Type and hit ENTER

Commonly used tags...

Brighton Festival Brighton Fringe Brighton Pride British Sea Power Cinecity Lewes Psychedelic Festival Locally Sourced Lost & Found Love Supreme Festival Nick Cave Poets Vs MCs Politics Rag'n'Bone Man Record Store Day Save Our Venues Six Of The Best Source Virgins Streets Of Brighton Street Source Tattoos The Great Escape Tru Thoughts Unsung Heroes
  • Home
  • News
  • Previews
  • Reviews
  • Features
  • Food
  • Tickets
  • Contact
  • Contribute
  • Advertise
  • Home
  • News
  • Previews
  • Reviews
  • Features
  • Food
  • Tickets
  • Contact
    • Contact
    • Contribute
    • Advertise
Reviews

Mutations Festival Review 2019

Feb 25, 2019
-
Posted by Mike Tudor

There are no doubt members of this audience who followed the stencilled helixes through Portslade and into Hansen Hall foyer and had the thought that it looks more like a conference centre than the site of a feeding frenzy of incredible genre-defying bands. Only to be stood moments later – a pint of Mutations Festival Lager in hand – watching Snapped Ankles and realising their idiocy.

First on the main stage are Saint Agnes, shocking the early afternoon crowd to attention with a blistering set of screeching psychedelic rock. Front woman Kitty strides across the stage, hair regularly splashed across her face, with a stage presence that shows just how much they’ve been gigging recently. It’s a shame they’re not on later, but we’re making sure we see their next Brighton show.

The totem mics and costumes – which are… what? Cave/goat people? Ghillie suits with horns and lights glued on? – seem at odds with the squealing feedback. As do the driftwood-mounted homemade LOG synths. Not to worry, they have launched into a propulsive beat that won’t let up. There are harsh clanging guitars and synths and distorted shout-sung vocals. We hear drumming close behind and turn. It’s only two prehistoric hypemen, one oscillating wildly and one drumming. Snapped Ankles are fun and weird, music for ‘when computers finally fail us’. If this is the soundtrack to the apocalypse then we don’t mind that Trump has the codes.

We’re downstairs at the smaller second stage and it might be a first for us seeing an old big TV and silver VHS player being set up during the soundcheck for TVAM. Placed on a TV stand reminiscent of lessons at school, it screens perfectly timed visuals which are tied in with their psychedelic sound. Everyone in the front row is swaying and hypnotised by their finely tuned, expansive soundscapes.

Next up, headlining The Theatre Stage and looking very civilised in comparison, it’s Josefin Öhrn + The Liberation. The Liberation are already on stage when Josefin walks to the front to the sound of a choral drone. She is arresting in black. It’s unclear, however, whether during the opener the audience are under her spell or bored. This is quickly resolved with the one-two punch of ‘Sister Green Eyes’ and ‘State I’m In’ from their Swedish Grammy winning 2017 album ‘Mirage’. Their music is lush, deep and composed. Grown-up psych.

After a sushi burrito respite we head to watch London/Bahrain psych explorers Flamingods. They come on like a gang in matching cut-off denim jackets. Who we initially mistake as the bassist (Flamingods swap instruments many times throughout the set) is wearing a kilt and cowboy hat. They are heavier and harsher than their last record ‘Majesty’ would suggest. They play exotic scales on strange instruments. The last tune starts all tripped-out Gregorian and, after the-one-with-the-antlers from Snapped Ankles joins on percussion, it goes full frenetic krautrock chaos. For the uninitiated (or Western ear?) there’s little to hang on to in terms of hooks, but it’s an easy trade for music this original and diverse in its influences.

