‘VARIOUS ARTISTS’ – ‘GOO RECORDS X HIDDEN HERD ALL DAYER’, THE HOPE & RUIN, BRIGHTON 7.12.24
Goo Records and Hidden Herd promoters have teamed up for the first time ever in order to bring new music lovers their inaugural all-day festival at The Hope & Ruin on Queens Road in Brighton.
This debut event showcased no less than eleven up-and-coming acts across two stages with almost no clashes. A handful of the acts appeared in the venue’s street level bar area, with the other six playing on the stage in their first floor music room. Fans simply had to climb or descend a few stairs in order to catch the start of the next act’s roughly 30 minute set. Thus leaving one vacated area for the following act to set up their gear and be ready for the punters when they arrive! It makes perfect sense!
Just in case any of the sets overran or started late, we had two reviewers on the case and so we missed none of the action! So let’s crack on with all the action as it happened…
THAT BAND CALLED SUSAN – 3pm (Downstairs Bar) (FIND PHOTOS HERE)
That Band Called Susan are actually a Hertfordshire based noise punk duo, with neither of them actually being called Susan. They have very recently dropped two singles ‘Why Don’t You Love Me?’ and ‘Never Learnt To Swim’ and according to their Bandcamp page they “combine aggressive, insulting bass with borderline abusive drums to create their boundary pushing sound with blistering raw energy”. The lads kick off the festival in the downstairs bar area with a left handed Squier cordless bass plus drums being the tools of the job. Both share vocals but our eyes are continually drawn to the bassist as he keeps on unnervingly giving the punters a brief controlled false cheesy smile. Their opener was a bit challenging, but I guess at 3pm on a slightly wet and windy afternoon we really do need to get in the right mindset. They mean business and the drummer discards his top from the very off. They are loud, raw and remind me of Skinny Milk, but a jauntier version. There’s nothing sedate about these lads! ‘Why Don’t You Love Me?’ gets an early airing and the bassist’s vocals are shouted at us, but they win over quite a few fans. Some of their compositions are light-hearted numbers, an example of this referring to “w*nking to ‘Countdown’”. Their songs often flit between different beats and this keeps us on our toes as to what might be coming next. Talking of which, the bass guitar pedal when used, opened up a whole new avenue of sound. They ended on ‘The Attic’ with the unnerving repeated line “all of my real friends end up dead in the attic”. That Band Called Susan are an acquired taste, with the singer wearing a shark t-shirt we were his prey as he picked us off one by one with his direct eye contact. Let’s face it, it would be a boring world without the likes of these lads.
(Nick Linazasoro)
NINA KOHOUT – 4pm (Downstairs Bar)
The first band for me to cover is art pop icon Nina Kohout, a Slovakian-born Brighton artist who I’ve had the pleasure of covering back in January supporting Nukuluk at a previous Hidden Herd showcase alongside Polite Bureaux and Own World. Residing behind a Komplete Kontrol keyboard and a laptop, Nina’s performance opens with thick walls of vocal harmonies which silence the audience and demands their attention. Despite a brief moment of technical fault, she stances herself with pure sensuality and angelic prowess, as soft synths and trip hop rhythms underlay her momentous vocal arrangements. Her pillowlike iteration of the lyric “time will heal us” in this opening track ‘Little Butterfly’ evokes the musings of Kate Bush despite its songwriting rooting from anger, while the warm and fluttering chord progressions of ‘Pebble Dance’ from her latest ‘Gentle Autopsy’ record make for some of the most beautiful aspects of her songcraft. There’s a great musical ambidexterity to Nina’s music, with tracks like ‘Caged’ and ‘Flavoured And Eaten’ playing around with scattered electronic percussion and pitch-shifted vocal arrangements, respectively. It was such a thrill to see Nina Kohout live again after many months of missed opportunities; ‘Gentle Autopsy’ is an artful and honest pop masterpiece that everyone should give the privilege of spinning at least once in their life.
