material. It's interesting, and I'm looking
forward to hearing their new material. The Two Lone Swordsmen (Andy Weatherall and Keith Tenniswood) have also been signed up, and their first LP for Warp is expected some time this year. We've advised you to pick up stuff by them before. They have released three LPs on the Emissions Audio Output label, the best of which is the most recent one, "Stockwell Steppas". It treads the fine line between house, techno, ambient and drum'n'bass, very relaxed in places, crashing in others.. Plaid you should all know fairly well at this stage,
having gone to see them in the Funnel Club late last year and having read the interview with them in S@E 27. Their second LP, "Not For Threes", was released last year to critical acclaim, although personally I think it lacks backbone in places, its still an enjoyable listem on the turntable.
 The next big thing from Warp we confidently predict will be Mira Calix. Her debut 10", Llanga, was absolutely incredible. The A side, "Khala", was on initial hearing unstructured and pure noise, but after several listens I began to see the organisation of the track, everything fitted in with difficulty but it sounded like the music was all cramped into space it couldnt fit into properly, its hard to describe but fuck me, I loved it. The B Side, "Humba", was beautiful.. whispery vocals and scary dark ambience.. her second EP, "Pin Skeeling", is released in March I think. You will do what we tell you and you will buy it.
 Boards of Canada, Max Tundra and Phonecia are all new artists which I havent heard much of, but if they're on Warp then they will doubtlessly excite.
 What happened to Seefeel though? Well, after the "Fracture" 10", which I think was the last thing they released on Warp, Mark Clifford went solo and released an excellent EP under the name Woodenspoon, but also released 2 12"'s and an LP (all on Warp) under the name Disjecta which were a huge let down. The rest of the Group, along with Mark Van Hoen (alias Locust) formed Scala, who have released two EPs on Too Pure and a brilliant LP, "Beauty Nowhere", on Touch Records. This LP was not released in the UK and Ireland due to contractual reasons but you should be able to order it from online web
music stores. Its well worth it. Alternatively you could wait for the new LP which is due out in May on Too Pure. According to the nice people in Road Records its been delayed cos the band werent happy with the artwork on the sleeve..(sigh). A Seefeel mini LP ("CH-Vox") was released on Rephlex in 1996 but AFAIK this was older material from the Succour Days. This was disappointing at any rate, and Sarah Peacocks voice did not feature at all. Its much more prominent on the cala material and all the better... Seefeel played as a group at a Blech night in London last October, and theres rumours of new stuff from them coming soon. Mark Clifford is also recording under the name Sneakster at the
moment so keep your eyes peeled for that.. if anyone hears anything about Seefeel or Scala then get in touch please.
 And Autechre? Well, if you didnt catch them live before, then they're playing on Friday 13th of February in the Funnel Club. You might even be reading this at the gig. It will be interesting to see if the metallic crunchiness of their most recent LP, "Chiastic Slide" works live. This will be the first time they've played here since May 1996 in the Ormond Multi Media Centre, and Warp acts coming here are few and far between, so dont miss this one.
 Warp have almost reached their 100th single release this year (Wap100 will be a special release, its being kept under tabs at the moment) and we asked |Steve Beckett, a co-director at the label, how he felt about this:
 SB: it feels like wap 100 is our first release and we haven't even begun to achieve what we want to achieve with the label.And no of course I didnt think that we would be releasing 100 singles.
 S@E:  The label has undergone serious changes in sound in recent times..Do you think its important to kep changing all the time?
 SB: yes because the world keeps changing and things get really boring if you stay the same.
 S@E: Is Warp leaning away from traditional techno/IDM with artists like Red Snapper, Jimi Tenor and Broadcast?
 SB: Warp has always been about variety, our 4th release was a hip hop record, boards of canada is a new signing and they fit in the "traditional" style if thats what you want to call it. We just sign music we like from any genre.
 S@E: Aphex Twin's "Come to Daddy" was scheduled by MTV USA for heavy rotation, and your latest signing Phonecia come from Florida (as far as I know?). Do you think that Warp can make a big breakthough in the States, where electronic music and the whole scene around it is only in its infancy?
 SB: Its already starting to it just takes time cos its a big country.
 S@E: Warp run a club called Blech in London. How does Warp's music go down in a club atmosphere? Its hard to imagine what way someone like Seefeel would be recieved.
 SB: well for a start we dont just play warp music but we tend to start it like a gig with the live band then every one gets pissed and then we turn it into a club where people dance and fall over.
 S@E: Whats the story with ownership of the labe? On Squarepushers' "Big Loada" EP I see that its copyrighted to EMI.
 SB: Thats not the copyright its the publishing and its warp/emi not emi,emi administer our publishing company there is no ownership and the record company is owned 100% by myself and Rob Mitchell.
 S@E: Is there any question you'd have liked me to ask, but didnt? If so, whats your answer?
 SB: Yes I'd like you to ask me what i think of Big Beat and i would reply, "its not big and its not beaty".
 S@E: Finally, have you got any plans to come to Dublin with Blech soon?
