Hosting this exciting event was Wot God Forgot and Mind on fire at the recently popularised venue, The Ram and Shackle. The décor of candles and fairy lights created a warm inviting atmosphere contrasting the cold, wet, unrelenting weather outside that could have potentially kept the punters at bay.

 

Manchester-based experimental band, Go Lebanon, kick-start the evening with a dynamic, instrumental introduction. The music was at times darkly atmospheric, but predominantly their sound is hectic, energetic and fast. Often abrasive to the ears, this particular style isn’t for everyone but there was much detail and skill to be appreciated.

 

The trombone was initially the forefront of the stage making a welcome return later in the set interjecting and punctuating the minor chordal backing. The use of two drum-kits provided a natural, powerful, sound combined with the passionate screams of the lead singer. Band members swapping drum kits and guitars between songs like some form of instrumental swingers party, highlighted the musicians’ versatility. 

 

There was a feeling, however, that the band did not play to their full potential but this only suggests their massive potential and that they are one to look out for.

 

LA 77 were second in the line up, a local 2 piece seated behind an Apple Mac and a mixing deck. The electronic, atmospheric sounds met a positive reaction from the Ram and Shackleers. They provided an atmospheric background for those awaiting the imminent headliners and for music lovers with a passion or curiosity for the genre, there was plenty of detail to be enjoyed.

 

They began with tranquil mood music suddenly contrasted with heart beat altering bass drums penetrating the room against rising, bubbling melodies and echoing samples. The artists are clearly passionate about their particular sound – constantly adjusting and altering, paying attention to every nuance of sound. The intense synchronised concentration urged the comment from one audience member, “I get the impression they don’t ever leave their rooms or they’ve never actually spoke to each other, they just talk in music”.

 

The merging, weaving off-beat rhythms of the set would have ideally been accompanied with acid trip-like visual effects, but apart from that, the duo could not be faulted.

 

Initially, the most striking thing about 54-71 is the captivating and eccentric character of the front man. His outfit of choice: a glittered turquoise and purple sheer top, black tights, skintight grey hot pants and red doc martins. At times even employing two microphones, his rapping style is one of a rabid Pentecostal preacher reaching forwards and towards the sky. His body possessed, he unites aggressive gestures and spasmodic facial expressions for a startling yet magnetic performance.

 

The charisma of the front man by no means overshadows the talent of the other musicians. The wincing enjoyment on the face of the drummer portrays the pleasure and passion of the Tokyo based group. The bands signature sound was the violently abrupt mood changes to their songs creating disorientating post-modern roller coasters.

 

The rabid, fervent speech combined with hectic music was met with intrigue and approval of the crowd. Audacious non-payers were even craning their necks around the partition to catch a glance of this unusual treat. But to be fair, a Japanese experimental, hardcore, rap group is hard to come by in Fallowfield on a Tuesday evening these days.

 

 

The progressive instrumental foursome provided the feeling of being submersed in their euphoric, rich sound. The guitars seemed to become entities in themselves, interacting with each other and communicating, adding to the rising crescendos and repetition of motifs which gradually merged into climactic riffs spell-bounding the crowd. The room was packed and everyone was engaged.

 

Atmospheric wailing of guitars and technical but ravage drumming is like nectar for the ears drawing the audience into a euphoric daze before a disorientating abrupt end. The music cleverly subverts expectations throughout, always throwing the listener off track.

 

As the band pause to adjust the key, the room is silent – the front man thanks the crowd, he struggles for the correct English words, but as soon as the music kicks back in, they have no problem translating to the crowd the obviousness of their talent.

 

When the gig regrettably comes to an end, cheers and enthusiastic applause accompany “tight as fuck” and “take it in” being sighed under the breaths of audience members still clouded by the blissful mist of Lite’s music.