(Christian Le Surf)
DOOM CLUB – 5pm (Downstairs Bar) (FIND PHOTOS HERE)
A new one for me, the Epsom-based Doom Club, comprising the team-up spearheaders of Liam and Kate, and a third unnamed member, took to the absent stage in front of the bar to assuage The Hope & Ruin with their blend of no wave and post-punk. Musically, these guys remind me a lot of icons and contemporaries of their styles, such as The Pop Group and Squid; the incorporation of slick basslines and angular guitarwork, not to mention the frantic and twisted vocal performances. However, there’s something fresh about Doom Club that remained intriguing, whether it be the casual usage of shaking percussion or wailing Microsynths on the opening track. All three Doom Club members chip in with their fair share of vocals, ranging from nonchalant statements disguised as backing vocals, harmonious droning or freakish and disorienting yelling, all of which being familiar in post-punk, but refreshing nonetheless. A strong maniacal atmosphere emits itself consistently from the band during their performance, but on a particular track, vocally led by Kate, was a standout, thanks to her exhilarating stage antics and hypnotic drum machine rhythms. The band’s playful sensibilities are also a joy to watch, with various moments in the set where looks, riffs and quips are exchanged. The first rule of Doom Club is you really must try and tell everyone you know about them.
(Christian Le Surf)
OPAL MAG – 5:30pm (Upstairs Venue)
I’ve been wanting to check this next one out for a while…! Opal Mag is an artist I have only ever been familiar with by name and name only, with the exceptional recognitions of Duskhouse member James Bowden and Moon Idle bassist Martin Eddington. As I wander up for my first show in the main room, I get hit with the immediate distorted dream pop waves that Opal Mag and her cohorts deliver on the opening track. In a distinctive mix of Mazzy Star and The Smashing Pumpkins, with a little bit of Harriet Wheeler thrown in for good measure, Opal has arranged a stellar mix of fuzzy, nostalgic guitars and synths that transport myself into the dreamlike world of 90s indie that I just adore. In terms of songwriting, Opal is demonstrative of clear-perspective lyricism that beautifully reflectives the unique array of influences that she pools from, particularly on her debut single ‘Looking For’, where her honest place of writing infuses itself with warm synth tones and a euphoric chord progression courtesy of her trio of guitarists! If you’re looking for an artist that encompasses a heartfelt home of song and sound, through wrappings of noisy, gritty 90s dream pop and an utterly blissful vocal, then Opal Mag is the one for you.
(Christian Le Surf)
RY-GUY – 6pm (Downstairs Bar) (FIND PHOTOS HERE)
We first came across Brixton based Ry-Guy back in April when he and his chums were playing upstairs at The Hope & Ruin and the report from that night was a favourable one from my colleague. He has himself down as “South London Modern-Psyche” and his latest song ‘The Reign Of The Garden Queen’ came out in October, which followed on from his 5-track ‘As The Light Leaks’ EP which came out in the summer. The first thing I noticed this afternoon is the violin shaped bass which is like Paul McCartney’s Höfner Bass. There are also a couple of mini keys, Roland SP404 MK II, guitar and drums on the go. The music has an indie rock feel with a slight minimal funk edge and Ry-Guy informs us that they have come down from London to play for us. We are told that one track was penned about the “homeless issues” that no doubt Ry-Guy sees around the streets of Brixton. But the material is being rewarded with scant applause this afternoon and there is sadly copious amounts of talking going on from the rear of the bar area. I’m not sure if this puts off both the lead and backing vocals but they both sound out of tune and their overall sound has nothing to offer me, despite Ry-Guy being a jolly decent fellow. But was this due to the talking putting them off and making them nervous, maybe those that were present could decide for themselves.
(Nick Linazasoro)
PYNCHER – 6:30pm (Upstairs Venue)
Pyncher are a young outfit that was formed in Manchester in 2020 by Sam Blakeley, Harvey O’Toole, Jack Rainbow and Britt Dewhurst. Thus far they have released a trio of tunes ‘Dirty Feet’, ‘Frogs And Tomatoes’ and ‘Steely Dan’. This evening’s lively performance witnessed the frontman on lead vocals, guitar, tambourine and harmonica, whilst his trio of chums were all on backing vocal duties and second guitar, bass and drums. Pyncher’s singer has a Damon Albarn look and vocal delivery about him which does him a favour. Their opening number, ‘Eight Legs’, had copious amounts of “La La La’s” in it as well as echoey guitar and on point drums. Their second tune ‘Hippo Boy’ was thankfully more intense with some decent galloping drums, and the following track, ‘Country’, had some decent rumbly bass chops. After this song, the second guitarist became rather animated just like Jamie from Winter Gardens does, and the vocalist was having a good old go on his harmonica. The next tune (‘Get Along’ I think) caught me unaware as the bassist seriously let rip and the others followed suit for this speedy track, which for me was their choice tune of their performance. Their ‘Steely Dan’ and ‘Dirty Feet’ singles also got an outing and they seriously rocked on out for the latter. Despite being past their allotted time, Pyncher still played their final tune ‘Goodbye, Old Friend’ and you could see that there’s real potential here.