 SB: no plans but a few promoters are asking and since Dublin is one of my favorite cities it would be cool.I want to stay in that hotel U2 own.
 Warp Records is based in Sheffield. For more information you can write to them at PO Box 474, Sheffield, S1 3BW, England. Alternatively you can look at their excellent web site, at http://www.warp-net.com  There's news about releases and gigs, Blech, artist biogs, a message board, a full discography (including all the earlier releases that I didnt mention like LFO, Nightmares on Wax and Sabres of Paradise), and WarpMart, where you can order singles, LPs, record bags and other bits of Warp goodies.
 

Heineken Weekender Review, Galway: We met up on FRiday afternoon to get the train over to the west.. Our first stop after dumping our stuff in various houses was a pub called the Blue Note. Not a bad little spot at all. Mostly young crowd.. Donal Dineen from Radio Ireland (or whatever monicker it goes under these days) was doing DJ out in the main part of the pub but we were stuck knocking back pints (and pitchers) of lager to our hearts content (and our stomach's misery) so we didnt really hear much of what he was playing.
Afterwards, the posse split in two for Monkey Mafia and the rest of us headed out on the town. No nightclub was particularly appeasing at this time so we went to this little restaurant called Seventh Heaven which was open til about 2am or so. You didnt actually have to buy any food in there, just beer. So we sat there until close, and staggered to Abrakebabra then for some tasty kebabs and garlic chips.
Saturday morning was greeted with a monumental hangover and hair of the dog.. so to cure it all we headed into town for some more drinking. But first we went to this pizza place called Fat Freddys (of the Fabulous Furry Freak Brothers fame) which was ok. Galway is a nice town for walking around actually, all the pubs and restaurants and other places we went to were within at most 15 minutes of each other. Later in the afternoon we visited a pub called Tomas O Riada's, which was quite relaxing apart
from the louts watching the rugby match in the front section.. afterwards we visited a pub called Roisin Dhubhs to catch Bass Odyssey. The Cork Drum'n'bass outfit have released one single on the Quadraphonic label already, called "Twilight" and I wasnt that impressed with it, but their set was quite impressive, bar the last track. They played for about an hour or so, maybe more.. I'll be keeping an eye out for them again in the future. After Bass Odyssey it was time for the main event of the weekend.

Spiritualized at the Leisureland Complex. We were slightly apprehensive at first about this venue, having heard horror stories from two nights previously when the House lights had been kept on all night for Primal Scream, the lack of a bar and cloakroom, and a total ban on smoking, but in the end it turned out to be ok. Granted there was no bar, but we didnt care cos we all had our drugs sorted out and we didnt need to drink much more
after the afternoon's excursion. Lo-Fi Allstars were on first for support and quite frankly, they were fucking awful. Grade A, prime cut, pure, unadulterated bollocks. Imagine the worst bits of Oasis and some half-assed big beat band merged into one big whining mess. The singer even seemed to think he was the next incarnation of one of the Gallaghers, with his swagger and beering on stage. This lot are recieving loads
of press at the moment from the likes of the NME and MM and I cant see why at all. It seems like all you have to do these days if you're an indie band is stick some bloke with a pair of decks or a sampler or a moog on at the side and instantly you're a "crossover" hit. My fucking arse. You gotta have the tunes as well. This lot are muck and its just another nail in the Big Beat coffin IMHO (this lot are signed to Skint).
Anyway after enduring them for fuck knows how long, our acid had seriously kicked in at this stage and after wandering about for a while like loons, Spiritualized appeared in a shimmering white light and launched into their set. For the fools among you that have not bought Ladies and Gentlemen We Are Floating in Space, what can we say? Go out and buy it now.. its a masterpiece. They
treated us to several tracks from this LP, such as "Come Together", "Electricity", "Home of the Brave", "Cop Shoot Cop", "A Broken Heart" and "I Think I'm in Love". There may have been others but I was too busy having my brain sent around in a fucking spin to concentrate.. The lights were fairly impressive and thank fuck they didnt keep the house lights on. At one stage we climbed up the stairs to this balcony at the back to take it all in.. it was fairly mental, you could see the whole crowd going nuts and take in all the lights.
They played several older tracks as well, such as "Medication", "All of My Tears", "Electric Mainline" and "Shine a Light" which were all brilliant.. at times some of the older stuff just built up and up into this huge big wall of noise that threatened to blow your head up with the vibrations.. quite scary. Also impossible to dance to. You just sort of have to stand there and soak it all up. Theres no beats as such. Its hard to find a rythym to dance to. Its more for the head than the feet.
After Christ knows how long, perhaps an hour and a half, they left the stage to screams and cheers from half the crowd, while the other half just stood there wondering what the fuck had just happened. There was calls for an encore, handclapping and foot stamping but after five minutes, the house lights surprisingly went up and we were all suddenly faced with the prospect of getting our brains back in shape for walking back into town for Fat Boy Slim at the GPO.
