London Grammar and Highasakite, Live at the El Rey
It's an unwritten rule of this Blog that when going to a gig always get there early and always catch the support act. Tuesday night at the El Rey turned out to be no exception...
With a voice that's as crystal clear as the fjords and possessing a vocal range that you suspect matches the sheer scale of the cliff that tower above the icy waters, singer Ingrid Helene Håvik and her band Highasakite turned in an absolutely stunning showcase of a set that left you feeling privileged to have attended and definitely wanting more...
The five-piece Norwegian band created an anthemic and soaring orchestral soundtrack (any band that features a group of multi-talented musicians that can play guitar - with a bow, flugabone and steel drums is going to get my attention), over which they expertly weaved a floating and atmospheric shimmering synth-pop cloak.
With a voice that's as crystal clear as the fjords and possessing a vocal range that you suspect matches the sheer scale of the cliff that tower above the icy waters, singer Ingrid Helene Håvik and her band Highasakite turned in an absolutely stunning showcase of a set that left you feeling privileged to have attended and definitely wanting more...
The five-piece Norwegian band created an anthemic and soaring orchestral soundtrack (any band that features a group of multi-talented musicians that can play guitar - with a bow, flugabone and steel drums is going to get my attention), over which they expertly weaved a floating and atmospheric shimmering synth-pop cloak.
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| Highasakite |
In many respects Highasakite remind me of my favourite arty Montreal-based band, Groenland - not because they have a similar sound - but more the effortless way that they dip in and out of, and borrow from genres across the musical spectrum - yet manage to create a sound that is unique and fresh - indeed for a band that were formed by Håvik and drummer Trond Bersu at the Trondheim Jazz Conservatory, jazz was one of the few genres that wasn't immediately identifiable.
And then there's that voice - whether it was those oh-so perfect harmonies with synth-player Marte Eberson - or evoking a luscious mix of Hannah Reid(!), Florence Welch, Frankie Rose or the heartfelt vibrato of Angel Olsen, not to mention fellow Scandinavian chanteuse Lykke Li - but in reality was far more than the sum of those parts. What I'm trying to convey is that this girl can sing.
In typical minimalist and understated Norwegian fashion (and anyone who saw A-Ha at Club Nokia will know what I mean), between song patter was kept to an absolute minimum - to be fair, the band's music did more than enough talking - but it wasn't until I started searching t'interweb, that I discovered the band have their debut album Silent Treatment released here in the States next month (in fact you can get a taster via the band's SoundCloud page)...
This is a band you owe it to yourself to go and see. In the meantime I suspect that I'll be hearing and writing about Highasakite in the not too distant future...
London Grammar's Dan Rothman apologises as he informs us that unfortunately we're going to have a shortened set tonight due to Hannah Reid's on-going and losing battle with an abscess and the subsequent interesting side-effects of Vicodin... It's an interesting dilemma - do you cancel the show or struggle on a best you can? Luckily for us, the old mantra of "the show must go on" wins the day.
And what an atmospheric opening. Appearing as back-lit shadows, Reid's vocals pierce through the gloom to deliver a haunting and sublime rendition of "Hey now". For someone with a gammy gob you wouldn't notice it. Here is a voice so crystalline clear with a dynamic range that starts from somewhere in the bowels of the earth before soaring above the clouds...
And then there's that voice - whether it was those oh-so perfect harmonies with synth-player Marte Eberson - or evoking a luscious mix of Hannah Reid(!), Florence Welch, Frankie Rose or the heartfelt vibrato of Angel Olsen, not to mention fellow Scandinavian chanteuse Lykke Li - but in reality was far more than the sum of those parts. What I'm trying to convey is that this girl can sing.
In typical minimalist and understated Norwegian fashion (and anyone who saw A-Ha at Club Nokia will know what I mean), between song patter was kept to an absolute minimum - to be fair, the band's music did more than enough talking - but it wasn't until I started searching t'interweb, that I discovered the band have their debut album Silent Treatment released here in the States next month (in fact you can get a taster via the band's SoundCloud page)...
This is a band you owe it to yourself to go and see. In the meantime I suspect that I'll be hearing and writing about Highasakite in the not too distant future...
London Grammar's Dan Rothman apologises as he informs us that unfortunately we're going to have a shortened set tonight due to Hannah Reid's on-going and losing battle with an abscess and the subsequent interesting side-effects of Vicodin... It's an interesting dilemma - do you cancel the show or struggle on a best you can? Luckily for us, the old mantra of "the show must go on" wins the day.
And what an atmospheric opening. Appearing as back-lit shadows, Reid's vocals pierce through the gloom to deliver a haunting and sublime rendition of "Hey now". For someone with a gammy gob you wouldn't notice it. Here is a voice so crystalline clear with a dynamic range that starts from somewhere in the bowels of the earth before soaring above the clouds...
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| London Grammar emerge from the shadows... |
It's - for obvious reasons - an all too short set - but we are treated to what is effectively a live rendition of their debut album "If You Wait"; a delicious up-tempo mix of "Wasting my young years" and a spell-binding version of "Flickers", which the guys segue into an extended jam as Hannah recovers her voice and pops another Vicodin (allegedly). Actually this highlights how important Dan and Dot Major are to London Grammar's sound - while there's a lot of focus on Hannah - those sparse guitar and trip-hop synthesiser rhythms - just create the most perfect of an intense and atmospheric platform.
And again it has to be said, if this was Hannah Reid under the weather, just how good are the trio when she is totally at the top of her game? She just absolutely nailed "Sights", her voice sounding as angelic as church choir - it helps that the El Ray has arguably one of the best set of acoustics of - but nevertheless, it was an absolutely outstanding performance.
And again it has to be said, if this was Hannah Reid under the weather, just how good are the trio when she is totally at the top of her game? She just absolutely nailed "Sights", her voice sounding as angelic as church choir - it helps that the El Ray has arguably one of the best set of acoustics of - but nevertheless, it was an absolutely outstanding performance.
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| London Grammar's Hannah Reid |
The set closed with a fantastic sing-along version of "Strong", the hit single from their debut album and a song that demanded - and got - 100% audience attention. We're treated to an absolutely thumping version of "Metal and dust" as Dot gives full rein to his inner rock demons on both the skins and synth drums.
Here's hoping that next time they play LA, there's no dental treatment required and we get the full-blown performance - there's no doubt that based on this performance, London Grammar are spell-binding live, but how much better could it have been?
Here's hoping that next time they play LA, there's no dental treatment required and we get the full-blown performance - there's no doubt that based on this performance, London Grammar are spell-binding live, but how much better could it have been?
Then again for twenty-odd bucks (plus "fees"- grrr) and two cracking bands, it's churlish to complain...
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