(Nick Linazasoro)
THE ROEBUCKS – 7pm (Downstairs Bar) (FIND PHOTOS HERE)
Lola, Henry, Sophie, Tom. The four faces that make up The Roebucks, an alternative and folk rock band from Brighton, are whose company I reside in for my final set to cover in the bar of The Hope & Ruin. The latest signees to Goo Records, The Roebucks have been enjoying a rising trajectory into Brighton’s music scene, bagging a spot at ‘Mutations Festival’ not too long ago this year. After waiting for the obligatory introduction from Goo Records founder Tony Bartholomew, these guys ride into town with all guns blazing as a kaleidoscopic fusion of 70s folk and luscious harmony arrangements. A fair share of vocal duties are shared between the band, making for a great communal feel for the performance, not to mention the overwhelming love and adulation that the audience thrust upon The Roebucks for their short and sweet set! A distinctive Fleetwood Mac influence bleeds into their sound, however there’s plenty of character and charisma between the four-piece that any question of lack of originality is squashed by warm and connective songs that act as lighthearted odysseys into the band’s hearts. Oh, and there was a soft rock rendition of ‘Carol Of The Bells’… ace stuff.
(Christian Le Surf)
MY FAT PONY – 7:30pm (Upstairs Venue)
Last time I witnessed the South Londonites My Fat Pony in November of 2023 where they opened for Dingus Khan down the road at the Green Door Store, I experienced four indie rockers who explored a multitude of sounds and influences that challenged that of other indie titans like Pavement and Bloc Party, breaking down barriers of excitement and joy in matching monochrome T-shirts with their names on them. Now, I’m happy to report that the remainder of my experience remains intact at my final set of the day, even down to the matching shirts. The power and the drive that these guys have in their songs is insane; various shades of human emotion and obscured indie corners are uncovered through arrangements of crunched electric guitar, propulsive drum grooves, pummelling bass and stellar trumpet lines! The quartet put their unique playful sense of humour on display, both in and out of song, whether it’s making jokes about tracks that centre around ‘Grease’, or “activating sunglasses” among glorious power pop. The vocal chemistry between all four members is absolutely sublime too, evoking the feelings of more communal indie rock bands, artists and collectives like Black Country New Road, Bomb the Music Industry! or Arcade Fire. I feel like I’ve known this band all my life despite this being my second time seeing them… rest assured, it won’t be my last.
(Christian Le Surf)
BLACK BORDELLO – 8:30pm (Upstairs Venue) (FIND PHOTOS HERE)
Black Bordello are a “spirit-led-chaos” act that hail from London and this afternoon are a five-piece outfit all clad in black with small black drawn crosses on their foreheads. There is lead vocals and guitar with tremolo, second guitar, drums, bass and backing vocals, and Nord Electro 3 keys plus other keys and vocals. In 2021 they dropped their set-titled long player, which has been followed by around 4 singles ‘Nunhead’, ‘Love Is A Joke’, ‘The Garden Of Earthly Delights’ and ‘1331’. Tonight’s 7-tune set is their first appearance in Brighton and it comprises mainly of this material, commencing with ‘Acid Mary’ which certainly has a lot going sound sound-wise. I first tune into the keys and bass combo, then the drums and finally the vocals and guitars. Musically they don’t actually sound how they look, which was a surprise. I was expecting something akin to Nine Inch Nails as opposed to something rather ‘normal’. Tune two is ‘Nunhead’ which we are informed is actually a place near Peckham. This is quieter than the opener, but the track builds and the vocals almost sound like Marc Bolan and it ends on some Gibson Les Paul guitar action. Album opener ‘Prufrock’ is next and is a quiet to explosive number. Some of Black Bordello’s material features wailing vocals which are powerful and almost operatic like Kate Bush. There’s often joint vocals between the two girls and their ‘Love Is A Joke’ single features some decent keys and drums double-action. They ran out of time and weren’t able to play their intended closing number ‘Baby’. An intriguing act ploughing their own furrow!