Out of the fire and into the water we went, it was pissing out of the heavens, probably Gods way of punishing us for taking drugs. What can you do? We strolled back into town to the GPO and arrived about midnight or so. When we got there the place was devoid of music of any kind which was strange considering it was a nightclub. Then we saw signs all over the place announcing new licensing laws in Galway. Apparently all nightclubs
are not allowed play music at all between the hours of 11.45 and 12.30, and during this time they have to give people free food (not that any of us could eat at this stage, having necked several E). Also, they arent allowed serve any drink after midnight (again, inconsequential for all of us). At 12.15 the sound system blasted into life again with Mr Norman Cook on the decks. I heard this bloke DJ before in LOndon and he was ok, the best of the lot at a Skint night. I presonally am of the
opinion that FBS should be dragged into the street and shot for his tracks that he created under the Pizzaman and Mighty Dub Katz aliases, but this evening his DJing was excellent. He played a good, hard selection of Big Beat, techno and house tunes (and allegedly, even some speed garage), and got the crowd worked into a sweaty frenzy. Recognized a couple of tracks such as his own reworking of the Cornershop tune (not brilliant), and Wildchild's "Renegade Master" (which sounds pretty naff when you hear it on the radio but on the floor its pretty mental). All in all it was an excellent night in the GPO. In the lower section Spacehopper were doing their dance/dub thing, and although we didnt catch much of their set, what we did hear was quite enjoyable. After spilling out into the street we hit a party and then headed on home. Sunday was just a relaxed day, recovering mostly from the night before's confusion and madness. We went back to Seventh Heaven for a 3 course meal (not a good idea when your stomach feels like its about as big as a golf ball and your
jaw aches with each movement). After that it was down to the Blue Note for a nice afternoon pint, and then the train home.. half of the posse remained for the V Records Night with Jumpin Jack Frost and Razor from Quadraphonic but the head was melted enough at this stage and it was time to call it a day.
Overall? Defintely worth the trip. Galway is a nice, compact city and the atmospehere at the gigs and pubs was friendly and outgoing.

Readers familiar with US Maple or the other bands on the group's
label, Skingraft Records, have become accustomed to this form of
anti-rock music. Bands such as You Fantastic!, Brise-Glace and Melt
Banana carry on the idea of breaking down the preconceived notion of
what a rock concert should be like. US Maple have been compared to
Beefheart and Pere Ubu while admitting a fondness for Devo and Roxy
Music. Slick mumblings, souped-up and soured melodies on top of
spastic rocket-fuelled drums is just part of the trademark sound of US
Maple. The rest lies in the vocals of a crazed lounge singer (Al
Johnson) fresh out of an intense session of electro shock therapy. He
bellows, whoops, gyrates and hisses with a slick and suave charisma
that is perversely sensual. Their latest recording, Sang Phat Editor,
layers the spontaneous screeches of art rock with an intricate funky
beat and muted interludes. This, combined with passionate expressive
vocals creates an evocative and accessible sound. Waterfalls of guitar
crashing into thundering drums, spraying eastern influences, weird
tunings and tempo changes downstream.
US Maple play The Funnel Bar, 24 City Quay, Dublin 2, on Tuesday the
17th of February. Backup is provided by Jackbeast and The Null Set.

primal scream-5th febuary galway leisureland.
 not being too familiar with the 'screams work ,myself and c. decided to go along, purely coz there were no better gigs in town that night. so, armed with a passing knowledge of their "hits", we ventured up to leisureland from the guesthouse we were staying, about 10 minutes down the road. leisureland was one of the strangest gig venues ive ever been in, no bar, no smoking in the main hall, and , because the place was being used by swimmers, etc, they took
yr whole ticket off ya when u went in,and when u went out for a
piss/smoke/whatever they gave ya a whole ticket back. pretty strange.
also, the house lights were on all through the gig, so any light show was partially wasted.
some dj was on before them, nothing too impressive, he was playing loads of
real chessy music, jazz etc.
 the place was only half full (half empty?) when bobby and the lads
hit the stage. i cant really give a disseretion of whether they played
loads of new stuff, or old stuff, i recognised a few, like "rocks", and "star",
"i see, i feel". i dont think they played "loaded" (i might be wrong, we
left a song or two early.) "kowalski" was distorted beyond recognition, theres so
much going on in that song, but all ya could hear was a wall of fuzz, mainly
from mani's distorted bass. yeah, thats another thing, there were loads of
"roses heads" there purely coz mani (formerly of the stone roses) was playing
bass. so loads of "mani, mani,mani" football-style chants, and all
that.    as far as chat to the crowd went, mani lead it, with some indistinguisable
manchester accented babble. the crowd still went wild tho. i couldnt help but get bored towards
the end of the gig. if some new band came along and played some of the worse primal songs, they'd regarded as a load
of pants. But, because they "are" primal scream, legends of madchester
that they are, they get away with things.... *sigh*
not that they didn't play well, or anything, the gig was good, the fans went
wild, and all was well. fast and furious, almost verging on cliched
indie/rock/dance. just not my kind of thing, really, which is suprising,
coz i like far more indie-schmindie stuff compared to yr average S@E
contributer :) .the main problem i had was that most of their dancey numbers
were good, and a lot of the rock tracks were shit. and they played too
many of the latter. not bad, but not good.