Music / electro-pop
Review: International Teachers of Pop, Exchange
Pale Blue Eyes (Aubrey Simpson, bass; Mathew Board, guitar & vox and Lucy Board, Cathy McGowan fringe, sphinx like demeanour and drums) delivered a very well received support slot, the crowd building as they powered through their set. Their sound best described as an amalgam of 80s indie and krautrock, thus Matthew’s guitar work was reminiscent of New Order, the Bunnymen et al; whilst Aubrey supplied some thundering yet funky bass (no guitar riffs, so he did all the heavy rhythmic lifting) all supported by a relentless motorik beat. Underlying synths broadened the sonic palette; cool washes blending with the oft glacial guitar.
Their tunes were built from the rhythm section: Aubrey’s bass dominant (and himself constantly bouncing on the spot) whilst Lucy’s less is more drumming sounded at times like Tommy Ramone auditioning for Can. Light, occasionally falsetto, vocals meant the Matthew’s voice was almost another instrument rather than simply the focus of the songs, and his guitar work was creative throughout – no riffs, just constant melody lines spliced with subtle solos.
is needed now More than ever
Part way through the set the Matthew mentioned the band had no records to flog (the band are in the process of laying down tracks), so generously encouraged us to buy the headliner’s tat, meanwhile, it turns out this was their first ever show. For a debut it was a remarkably assured performance from a band full of promise. It was a homogenous set, however, with the songs blending into a seamless whole. Working the tunes live and in the studio will hopefully give the band chance to work up some hooks, to temper the technique displayed with some pop nous and develop the dynamics. In short, to create a couple of killer ear worms to hook a fan base.
After putting the Moonlandingz on hiatus Adrian Flanagan & Dean Honer (out of the Eccentronic Research Council) linked up with Leonore Wheatley (out of The Soundcarriers / Whyte Horses) to produce an LP of (self-described) nerd disco as International Teachers of Pop (read all about it here). They’ve been touring that eponymous recording to excellent reviews and tonight provided an enticing alternative to the Br*ts and a much-needed distraction from the ongoing Br*x*t shambles (a farrago that Chris Morris would have rejected as just too crass to be believable).
They were a loud, exceedingly loud, alternative and distraction. They started at loud, moved it up to louder and then almost cranked it up to Lemmy. The onstage monitoring was off for a time but after instructions from the stage the sound balanced out for a massive synth assault with whip-crack precision drums that feet, pelvis and hips found irresistible. All topped off with simply splendid vocals from Wheatley and Katie Mason.
The front line not only nailed the vocals but were a kinetic and visual treat: Wheatley wearing a tracksuit seemingly made of tartan tin foil, and Mason wearing a cagoule made from the leftovers. The pair never stopped moving, dancing with total joyful abandon throughout. Dancing that somehow combined aerobics with martial arts moves; busting broken android moves whilst constantly slipping in and out of synch with each other, mesmerisingly and beautifully gauche. All that and never missing a note. Wheatley took most of the leads with Mason harmonising, the pair blending seamlessly and Mason taking her own lead for final number Prince with aplomb.
It’s an odd thought that the old school (see what I did there?) synths & sequencers favoured by Flanagan & Honer were considered impersonal, cold and machinelike when they first challenged the guitar hegemony back in ye olden days. Because now, when compared to a lot of contemporary computer driven, sampled music, they sound remarkably warm and welcoming. Flanagan & Honer pushed their machines, somehow conjuring up ABBA, Moroder and Human League / Numan via all manner of swooshes & swoops; burbles & bleeps, generating not nerd disco but psycho nerd on a Diamond White fuelled rampage disco.
Rich Westley was the propulsive force that underpinned the crazy disco flamboyance, headphones on, he kept the beat with relentless energy and vigour. A minimal kit pounded for maximum effect, Westley was unstoppable, the foundation for a fabulous hour plus of retro electro disco that sounded remarkably fresh and relevant.
The album was played in full, and the set paced to keep the crowd moving, but also paced so the tempos ebbed and flowed. After Dark came early and got a big response; Ballad of Remedy Nilsson was kinda epic in its own way and Age of the Train as delightfully catchy live as on vinyl (or disc, or on file…or on streaming, er, thingies). Another Brick in zee Wall [sic] pounded the crowd, reimagined and repurposed as a slab of Teutonic death disco.
During our interview, Flanagan asked what Bristol might bring to the show. That question was answered during the stonking rendition of Age of the Train, when the band were joined by Dean from the crowd. Determined to outshine the band with his terpsichorean skills, his moves met with approval from the crowd but (almost) reduced Wheatley and Mason to tears as he made a glorious effort to keep up with them.
Bristol also got involved in the encore that wasn’t an encore (“We don’t do encores” qouth Flannagan, so they just played After Dark again instead). A couple of likely ladies joining the band for a final uplifting rendition of the insanely catchy tune, enjoying their own groove and helping synchronise the crowd in a final euphoric danceathon.
Over the past few years Flanagan & Honer have been the nexus for some of the most entertaining & interesting bands around, bands that mange to take all sorts of genres & tropes and alchemise them in to quirky, challenging and rewarding pop / rock that never loses sight of pop’s primary purpose: to entertain. ITOP is just the latest incarnation, so let’s hope they continue this fecund run. Jebus knows we all need it…
International Teachers of Pop: The Exchange: Wednesday, 20 February 2019
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