Passeism, Futurism Vs. Post-punk/electronics combo. b. 2007, d. 19.4.2009. Leaves behind a number of excellent recordings. Will be missed.
Passion, Plastic. Indie post-punk band, natural causes. b. Cheshunt, 2007, d. Islington, 7.4.2009. Leaves behind one album, Contrived Imagery, and a new project, The Savants. Friends described Plastic Passion as 'a bloody great band'.
RIP.
Showing posts with label Futurism Vs Passeism. Show all posts
Showing posts with label Futurism Vs Passeism. Show all posts
Thursday, April 23
Wednesday, September 3
OFFSET FESTIVAL. review, pt. 1;
EXP. CIRC. TENT, SATURDAY 30TH AUGUST
The epicentre of the more interesting side of the weekend was the Experimental Circle Club stage. Erroneously but somewhat appropriately named ‘The Experimental Circus’ by one particular member of Offset staff, the tent provided high-quality sounds throughout the festival: the diversity of the music on offer was clear from a glance at the line-up, which progressed from the crazed electronoise of Cementimental opening the Saturday afternoon to a refined but joyful psychedelic set from Ipso Facto on Sunday evening.
The first song-based act to take the ECC stage was An Experiment on a Bird Pump, who drew a fair crowd thanks to growing media attention (as well as the backing of The Horrors’ Faris Badwan). Despite delays which lasted throughout the weekend putting their set back by an hour, the Birds didn’t disappoint, and their soulful vocals and grunge instrumentation provided a good warmup for what is still to come. They’re by no means a band given to vulgar displays of power and speed, but a taut energy ran through their set and their restrained pace and musical minimalism perfectly suited their afternoon slot.
They were followed almost immediately by I Am The Arm, reduced to a three-piece after the recent departure of bassist Kane Martindale and who give performance of great intensity but one which showed the strain of the reduction. It’s particularly clear when vocalist Cyan Assiter-Clark is forced to switch from bass to guitar, and then to synthesiser, in the space of only three or four songs that, having only recently replaced their drummer, the Arm clearly need a new bassist as well. But they’re still making strides in songwriting and technical competence and the future looks bright, particularly with rumours of a release with DiscError floating about. Only time will tell.
Although ddd were set to follow, Paul Simmons (the guitarist for Ulterior, making a guest appearance in place of the absent John Kontos) had left his guitar pedals in Hackney and, rather than accept the alternatives offered, had gone to fetch them and left a hole in the programme which was filled by Futurism Vs. Passeism. Unfortunately, the phrase ‘plagued by technical problems’ has never been more appropriate: with the drum pads and microphone both playing up and the band becoming visibly frustrated, relief was sought in the New Bands tent as they struggled through their set. The technical failures would have been disappointing to any band at any time, and must be a constant danger for Futurism’s extensive electronics, but for a group playing a return show with new members and material they proved doubly crushing. Hopefully a future demonstration of the band’s developments hasn’t been ruled out.
ddd, arriving on stage a short while later after Simmons’ return, proved a blistering contrast to Fvs.P’s mystical electronic meltdown. A sharp and noisy sound attack is always guaranteed with Darryl Woollaston’s project, but Simmons’ contributions lent it, if possible, even more anger - his frantic slashing at the high end of the guitar strings were a perfect background to Woollaston’s robotically rhythmic guitar and vocals. A triumphant collaboration.
After a weird and not entirely wonderful set from No Bra, whose cult appeal I fail to understand, there was a noticeable crowding of the tent in anticipation of a performance from S.C.U.M, the band of the moment. The group arrived from an earlier performance in Norwich only shortly before taking the stage, and there had been some ill-feeling over their requests for a later slot (which were not entirely unjustified when the rest of the day’s bill was considered). Although slightly robbed of their atmosphere by being performed in full daylight, Thomas Cohen’s echoing vocals and the group’s tribal drums and menacing synth lines fetched a fair response from a crowd whose lack of movement apparently belied their appreciation, based on the positive words that could be heard in the tent after Rauridh Connellan had destroyed his drum kit and lurched over the front barrier before disappearing behind the stage. Cohen is developing into an iconic Nick Cave-style frontman, and their forthcoming single Visions Arise should cement S.C.U.M’s status as the Next Big Thing; whether they can sustain the bubble is a matter for the future, and at the moment they are a band living very much in the present.
