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PLANETNOTION TELEVISION!
CAMERA-FOLK AND FILM EDITORS WANTED!
Planet Notion is looking for guys and dolls to film and edit features for its new TV channel, PNTV. Accompanying Notion to artist interviews, gigs, fashion shows, festivals and international events, you will be skilled, passionate and full of ideas about how to produce shit-hot video content. Camera-folk will be experienced and ideally have their own equipment, or at least access to equipment, while editors must be able to turn projects around quickly, and with stylistic flare. If you can both film and edit content, we would especially like to hear from you! These casual, unpaid positions would be ideal for those looking to develop their showreels, and to get the chance to travel, film major artists and top events.
 
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Unkle Bob @ Water Rats, London
Unkle Bob @ Water Rats, London
12/04/2007
'One by one / You suffer me badly,' was probably the most ironic lyric Unkle Bob could have conjured up halfway though playing to a packed Water Rats in Kings Cross, London. Four songs into their set and it was obvious that nobody was suffering as the gentle charms of 'One By One' filled the smoky room following three compelling opening tracks - 'Swans,' 'Hold It Down' and 'Vagabond.' Unkle Bob are a tricky band to describe. They sound a bit like a lot of pleasant guitar bands you might have listened to over the past decade but they've managed to carve a clever little niche for themselves with a nice line in wry lyrics and gorgeous melodies that dominate every bar. They sit some way ahead of Embrace in terms of instant likeability and impassioned song writing, and maybe to the slightly calmer left of some of heavier chart-friendly rock and indie bands. However you define them, Unkle Bob's mix of grand, heartfelt and melodious indie is extremely hard to dislike. Shortly after 'One By One,' the band also showcased a brand new song, with Rich Webster (vocals and guitar) and Geoff Widdowson (keyboard) swapping instruments and launching into a delicate keyboard based number called 'These Words.' Although typical of many of the band's songs, in that it may need a few listens to get under the skin of it, first impressions were excellent and along with 'Better Off,' 'What Do I Know,' 'Hit Parade' and their latest single, 'Put A Record On,' it added to an extremely impressive half hour of polished performance and subtle song writing. The best aspect of Uncle Bob's performance was that the music clearly means a great deal to every member of the band. Rick Webster's heartfelt and frequently personal lyrics are sung with a meaning and depth of tone that is quite special. The rest of the band, from Geoff Widdowson's impassioned keyboard playing to Stuart Cartwright's intricate and warm guitar and banjo accompaniment, all added to the feeling that a gig means much more to them than churning out some songs in a dingy backroom bar. Although the band's set was far too short, covering only eight songs from their critically lauded album 'Sugar And Spite,' the one new track plus a quirky instrumental encore, the idea that 'less is more' was most appropriate as everyone would probably have watched the whole set again without any complaints - it was that good. We suffered them gladly, not badly. WORDS: BEN H MURRAY
tags: | unkle bob | more...
Skinnyman & Foreign Beggars @ LSE
Skinnyman & Foreign Beggars @ LSE
05/04/2007
25TH JANUARY: The London School of Economics was given a wake-up call to underground UK hip-hop culture with some classically sublime street poetry from the Foreign Beggars outfit. What started out as a fresh winter’s evening with a couple of tinnies turned into a beer throwing, mosh-pitted, bop fest. A crowd some hundred strong made it out, and were grooving to the opening DJs before the first MC even appeared. Once Skinnyman landed on stage the room rumbled and heads started nodding to the beats and rhymes laid down by the man himself and DJ Blakey. The performance was good, but short of electrifying; neither Skinny nor the night had hit their best. Yet. The night only truly began when Stig of the Dump and Dr. Syntax hit the stage... I say hit, I mean he somehow made it up there whilst defying all known laws of physics. Stig is larger than life; in fact, I think you’d say more like meta-human! But the duo cooked the place like some sort of greasy fry-up: words and lines flowing out like it was meant to be. Self-donned ‘Speccy and Fatty,’ they spilled their guts as a two man team for all to absorb...And grind to! Lurking to the side of the stage was Lady Isa, who jumped right in to broadcast melodic dimensions to the boys’ tunes. The crowd went wild for this girl, probably as their release after the anticipation of spying her stageside all evening. As her voice glided around the room, the Foreign Beggars (MCs Orifice Vulgatron and Metropolis) pounced and made their entrance. A few flawless a cappellas and blindingly quick verses later, the crowd was pumped and more than satisfied. The show ended with the lot of them invading the platform and rocking out to a rendition of 'Killing In The Name Of' by Rage Against The Machine that blew me away: a fitting ending for some of the best spitting I’ve heard in a while... TEXT/PHOTOGRAPHY: GEORGE WETZ
tags: | skinnyman | more...
