muffin pants (scarydan) wrote,
muffin pants

  • Music:

a trap to come and catch you (stop me now I can't do this)

Fourplay String Quartet. Last night. 'Rock & Pop' themed show, the first in a series of three.

as'dfjasdnf;lksdjfnasl;fkasdl;fja;dofhawgreg;nukdnwe! (as I discovered last night this seems to be pronounced 'asdfglglglgogoglgllsh!')

Was expecting pretty much just a 'categorisation' of all their songs over the three sessions. Was NOT expecting over half new material/new covers. See above re: 'asdf...'. It was FACE STABBINGLY good.

2+2=5, great, love it.
You've Changed Your Tune, while my least favourite off the album, is more fun live.
Evolve Or Decay is still as good as the first time I ever heard it played live.

Apparently titled 'Requiem for a Democracy' this first one was just...divine. The minute it started I was in another world. A world of green, and trees, and rolling hills. There was a train, a good old fashioned steam one plugging along. A good old fashioned British train heading north under grey-blue skies through so many shades of green. Civilised Britons going about their leisurely holidaymaking business - in a first class cabin, of course. Newspapers are being read, crosswords are being done. Elderly spinsters and windows are chatting animatedly. One person, younger than the spinsters and widows but old enough to be largely ignored by anyone yound, sits separate from the rest, watching everything, book splayed open, forgotten, on the chair beside. I was listening to the opening theme music to a British mystery movie. And it was PERFECT. Absolutely sublime. Evocative, sweet and beautiful with just a tinge of something bordering on sadness - exactly what I look for in a song.

A Sufjan Stevens cover the name of which (something about flying insects is ringing a bell) escapes me followed but it was similarly sweet, with this uplifting melancholia in places. Definitely one of their best covers.

I think the song I keep calling 'the Arse Song' because it's title made reference I think to a place where the sun shineth not. They did a Howie Day (WHY that has stuck I've NO idea) and had a looping pedal which I have to say worked REALLY well. It reminded me of 'Everything Was Going Fine' in that on the surface it is ridiculously discordant but once it resolves itself becomes very catchy and alluring. Lara's violin part was distinctly different to the rest, to the point where it wouldn't surprise me if they said that they each started playing their own thing but all at the same time and they kept the parts that worked. I think I'd like to hear it again (haha).

I think next they did a cover of 'Killing In The Name Of'. Which I was initially dubious about, but at the end...wowee. There was some sort of effect on Schenzo's violin that made him plucking the strings sound like it was pronouncing vowels. It was quite neat, although I don't know how it would work not-live.

About here in any concert is where my setlist remembering skills fail me.

Trust was played and, as you'd know, is my most favourite song ever. Last night's performance was the closest it's ever come to sounding like it did when I first heard it at the Basement back in...2000? 2001? Rich and deep and laden with reverb. ASDF...

Everything Was Going Fine went fine.

Now, they covered a Midnight Oil song (I kept wanting to say 'a Throwing Muses song', but that's just a daydream). I'll be blunt - it was BLAND AS. I've always been of the opinion that their covers can often sell their arranging and performance skills short, and this one did just that. It brought nothing really new to the song and it just felt flat and uninspired. Lacking in the dash of verve that made 'Reptilia' fantastic and the song was too simple for just a simple cover - as much as 'Grace' is in the realm of 'just a cover', the detail and complexity of the song means a transference to the string quartet means that the interest comes from the new context. A bit of a snooze-fest to be honest.

COCTEAU TWINS. Holy crap. I actually said that out loud when they said that was what was next. Holy crap. Peter mentioned to me AAAAAAAAAAAGES ago that they were considering covering a CT song from one of their later albums and I said 'well, as long as it's not Evangeline because I don't really like that one' (although it has since grown on me). Well, it wasn't Evangeline, it was 'Seekers Who Are Lovers'. And it was as dreamy as you'd imagine it to be - possibly a little too dreamy for someone not familiar with it, but that wasn't a problem for me. But now their mission, should they choose to accept it, is to perform it live with the looping techniques to recreate the remixed version on the 'Otherness' EP (which I prefer over the LP version).

They played one I can't recall the title of, where there's a banjiola involved (viola played like a banjo) and it's great fun.

Reptilia, always rocking. I love how they're always bathed in red light when it's on. Love it.

Back for encores I can't for the life of me remember what they played. Oh wait. 'Poker Face'. (it's a very good title, it's not boring at all). FUCK OFF AND DIE. Lara OWNS the stage. No, wait, Lara PWNS the stage (shiftone). This just blew everyone away. So sexy and cabaret and ooh. Delicious. Kate and I were talking afterwards about what they'd maybe play at the jazz and experimental themed ones and I said 'ooh maybe they'll do Poker Face again at the jazz one'. And she actually stopped in her tracks, unable to handle the sheer excitement and enormity of being able to hear the song again. It was A Moment indeed.

Then they asked whether we wanted to finish on the Beastie Boys or 'Now To The Future'. I'd barely finished saying 'NOW...' before it was more than clear that people wanted the Beastie Boys. Which is great.

An AWESOMELY AWESOME night. We (well, I) said afterwards that if you'd only bought tickets to one that you'd be so annoyed you'd stab yourself in the face. It was true. Even Joy and Piers agreed, possibly. Lisa, please don't point out my crazy to people who don't know I'm crazy. Thanks! :D

YAY! Now why isn't it 7:30 yet? Sigh!

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