(Nick Linazasoro)
PLEASUREINC. – 9:30pm (Upstairs Venue)
PleasureInc. are a duo that have come down from Norwich in order to play for us this evening and they have not only brought extra bandmates, but also some hardcore fans who are called out big-up posse style during the band’s set. The instruments utilised are Behringer DeepMind 12 Synthesizer, Korg Modwave Wavetable Synthesiser, shakers, tambourine, cowbell, drums and Roland presets, guitar and bass. Now here’s an outfit that truly enjoys their work and their enthusiasm shines through this evening. Tune one, ‘Buzz Baby’ I think, mainly features the drummer on lead vocals and it’s a jerky fun number. This is followed by ‘DissCo’ which has more jaunty vibes and reminds me of A Certain Ratio. Funky track three is titled ‘2:45’ and this sees the guitarist on lead vocals which have more of an American twang than the drummer’s. Last year’s ‘For The Fun Of It’ single comes next and this sees the guitarist move to vocals only, whilst the bassist switches to guitar. There’s another slab of funk with the arrival of their latest tune, called ‘Fool’, which is then followed by the title track of this year’s ‘Plastic People’ EP. During this tune, the bassist impressively crouches down low and does several kick steps whilst still playing his Rickenbacker. They signed off with a new funky version of the first song they ever released, this being ‘Money Talks’. The punters enjoyed this uplifting performance. PleasureInc. Are playing a headline gig at The Prince Albert in Brighton on Saturday 22nd February – Find your tickets HERE.
(Nick Linazasoro)
THE STANFORD FAMILY BAND – 10:30pm (Upstairs Venue) (FIND PHOTOS HERE)
Closing proceedings this evening are Brighton based The Stamford Family Band who are a quintet who all sing to some degree or other and there’s two guitars, bass, keys and drums on the go. They have recently released their ‘For Your Listening Pleasure’ six-song EP on red vinyl and this evening they perform a 9-tune set for us. I first note the seated keyboard player who is sporting a Val Doonican style jumper (which thankfully gets discarded), he’s warming up by plinking away at a Beatles number. He shares joint lead vocals with the drummer for their opening track, which has the feel of latter Beatles along with a Christmas vibe, until that is they all kick in and play. Guitars being the mainstay of this tune. However, they exploded into action by way of contrast to the sedate opener for their next song. ‘Make My Day’ from the EP is introduced and it sounds like a cross between Smokie and Ralph McTell. After this the band discuss what’s next and “pancake” gets mentioned and a chugalong country style tune you would think was a minor hit in the first half of the 1970s is played. There’s some Rickenbacker action on the following number and is exactly what you would expect a band called The Stanford Family Band would sound like. It’s then surfs up as they play a cover version for the first ever time, this being‘ Runaway’ by Del Shannon. Choice seven was another early 1970s sounding middle of the road tune which slightly reminded me of ‘My Sweet Lord’ by George Harrison. Their penultimate offering was ‘Birthday’ and this had the feel of Kenny Rogers ‘Lucille’ guitar meets lullaby sounds. They closed the night with some twangy rockin’ action which somehow reminded me slightly of Herman’s Hermits ‘I’m Into Something Good’. They weren’t really my bag to be honest, but the punters seemed to enjoy them.
(Nick Linazasoro)
www.instagram.com/thestanfordfamilyband
And there you have it! A successful first Goo Records and Hidden Herd joint venture! The three of us had a discussion after the night had come to a close as to our own act of the event and Christian Le Surf opted for My Fat Pony and both Nick Linazasoro and Sara-Louise Bowrey selected Nina Kohout. No doubt others attending the event each had their own standouts! When’s the next one then guys?…..