Kill All Hippies @ Islington Academy
Kill All Hippies @ Islington Academy
27/03/2007
KILL ALL HIPPIES ISLINGTON ACADEMY 8TH DECEMBER The wearing of capes suggests the possession of super-powers or at the very least some extraordinary talent on the part of the cape owner. Imagine therefore the disappointment felt by the more discerning music fans in attendance at Kill All Hippies' Christmas bash to discover that not only did headliners Robots In Disguise not have any super-powers but barely enough talent to justify inclusion in a sixth form talent contest. When will people learn that fancy costumes this elaborate are usually employed as a means of distraction from an innate crappiness? Also, any band encouraging whoop-whooping amongst the crowd a la early nineties rave should be met with extreme suspicion. Obviously the young tykes tearing it up in front could be forgiven for their enthusiasm, being distracted as they were by the flashing lights and glittery costumes. However, the girls in Robots In Disguise are clearly old enough to know better and should have appreciated their musical shortcomings by now. Confiscate their capes and hand them to support slot Mr Hudson and The Library instead, as this is a band with an extraordinary talent to light up a room. Their funked up infusions of hip hop, jazz and pop lent wings to all in the crowd. The hippy killing crew have been uncovering unusual musical gems with great consistency for some time now, and with Mr Hudson and his literary cohorts they gave the crowd at the Islington Academy another diamond in the rough which will receive a great deal of critical polishing over the next twelve months. Kill All Hippies is undoubtedly a venerable evening of rock mayhem, but let the hippies live so that we may remove the batteries from toytown timewasters like Robots In Disguise and their second rate electro racket. KARL O'KEEFFE
tags: | kill all hippies | more...
Babyshambles @ Manchester Academy
Babyshambles @ Manchester Academy
27/03/2007
BABYSHAMBLES MANCHESTER ACADEMY 12TH DECEMBER ‘O6 The applause has barely reached its peak for the support act as Pete Doherty playfully strides into view with his trio of underrated musical troubadours. He cheekily peers out into the sea of satisfied faces, thrilled to bits at his mere presence, something that is always in doubt. The chugging baseline of Drew McConnell toes along Pete's hint of intoxicated, dingy and dragging vocals for 'Blinding', from the recent 'The Blinding EP'. The theme for the evening and Doherty's life in general is summed up in the mournful sojourn of 'Back From The Dead'. This allows the boisterous pit to have a much needed breather and actually gives you time to assess Babyshambles’ range. Equal parts are played by all four members, and a defiant compactness akin to an early Stone Roses is displayed. This number is the key to the future of Da Shambles, along with the flirtation with conventional pop of new song 'Delivery.' This tune exchanges grit for groove creation in both the vocals and the instrumental element. A cleaner Pete Doherty, in more ways than one, appears to be a future trend. A nostalgic and momentum building return to The Libertines' territory of 'Time For Heroes' highlights the influence of Mick Jones on Pete’s career, and the fun pop pearl of 'What Katy Did' loses none of its zap. However, it is one of their own songs, 'Down In Albion,' that receives the biggest participation and shows Doherty at his lyrical loosest. 'Fuck Forever' is a natural finale and it is needed after a lengthy wait for the encore, but this merely stirs up more enthusiasm. If the guys can bottle up the freshness and adventure shown tonight, then the cynics' feeding frenzy will be as short-lived as the English cricketers’ revival of Ashes past. DAVE ADAIR
tags: | babyshambles | more...
Albert Hammond Jr @ Manchester Academy 3
Albert Hammond Jr @ Manchester Academy 3
25/11/2006
The excitement at seeing a member of The Strokes in such a compact and sound-enhancing venue, means that the reception given to Albert Hammond Jr as he cheerfully strides into view, must have made him think that he is flanked by Casablancas and co and not his own tight knit troupe. Harnessing the surroundings to full effect and impact, he plays his most powerful guitar part of the set and most emotive, note perfect vocal performance for the harmony propelled 70s country rock tinged 'In Transit'. This sets a vibrant mood early on and repetitive chants of his name give him added momentum to take into the achingly built up power pop sojourn of 'Bright Young Thing', this suits the main man’s plaintive narrative style. Previous single '101', possesses the qualities of The Strokes in the gritty instrumentals and dingy cries, meaning that you can't help thinking that the band's fourth album could recapture the power and pull of old and, this artist's contribution will, as always, not be a small one. As the set builds Hammond Jnr's inability to pull off some of the vocal higher notes, like those in the slower 'Holiday' just gives off a few doubts regarding how far this solo project can actually go? However, a spirited and journeying indie/folk new number shows that the creative well is not down to its last cup, yet. After 45 minutes of an at times powerful and at other moments, wistful set that sees the normally fixated on his performance muso engaging in frivolous crowd banter, the evening ends in an unceremonious departure. Surely, he will not leave Manchester without playing the potent power ballad of previous single 'Everyone Gets A Star', will he? After a minute of expectation the house lights come on to signal an affirmative answer to that question. Still, the aim seems to have been achieved in this seed planting set. Albert Hammond Jr will be warmly welcomed back all the same, you sense. Text: Dave Adair Live Image: Louise Brock
tags: | albert | more...
