There was a thing at this gig that became curiously weird; Battles, a mainly instrumental band using new styles of music composition were playing in a venue with old concrete walls. Walking into particular areas of The Forum and then smelling an odour of dampness was peculiar for a place that looked hugely grandiose from the outside (although I’ve been in venues that have smelt worse). If it was a person, The Forum would be with growing old with dignity as rather than getting painful facelifts to retain its youth.
The crowd itself was a casual crowd of people standing around and not displaying aggression. It was actually surprising to have a bit of room in the standing area, possibly indicating that the side shows of the Big Day Out were feeling the hurt of low ticket sales as well as the festival itself.
When first support Other Places came onto stage, we had a good smattering of a crowd already listening intently, rather than gabbling on and ignoring the support act which seems to be the trend of the last few years or so. The duo captivated with an arpeggiating mode of sounds and squalls which resembled pieces of art more than songs. They reminded me of a more sedate Mountains In The Sky, but with flourishes of bouncing rhythm.
Witch Hats were a slightly unusual choice on the line up with their slants on the modern rock tune sandwiched between two bands who explore sounds and songs from a left of centre perspective. Kudos to the, though for an entertaining set nevertheless as hooks, chords and floating ideas twirled about on The Forum’s booming PA system. ‘In The Mortuary’ and ‘Hear Martin’ were two stand outs in a set that mixed up all these twirling effects. The only thing that wasn’t booming through the speakers was the banter, which consisted of mumbling and bumbling talk that made no sense half the time.
The set up for Battles was slightly unusual – an amazingly high cymbal on John Stanier’s drum kit and keyboards set up at a 45 degree angle showed that even during the set up you’ll be getting something unconventional. It made for a not only something aurally spectral, but something that was semi visually appealing, which was enhanced by some rectangular backdrop videos that looked like fluro beams of movement themselves.
‘Ice Cream’, ‘Sweetie & Shag’ and the pulsating ‘Atlas’ had soundwaves punching the audience in the face politely. In your face to make a slight bruise, but not so huge that your mum wouldn’t notice. The band had audience eyes shifting from band member to band member to see what weird sound was springing from their instrument, or the concentration on Stainer’s face while keeping a steady rhythm the drums were undertaking, or what squirmy position Ian had while playing two keyboards set up on either side of him at the same time. It was an unconventional performance in old surrounds that became warped in Battles’ own perfect way.
———-