Clottie Cream, LED, and Naima Jelly stand together at the front of the stage. It’s Goat Girl and they are as direct as you’d imagine a band named after Bill Hicks’ lusty alter-ego to be. Be it lyrically – “Creep on the train I really want to smash your head in” – or sonically. The guitars are scratchy and there’s sometimes a rough country edge to the rhythm section, like The Violent Femmes. It’s bracing and exciting to hear music that’s unafraid to be political or to tell it how it is. On ‘Viper Fish’ (Staves meets Cramps!) they sing “don’t shed a tear we all feel shame, we all feel shame” and it’s powerful: post #MeToo grunge with teeth.

P.S. we noticed a Brass Eye reference on their debut, which is the last reason to listen to it.

Headliners White Denim may be a force of nature but it’s an inescapable fact that 75% of them wear glasses. It’s also a fact that, when paired with common but totally unreasonable assumptions about eyewear, the previous can be used to support the following: despite their cock-rock posturing and gene-splicing chops (post-Dolly face melters!) White Denim are actually massive music nerds. Just ones with enough self awareness and charisma to headline festivals. See ‘Shanalala’.

They have raided the annals of classic rock and come back and twisted their spoils into something that is both proggier and punkier… and proggier than it seems. Meaning us proles can flail about carelessly, safe in the knowledge that someone – presumably someone with the same Rick Wakeman bangs as the keyboard player – is getting off on the riffs and time signatures and abrupt but seamless changes. Of which there are many. Funk. Latin. Psych. Did we mention prog? You name it, it’s in there somewhere. So next time uncle Jim complains there’s no good music nowadays point him in the direction of White Denim. But warn him. Modern classic rock is sentient.

Mutations ’19 was a triumph. We just hope we won’t have to wait another four years for the next one.

Hansen Hall, Portslade, Saturday 23rd February 2019
Words by Rowan Reddington and Mike Tudor
Photos by Mike Tudor

Feb 25, 2019
Email
Mike Tudor
Mike is an experienced live music photographer whose work has appeared in The Guardian, The Telegraph, The Spectator and Uncut Magazine. He's been going to gigs for 20 years, expect to find him shooting and writing about rock, hip hop and late night electronic music.
← PREVIOUS POST
SK Shlomo + Tilda Allie Review
NEXT POST →
Sports Team, Thurs 21st Mar
Mailing List

Recent Posts
  • Two Decades Of Funk Fire With Jalapeno Records
    Jan 18, 2021

    A new compilation celebrates 20 years of funk and soul from world-renowned Brighton label Jalapeno Records.

  • Hansel and Gretel? | Brighton Source
    Hansel and Gretel? Review
    Dec 18, 2020

    A postmodern pantomime with an unrelaible narrator. Outdoors with comedy, dance, camp actors, plenty of fun. On two levels: laughs for kids and jokes for adults

  • Artists Open Houses 2020
    Dec 5, 2020

    After cancelling the May edition, Artists Open Houses tell us what it's like to be back with a December festival that is open to visitors in person for eight days.

  • Cinecity 2020 previewed by Brighton Source
    Cinecity 2020
    Nov 17, 2020

    From the North Laine to Mongolia, Cinecity's lineup is typically eclectic and original this year - catch it before the city's key film festival ends.

  • Macbeth Review
    Nov 2, 2020

    Macbeth in Brighton. One-act play with Scottish Gaelic sounds by This Is My Theatre. Power, ambition, murder, blood. The woods are moving.

  • Lost & Found: Poison Girls
    Nov 2, 2020

    As part of our retrospective series on local bands we look back at the hugely influential and ever-challenging anarcho-punk collective Poison Girls.

  • The Rose Hill | Brighton Source
    Save Our Venues – The Rose Hill
    Oct 26, 2020

    We spoke to the team at the Rose Hill to find out how a series of new creative projects is helping this unique Brighton venue to cope with the current crisis.

  • Spillage! Review
    Oct 19, 2020

    This one-person, one-act play is giddy, funny and seriously entertaining. An odyssey through the madness of corporate pressure on our mental health.

Website developed in Brighton by Infobo
Copyright © Brighton Source 2009-2020
Mutations Festival Review 2019 - Brighton Source