Assembly Now @ Camden Barfly, London
Assembly Now @ Camden Barfly, London
23/11/2006
Funny place, the Barfly; one night, you might get the triumphant, radio-buggering heavyweights such as Razorlight and the Kooks, on another, the best (or worst) band you’ve never heard of. Either way, it is actually written in the indie rule book that every relevant band MUST play here at some point in their career, and tonight it is Assembly Now’s turn. Kicking off with anthemic statement of intent, ‘It’s Magnetic’, the foursome’s enthusiasm is evident within seconds. It quickly becomes apparent why every music tipper worth their salt, including Steve Lamacq who is busy bobbing his head in the back, has been raving about them over the last year. It may only be their second gig in four months, but the ease with which they slip back into live mode suggests that they’ve never been away. As they launch into ‘Caucasian Nights’, you begin to realise exactly what it is about Assembly Now that makes them so riveting live. When singer Gavin Dwight lifts his hands to the mic stand, or Lush raises his drum sticks over his head before crashing into a ‘rawk’ drum outro, somehow it doesn’t seem clichéd. It’s rare to see a band with so much raw passion these days, and even the most cynical hairs on the backs of the most sceptical necks must be cautiously rising. The frenetic angular guitars and thumping rhythm section, together with the New Cross connections, may evoke certain comparisons. Make no mistake though; these four are not riding the well-travelled, tedious art-rock train out of SE14. Onstage, every note is vying for your attention, the two guitars duelling and blending in equal measure, the rhythm section pounding their respective instruments within an inch of their lives, and vocals that force you to take notice. It’s loud, it’s fast, it’s exciting, and it’s frequently brilliant. Without letting the last notes from ‘Out on 24s’ fade, the band launch straight into forthcoming single ‘Leigh-on-Sea’, surely the best song ever written about Essex coastal towns. Danceable and lyrically catchy, it deserves thrust the band out of the niche and into the mainstream consciousness, “all the kids are in the bars/they don’t look up at the stars,” sings Dwight. Assembly Now are certainly looking towards the stars and beyond, don’t bet against them reaching them. Text: Marcus Foley Image: Louise Cattell
tags: | assembly now | more...
The Brian Jonestown Massacre @The Independent, San Francisco
The Brian Jonestown Massacre @The Independent, San Francisco
19/11/2006
THE BRIAN JONESTOWN MASSACRE @ THE INDEPENDENT, SAN FRANCISCO If you’ve heard about the BJM, chances are it’s from the recent independent film ‘DiG!’ – an entertaining documentary following the fortunes of the Brian Jonestown Massacre and the Dandy Warhols starting from the same point but rapidly heading in different directions. Whilst the BJM’s recent UK gigs were often largely filled with curious musical tourists – keen to see lead singer Anton lose control and verbally abuse a band-mate, or kick some unfortunate punter in the head, in their home town of San Francisco it was pleasing to see the band put paid to their negative reputation for a night and play a storming gig to a hugely appreciative and knowledgeable crowd. From the catchy guitar riffs of ‘Servo’ to the beautifully melancholies of ‘Anemone’, the BJM played crowd favourites from beginning to end – from time to time veering off into a knowingly self-indulgent jam session. Though many of the main protagonists may have left – Matt Hollywood, Jeff Davies - it’s clear that Anton could make quality music whoever he worked with. For many people ‘DiG!’ will always be a comic account of what happens when a hugely talented but troubled musician, who cares more about the music than the money, takes far too many drugs for his own good. Get past all that however, and you will find a hugely talented band with a stunning consistently high quality production rate. There’s certainly a lot more to the Brian Jonestown Massacre than meets the eye. Words by TOM WILKINS
tags: | more...
