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Chemistry Set @ Studio 2 Patterns – Fonetiks live Review

by Richard Lewis. Published Wed 05 Oct 2011 00:16, last updated: 13/10/11
Fonetiks
Fonetiks

A double hit of superior acts at Parr St. Studio 2 were showcased as Manchester based band Patterns and event curators Fonetiks made up the bill for Live & Electronic.

Juxtaposing the same cloudy ambient beauty of Music Has the Rights to Children era Boards of Canada, with peak-period Animal Collective, Patterns are currently receiving much praise from Huw Stevens and that music publication with the initials in the title.

Wrong Two Words, beginning with a refracted electronic revolved around mantric feedback and slow vocal incantation easily demonstrated how far the group are from stock ‘Manchester Sound’ clichés of recent times.

Elsewhere, Broken Trains built around percussion loops demonstrate their ability to build cogent songs without the use of guitar riffs.

Concluding with stunning debut single Induction, a woozy slice of Radio Dept esque dream-pop, Sophia Coppola would be well advised to include the track in her next film.

Similarly, Patterns would be well advised to return to Liverpool soon, as their set doubtless won new converts to their cause.

Event curators Fonetiks took to the stage prior to Patterns and fired up the opening electronic riff of Vicious Sirens.

Prior to beginning the song’s ascent, the band seemingly took a deep breath before launching into the track, as their sonic assault tumbled out of the speakers.

Vastly more powerful than on record, led off by Jamie’s buzzsaw guitar, the almost symphonic axe break mid way through built in intensity before segueing into Grief, played next.

Specialising in songs that build slowly increasing in velocity before reaching a melodic plateau, the trio then ensure the track lodges itself in the listener’s brain.

Drumsticks flailed, vocals were hollered, guitars were battered with gritted-teeth conviction, despite categorisation as electro by some, Fonetiks also put simply, rock.

Electronics guru Liam appeared to be playing a game of speed chess against himself on the table top with myriad sequencers and keyboards on it while Wardy on drums mercilessly battered his kit.

Racing through four songs en suite, they paused to gasp for breath again, before setting off again towards the finishing line.

Concluding with possibly their finest tune Antelope, the coda was turned into an all-out apocalypse before ebbing away on the same gentle electronic motif it entered on.

Proving that innovation, melody and stage presence needn’t be mutually exclusive elements, the present act have all of the above in spades. A blast.

Photos by Marie Hazlewood



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