Night had fallen by the time Factory Floor took the stage, and an audience which grew steadily throughout their set showed that their artistic draw is a great deal more powerful than their media presence. Latest single Bipolar has been absent from their live performances almost since its release, and most of their set consisted of new material, although Francis Francis (their next release) got an enthusiastic reception with its screaming guitar line. Factory Floor are moving away from their obvious influences into territory which is entirely their own, and although they aren’t a band that court the spotlight, they must sooner or later be thrust inevitably into it.
Of all the lineup changes in evidence on Saturday, perhaps the most drastic was from Micron 63, who have doubled in size in the past few months to a live four-piece. Their place on the bill was a little unusual for a group who have received little media attention and who are yet to release their first single. A more obvious move would have been to give a popular group with more stage presence such as Ulterior this peak slot, and to move Micron 63 to later in the night when their pounding bass synth and flickering vocals could have made for an excellent dance set. They were a little lost on an early crowd who are still gearing up for the night, but still put in a decent show which pointed to a great deal of potential.
When Ulterior did take the stage it was towards midnight and most of those who weren’t camping had left. Their performance closed the night acrimoniously with heckling from the back of the tent, and a tense set showed the growing influence of stadium rock on the group: they seem to be taking their love of the Manic Street Preachers to new extremes with a more tuneful sound.
The first song-based act to take the ECC stage was An Experiment on a Bird Pump, who drew a fair crowd thanks to growing media attention (as well as the backing of The Horrors’ Faris Badwan). Despite delays which lasted throughout the weekend putting their set back by an hour, the Birds didn’t disappoint, and their soulful vocals and grunge instrumentation provided a good warmup for what is still to come. They’re by no means a band given to vulgar displays of power and speed, but a taut energy ran through their set and their restrained pace and musical minimalism perfectly suited their afternoon slot.
They were followed almost immediately by I Am The Arm, reduced to a three-piece after the recent departure of bassist Kane Martindale and who give performance of great intensity but one which showed the strain of the reduction. It’s particularly clear when vocalist Cyan Assiter-Clark is forced to switch from bass to guitar, and then to synthesiser, in the space of only three or four songs that, having only recently replaced their drummer, the Arm clearly need a new bassist as well. But they’re still making strides in songwriting and technical competence and the future looks bright, particularly with rumours of a release with DiscError floating about. Only time will tell.
Although ddd were set to follow, Paul Simmons (the guitarist for Ulterior, making a guest appearance in place of the absent John Kontos) had left his guitar pedals in Hackney and, rather than accept the alternatives offered, had gone to fetch them and left a hole in the programme which was filled by Futurism Vs. Passeism. Unfortunately, the phrase ‘plagued by technical problems’ has never been more appropriate: with the drum pads and microphone both playing up and the band becoming visibly frustrated, relief was sought in the New Bands tent as they struggled through their set. The technical failures would have been disappointing to any band at any time, and must be a constant danger for Futurism’s extensive electronics, but for a group playing a return show with new members and material they proved doubly crushing. Hopefully a future demonstration of the band’s developments hasn’t been ruled out.
ddd, arriving on stage a short while later after Simmons’ return, proved a blistering contrast to Fvs.P’s mystical electronic meltdown. A sharp and noisy sound attack is always guaranteed with Darryl Woollaston’s project, but Simmons’ contributions lent it, if possible, even more anger - his frantic slashing at the high end of the guitar strings were a perfect background to Woollaston’s robotically rhythmic guitar and vocals. A triumphant collaboration.
After a weird and not entirely wonderful set from No Bra, whose cult appeal I fail to understand, there was a noticeable crowding of the tent in anticipation of a performance from S.C.U.M, the band of the moment. The group arrived from an earlier performance in Norwich only shortly before taking the stage, and there had been some ill-feeling over their requests for a later slot (which were not entirely unjustified when the rest of the day’s bill was considered). Although slightly robbed of their atmosphere by being performed in full daylight, Thomas Cohen’s echoing vocals and the group’s tribal drums and menacing synth lines fetched a fair response from a crowd whose lack of movement apparently belied their appreciation, based on the positive words that could be heard in the tent after Rauridh Connellan had destroyed his drum kit and lurched over the front barrier before disappearing behind the stage. Cohen is developing into an iconic Nick Cave-style frontman, and their forthcoming single Visions Arise should cement S.C.U.M’s status as the Next Big Thing; whether they can sustain the bubble is a matter for the future, and at the moment they are a band living very much in the present.