Spanky Wilson and the Quantic Soul Orchestra
Spanky Wilson and the Quantic Soul Orchestra
16/11/2006
Since the release of prolific producer Will 'Quantic' Holland's third solo album 'Mishaps Happening' in 2004, his 'Don't Joke with a Hungry Man' collaboration with acclaimed soul singer Spanky Wilson has become something of a modern funk classic. With this in mind, when a full-length album featuring Wilson recorded under Holland's live guise of the Quantic Soul Orchestra surfaced this year, it hardly came as a surprise. But news of a tour did. Keen to see whether the aging Philadelphian songstress could cut it live, fans packed each and every one of the four London Jazz Café dates for what could certainly have been a once-in-a-lifetime show. The first notable point is that the band members have changed since the last tour. Gone is Limp Twins collaborator, charismatic compere and former frontman-of-sorts Russell Porter. And most obviously, silky-voiced singer Alice Russell, who has since enjoyed solo success, is also absent. But taking their places as the most prevalent personalities on stage is an enigmatic and perhaps overly-enthusiastic character on keys and, of course, Wilson herself, both of whom are worthy of stealing the limelight. Holland stands further back, directing the band with his guitar worn high, beside the drummer, bassist and percussionist, and the horn section who deliver brassy stabs and solos from the far right. The incredible thing about the live incarnation of Quantic Soul Orchestra is the balance between musicianship and, well, fun. When they perform 'You Can't Judge a Book by it's Cover,' the crowd is jumping frantically to a super-quick tempo and Wilson is busy belting out the vocals. The band, too, are bouncing - but their expert musical aptitude is never compromised. Downtempo tracks are just as well received by the Jazz Café masses and when Wilson puts her all into 'That's How it Was,' a woe-filled tune about 2005's deadly Hurricane Katrina, I notice I’m not the only one with a trembling bottom lip, blinking away a teary eye. Picking the pace right back up is a rousing rendition of 'Don't Joke with a Hungry Man' as the encore. The audience is singing loudly and Wilson gives an appreciative smile. It seems fitting that the track which catapulted her back into the hearts and lugholes of the public sphere is the one which ends the show. As the band members leave the stage, the fans scramble for the merchandise stall. An unforgettably impressive evening. Text: Sarah Chapman
tags: | will | quantic | more...
Datarock/Shitdisco/Klaxons @ Koko, Camden
Datarock/Shitdisco/Klaxons @ Koko, Camden
13/11/2006
DATAROCK/SHITDISCO/ THE KLAXONS @ KOKO OCTOBER 13TH 2006 Three leaders of the nu-rave movement in one building at the same time. If someone wanted to end the sale of day-glo caps and glowsticks in one easy move then tonight is their chance - the sea of synthetic nylon luminous clothing would make ignition extremely swift but let’s not dwell on the potential terrorist risk at Koko on a Friday night, the music was pretty incendiary too. Norway’s Datarock shuffle on and they look like they could be a band who play anything from death metal to scum punk but the opening chords of a manic 30-minute set prove otherwise; their music sits firmly in retro dance (the theme of the evening) which is something that Datarock are very good at indeed. Cue much glowstick waving, arms in the air and dancing that takes up room for two. Shitdisco, the second band of the evening, started life putting on free parties in a Glasgow tenement so the rather gaudy surroundings of the Camden Palace are a world away from their roots, similarly Camden has probably never seen such a collection of retina-busting outfits. Their new single ‘Reactor Party’ has been one of 2006’s catchiest dance songs of and it draws one of the biggest choruses of whistles and horns of the evening but the rest of their set possibly lacks a few more killer tunes. However, this is balanced by their energy and persistent wave of indie-mixed-with-old-school sound which is fantastically addictive; it almost defies you not to smile. With the regular drummer suffering from a recent arm injury, lucky his sling matches the all-white clothes of the band, a stand-in was employed whilst the regular drummer had to make do with a cowbell and drum stick which was actually quite in keeping with the band’s DIY attitude to having a good time. Other makeshift instruments included the ubiquitous dance party loudhailer and some clue as to how the drummer’s injury was sustained was given when one band member launched himself into an ambitious crowd surf which ended in him being dumped rather painfully. Although its doubtful many of the crowd were out of nappies when the ‘The Bouncer’ was being played in warehouses and fields around the UK they’ve certainly embraced The Klaxons’ version as their own. Along with a cover of the classic ‘Not Over Yet’, these were two highlights of the evening and judging by the presence of The Arctic Monkeys and Mystery Jets at the gig, they may just be onto something bigger than a party in a disused warehouse. Words: BEN H. MURRAY Photos by: MIKE BURNELL
tags: | datarock | more...
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