Orchestral Manoeuvres in the Dark: Junk Culture

First there was the movie, the album, the book and the app. Now there is the tour. American Interior, Gruff Rhys’s postmodern narrative concept, has spread tentacles in any number of media. At the heart of it is the mythic story of John Evans, a young Welsh explorer who in the 1780s took himself off deep into the unvanquished heart of America in search of a myth, the lost Welsh-speaking tribe of Madog. A serpentine river odyssey that involved him in vast geopolitical forces, it has spawned a suite of songs about the solitude of adventure.

The vibe in the Concorde last night was unbelievably up. The short version of this review is that the band are decent live but the crowd made the evening fizz with manic human electricity. Gorgon City, like a less funk-based Rudimental, performed songs that magpie about the history of electronic dance music, focusing especially on the classic house template, but attaching it all to soul-pop songwriting.

“Jazzerbaijan”, the giddy publicity tag attached to last night’s double bill of Azeri jazz at Ronnie Scott’s, was sounding soberly appropriate by the end of a dazzling display of generic shape-shifting by the young Isfar Sarabski Trio. A packed and exuberant audience thrilled to his sound, which seemed to transcend generic boundaries with a breath-taking lyricism and fluency.

This concert is called My Life in Music and the Italian film composer Ennio Morricone seems determined to take us on a journey from his origins in Italian B pictures to inarguable and gigantic orchestral opulence. In the 1960s he put together iconic and resonant music on a tight budget, with limited ensembles and quirky instrumentation. These made his name, along with that of the director Sergio Leone. Tonight, clad in black, wearing a polo-neck, conducting the Czech National Symphony Orchestra and a mighty choir, he revels in hugeness.

Martin Hannett & Steve Hopkins: The Invisible Girls

If what you wanted to do was go out to the middle of the Mexican desert, invert the Cross and dip it in blood, screaming obscenities all the while, surrounded by a sunburnt band of fellow travellers all off their heads on mescalin, Tutuguri is definitely the music you’d want to do it to.

Rarely in London do the lights rise up after a live gig to reveal eyeballs glistening with euphoria, total body sweat and a communal stitch gradually dying down among the water-guzzling herd. Indeed it’s an unusually bestial scene for Café Oto, mostly home to a more intellectual post-concert fervour. But fully-misted windows and naked midriffs, it turns out, suit their concrete Berlin-esque chic surprisingly well. 

Motorpsycho: Demon Box

You know what really grinds my gears? Bands that only have one. One gear, one level of intensity. For a good hour of last night’s set, diminutive diva Alice Russell, the voice behind countless Quantic hits and that cover of “Seven Nation Army” that no one would shut up about back in 2005, was guilty of just that. She was flatlining at mid-intensity, lost in the no man’s land between tension and release and it was a shame, because everything else about her set, the first of two sold out shows at Camden’s Jazz Café, was hard to fault.