Night had fallen by the time Factory Floor took the stage, and an audience which grew steadily throughout their set showed that their artistic draw is a great deal more powerful than their media presence. Latest single Bipolar has been absent from their live performances almost since its release, and most of their set consisted of new material, although Francis Francis (their next release) got an enthusiastic reception with its screaming guitar line. Factory Floor are moving away from their obvious influences into territory which is entirely their own, and although they aren’t a band that court the spotlight, they must sooner or later be thrust inevitably into it.
Of all the lineup changes in evidence on Saturday, perhaps the most drastic was from Micron 63, who have doubled in size in the past few months to a live four-piece. Their place on the bill was a little unusual for a group who have received little media attention and who are yet to release their first single. A more obvious move would have been to give a popular group with more stage presence such as Ulterior this peak slot, and to move Micron 63 to later in the night when their pounding bass synth and flickering vocals could have made for an excellent dance set. They were a little lost on an early crowd who are still gearing up for the night, but still put in a decent show which pointed to a great deal of potential.
When Ulterior did take the stage it was towards midnight and most of those who weren’t camping had left. Their performance closed the night acrimoniously with heckling from the back of the tent, and a tense set showed the growing influence of stadium rock on the group: they seem to be taking their love of the Manic Street Preachers to new extremes with a more tuneful sound.
Pt. 2 EXP. CIRC. SUNDAY to be posted tomorrow.; both parts and more to be published soon in an Offset edition of The New Thing fanzine.; watch.this.space.
Thursday, May 8
FVs.P WLTM singer (F) for friendship & more;;
Futurism Vs. Passeism are looking for a vocalist after the departure of Stephanie Baker for reasons as yet unknown. Applicants should be female, and be able to play keyboards and, ideally, guitar too. Applicants should message FVs.P at their Myspace - anyone willing and able should be clicking right now to keep this excellent band on its feet.
Thursday, April 17
Exp. Circ. Tent announces line-up;;
This year Essex's Offset Festival plays host to a tent curated by the Experimental Circle Club, and the line-up has just been announced: a veritable 'Who's Who' of the best new music from London and beyond. Included on the bill are...
Ulterior
S.C.U.M // Electricity In Our Homes
Eve Black/Eve White // I Am The Arm // ddd
Futurism Vs Passeism // Factory Floor // Micron 63
**K // S.I.N.S. (tbc) // ErrorOrchestra // Cementimental
S.C.U.M // Electricity In Our Homes
Eve Black/Eve White // I Am The Arm // ddd
Futurism Vs Passeism // Factory Floor // Micron 63
**K // S.I.N.S. (tbc) // ErrorOrchestra // Cementimental
Also included are DJs from London's The Sect and UFO Club, Brighton's Where To Now?, Nottingham's Noise*, Southend Kool Kids Klub, and Madrid's The Junkettes, as well as Exp. Circ. Club sounds and visuals.
The festival takes place in Hainault Forest (30 minutes from London on the Central Line) on 30th-31st August, and features another six stages with over one hundred artists yet to be announced - including some very special main-stage headliners still under wraps - as well as sideshows, stalls, and a zoo.
The full line-up is to be announced soon, and we've also been promised even more acts in the Exp. Circ. Tent, so earballs must, as ever, be kept open. Tickets go on sale on May 1st for £35. You cannot afford not to attend.
The festival takes place in Hainault Forest (30 minutes from London on the Central Line) on 30th-31st August, and features another six stages with over one hundred artists yet to be announced - including some very special main-stage headliners still under wraps - as well as sideshows, stalls, and a zoo.
The full line-up is to be announced soon, and we've also been promised even more acts in the Exp. Circ. Tent, so earballs must, as ever, be kept open. Tickets go on sale on May 1st for £35. You cannot afford not to attend.
Friday, January 25
Band spotlight//FUTURISM VS. PASSEISM
We've been following their development and hanging on their every move for about a month now, and finally the enigmatic Futurism vs. Passeism have taken off their masks. We now know that the electronic group contains four members with a 3:1 gender ratio and at least one ex-member of Wretched Replica. We already know that their mixture of These New Puritansesque electronics, New York No Wave, and atmospheric noises is one of the most exciting things in London at the moment. And finally we know that you can and should experience and unwravel more mysterious layers this Sunday when they perform live for the first time at the first #NUMBERS# club. Go.
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