Peel Slowly And See pageant

Peel Slowly And See pageant

Leiden Holland numerous venues

March 2025

Dwell Evaluate by Richard Foster and John Robb (in daring)

The darkish, however cosy Resistor is an aptly named area, given the advanced it’s a part of as soon as housed the jam manufacturing facility that employed the Reichstag firestarter, Marinus van der Lubbe.

 Units on the primary evening embody terrific and dedicated pummelings from Atlanta’s Chew (boy, can that drummer drum) and Zuid Nederlandse punk monsters, Crowdsurfers should Die – the latter a weird and barely terrifying mixture of gonzo noise and acid-baked grunting.

Chew are every thing abruptly in the absolute best means. There are the aforementioned drumming gymnastics, a tremendous show of octopus rhythms and thrilling dexterity that by no means as soon as loses groove in a strong multi textured show of rhythm. Not that the remainder of the trio are slackers, the trio crank their FX pedals ina texturally assault that swaggers throughout metallic, psychedelia and put up punk noise in an engrossing flash mob journey. Throughout the highway Adrian Crowley is fittingly taking part in within the the somber backdrop of a church that’s the good backdrop for his songs of affection and fury which are delivered along with his deeply resonant voice that sounds an octave deeper than Leonard Cohen ver the Neo Suicide pulsating backdrops and drones. It’s spectral and haunting stuff and holds the packed room spellbound with it emotion drenched poetry.  (John Robb)

 Final up is Artrodese, a Rotterdam legend who lower his tooth making the wildest collages of jungle and dub, and for these nonetheless standing at midnight, that is what we get. Earlier than Artrodese, the room fills up for yet one more Rotterdam noise act, Texoprint, who shake the foundations with an important set that certainly bodes properly for his or her forthcoming album. They bounce in regards to the stage, directly gawky and gauche, offended and threatening. For all their initially unprepossessing look, Texoprint are troublesome to disregard onstage, weirdly compelling even. It’s clear they imply what they play. I’m in two minds in regards to the partitions of electrical noize they make; a collision of No Means No and The Sound? Possibly. And while the dedicated barkings of the shared vocals and the stentorian rhythms form the set, there’s a set of songs simply dying to get out and run free. This interior stress – washes of Borland-esque guitar making an uneasy alliance with the “dubba-dubba” bass traces and quickfire pores and skin bashing – makes for a nice set. The fascinating factor might be how they document it.

Texoprint are yet one more nice discover within the present seemingly infinite new Dutch undergound. One other skinny crew of youthful noiseniks who someway discover one other twist within the gravel bass/dissonant guitar/fractured drums equation. It’s noisy and thrilling and someway, and this might be their genius, it finds a Neo pop of their startling decibels making a. Resurgent pop/noise for the now and a vibrant brief sharp shock that could be very a lot within the now (John Robb)

After which there have been three. Gdańsk’s Trupa Trupa are in nice kind in the meanwhile: the hazard and uncertainty of the world we dwell in appears to energise them. The (unhappy) lack of the lad with the bizarre silver field guitar and results has remodeled their sound into one thing leaner, sharper and stronger. Now not hiding behind the previous Floydian washes of sound, and digging the Minutemen potential of their new sonic strategy, singer Grzegorz Kwiatkowski pogos across the (oddly oval) QBUS stage from the off. Like a Leshy within the forest, awoken on the spring equinox, gurning and grinning, Kwiatkowski is stuffed with the thrill of the season. It’s apparent he’s dying to narrate to us the band’s newest assortment of sugarcoated grimoire. The opposite two busy themselves with making a mesmerising and pulsating set of rhythms. Beginning with a few oldies like Dream About and Uniforms, they stress excessive by by no means letting rip, these as soon as rich-sounding tracks are lowered to acid-bitten sketches. With the songs on their new EP, Mourners, the sound all of a sudden makes use of a wider palette: the bass throbs and churns, just like the wheels of a slowly turning cattle wagon, drums faucet out a procession of marches. The guitar begins to scream and vibrate by the ages. Kwiatkowski lifts one leg as if to goosestep, a few of us get the message. The tip – a stew of sound that just about turns into the start of the Faust Tapes, what with the invocations to The Beatles and all, is fairly magnificent. One in all Europe’s best modern rock bands? I’d say so.

LTW faves Trupa Trupa have slimmed all the way down to a 3 piece and someway sound all the higher for it by forcing extra space into their wired wiry Wire minimalism. With the identical inventiveness and itchy twitching frenetic power of concepts as a youthful Andy Partridge from XTC guitarist Grzegorz Kwiatkowski sweats nice guitar traces, manic vocal sketches, advert libs and amusing surreal stage banter just like the life is pouring out of him. The change in moods from his manic melodic glee to the bassist’s gnarly bass and vocals is essential to their sound with has the courageous new pop of the fringes of put up punk cranked with the noisenik dissonance of the Loss of life To Trad Rock bands. Additionally they captivate the room and after a decade plus of touring the world are packing out venues and sniffing at a breakthrough. (John Robb)

Over within the stunning and austere Herengracht Kerk, I Am Oak performed a stripped-down set of oldies and forthcoming materials as a duo (guitar, keys) to a rapt viewers. Thijs Kuiken makes music that’s almost all the time described as “stunning” or “poetic”, which typically misses the purpose: what was extremely clear because the set went on was that I Am Oak songs are constructed like tractors, for use in all weathers. They will function by a campfire or with a full orchestra, and appear to have the ability to shift in temper at a nod. That’s no imply feat.

Recent from taking part in guitar with Adrian Crowley the place her drones added a textural twist to his cinematic evocations Nadine Khouri is fascinating along with her personal set of stark and compelling songs that dangle within the air stuffed with thriller and incense along with her stunning voice entwined along with her beautiful guitar traces and flickering drum machine like a bewitching tackle the lengthy misplaced thriller of Younger Marble Giants and that timeless nightfall of nice musics. (John Robb).