Brix And The Extricated, Live at The Lexington, London, 4 November, 2016

My fourth time seeing Brix And The Extricated play live. [Click here for an older live review]

Tonight at The Lexington, Brix's entrance was dramatic, she sparkled from head to foot in shining headdress, glittering eye make up, twinkling gold guitar strap, and (hopefully faux !) fur coat. I have to admit to feeling emotional, even tearful - I think it was feeling overwhelmed and glad to be bestowed a female heroine, centre stage, at last. Decades of gig-going, but back in my teens and the most part of my 20s, what I would have given to have a rock goddess of a frontwoman/role model...! Chrissie Hynde has had a similarly powerful effect, in my 30s, and [I wrote about that here]

The songs and Brix's singing are so powerful. The strength of her voice, so commanding. There were only two moments where Brix lent a slower, quieter quality to her voice (as heard in The Adult Net). Primarily, Brix is unafraid to be loud and insistent, and to sing in a talking punk or rap style, and deliver everything with intent, dead serious. At one point, in a new song, she was pointing, and reaching out to the audience from lowdown, in-your-face, in a 70s punk style: confrontational, or just wanting to demand a direct communication with the audience, on our level.

With Steve Hanley's expert bass, we've obviously got another legend of The Fall. The full band sound is huge and rhythmically spectacular. Hearing songs like 2 X 4 - that rockabilly influence was one of the key things to draw me to The Fall. I'd play along, in my bedroom, with newly bought electric guitar, frantically, inspired. Now I'm dancing along, propelled in awe.

Big New Prinz is the pinnacle of the night, once again. But this time it is epic. We're led in with a slow, swirling intro, wondering what's coming next - Brix whispers the words, and we're taken aback when the song suddenly explodes into action. Winding and grinding on, hypnotic trance effect successful, the song then plays out to its end with every band member leaving one by one. First, it's Brix, and I have to smile that it's her walking out of a song a bit early and not Mark in his trademark nonchalant style. Then the instrumental chords and rhythms dwell magically, before guitar is gone... leaving only that monumental bass with drums. I think we could listen to that legendary sound all night, but soon it slows to an end, and we're left transfixed.

Watching Brix perform, again and again, as I have done, I come away feeling blessed by her confidence, self-assurance. She may be singing songs she wrote in her time in The Fall where Mark E Smith tyrannically ran the show, but now she's the frontperson, she's centre-stage. She's the star.

Elefant Records' 20th Birthday party

An excellent Elefant Records party at the weekend. Coinciding with the anniversary of John Peel's passing on, it felt right to be at a night filled with upbeat indie and lo‐fi pop bands, joyously running amok! A fledgling outing for Amelia Fletcher's new band with her husband, Rob Pursey was really welcome. Acoustic guitar and voices alone laid bare how wonderful Amelia's voice is, and how it's one of the best sounding voices in pop, ever. To hear her singing fill up the room so much, with just gently strummed strings backing it felt really moving. When Rob joined her on vocals, the music was very reminiscent of Magnetic Fields ‐ no bad thing, especially as they're pals!

Evans The Death may have passed me by up till now. I think they played a Twee as F*ck Night years ago. Hearing them live, their music really appealed. Strong vocals, and atypically structured indie guitar rock backing, quite chaotic as well as heartfelt. A lively set, and me and my friend were really sold! 

Another draw of the evening for me was Wild Balbina, all the way from Spain. I'm always after recommendations of Spanish indie, and Elefant Records is something of a bastion for such things, so there was already a feeling that I'd enjoy this band. All female singing, fuzzy guitars, and a surfing feel. Excellent fun!

Bought the single and a mini album on vinyl, one for me, one for a friend. Also got a Helen Love album for my boyfriend, and there was a free Elefant Records sampler on double CD which can't be bad!

I love the Parks and Recreation quote in the title of Wild Balbina's mini album!

Eat Tacos is one of the best recent singles of any band, so much fun. I really hope Wild Balbina have much success and can come back to the UK really soon.

Clothes, Clothes, Clothes, Music Music Music, Boys Boys Boys, by Viv Albertine

Thanks to Faber Social for putting on a good show at the Lexington last night. It was the launch of Viv Albertine's new rock autobiography, Clothes Clothes Clothes, Music Music Music, Boys Boys Boys. You could order a gig ticket + the book beforehand, then collect your copy of the book at the venue on the night, which I thought was fun. Free badges and postcards to pack into your free tote bag too - and I also came away with a pair of Viv-style stripy tights, which was a nice touch.

I expected to see an absurd vision in a darkened gig room of squinting old punks, poring over pages of her lively verse, as we awaited Viv's arrival on stage.

I'm sad to report that Viv had to leave the venue, an hour before stage-time, due to some sad personal news, and understandably having to head off. It was an emotional thing to be party to. John Robb, who made an announcement, worked hard to keep the night one of celebrating Viv. Old friends, boyfriends and rock colleagues gathered on stage to give fans an insight into Viv.

Tessa Pollitt (bandmate, who'd done some stonking dub/reggae DJing through the evening), producer Dennis Bovell, an old school friend, and Viv's first boyfriend (!) all stepped up on stage to reveal fond and funny stories and anecdotes. I'm hazy now, and regret not jotting down notes afterwards - maybe I'll add anything that comes back. But I remember there was also a lot of stuff about The Slits, some of which even our compere, the punk expert/musician/music journalist John Robb seemed to be hearing for the first time. My personal favourite was hearing how the band had secretly 'borrowed' a mixing deck from Yes when they were on tour away from the studio, and Ari Up got a pen knife and etched ARI WOZ HERE onto the pristine mohogany wood! Insight from their producer, the dub legend Dennis Bovell was really valuable too - how excellent the band were as musicians despite what anyone wants to say about them nowadays; how long-established musicians struggled to learn to play their bass parts, and how unique Viv's guitar playing style was. It was also good to hear it be emphasised that the Slits were a punk band - not post-punk, as they get mis-labelled - they were there all along, young and in the thick of it all with the key bands involved.

I can't begin to imagine how tough things are for Viv right now. But I wanted to write up this blog as planned, to say what a good night Faber Social put on in difficult circumstances, and now also to say how sad I am to hear Viv's news. I hope she gets to take the time she needs, and all her fans will - I'm sure - totally understand her need for perhaps not going on with any promotional activities or anything right now. But here is to the book's success, as Viv is a lively, vocal, much-needed inspiration, and in Viv's word's rock biographies tend only to be written 'by twats', and generally only by men too.