{"id":1469,"date":"2014-05-17T18:41:06","date_gmt":"2014-05-17T16:41:06","guid":{"rendered":"http:\/\/www.testing.indieofilo.com\/?p=1469"},"modified":"2023-11-22T00:06:06","modified_gmt":"2023-11-21T23:06:06","slug":"london-calling-may-2014-10th-may-2014-paradiso-amsterdam","status":"publish","type":"post","link":"https:\/\/www.indieofilo.com\/en\/gig-reviews\/london-calling-may-2014-10th-may-2014-paradiso-amsterdam","title":{"rendered":"London Calling May 2014 – 10th May 2014 (Paradiso – Amsterdam)"},"content":{"rendered":"

\n\tAfter a great first day in which Wolf Alice<\/strong> and Hospitality<\/strong> were clear winners, it was time for the second and final day of the London Calling May 2014<\/strong> in Paradiso<\/strong> Amsterdam, with expected shows of Royal Blood<\/strong> and Arthur Beatrice<\/strong> as main claims and the always lively session of Kill All Hipsters<\/strong> as a closure.<\/p>\n

\n\t\"London<\/p>\n

\n\tAs in the previous day, work reasons prevented us from watching to the first groups of the day, so our chronicle begins with English Childhood<\/strong>, who for about 40 minutes displayed in the main hall its rock with psychedelic and brit reminiscences. With some references that can range from the Stone Roses<\/em> to Palma Violets<\/em>, Real Estate<\/em> or Temples<\/em>, their sound full of distortions and the imposing presence of their leader Leo Dobson<\/strong>, made \u200b\u200bthe public were focused on the gig since the first song and made us longingly await their first LP that will be released this summer. Like the day before was time for battle to enter on the small room where English Desperate Journalist<\/strong> was the pleasantly surprise of the day. With a postpunk style in their music and clothing, the band led by the charismatic Jo Bevan<\/strong> showed us that their references to The Cure<\/em> did not come only by name, but also showed reminiscences of Siouxsie & The Banshees<\/em> or the most recent Savages<\/em>. Waiting for their first LP to confirm all the good shown in their EP's Happening<\/em> or Cristina<\/em>, the London band is one of those groups that do not lose track in the closer future.<\/p>\n

\n\t\"London<\/p>\n

\n\tAfter them it was time for the highlight of the day, their countrymen Royal Blood<\/strong>, which despite they have formed the past year, have had a meteoric rise that has allowed them to be on the BBC Sound of 2014<\/em> list and be one of the featured bands in past SXSW<\/em> Texas. With a eminently rock proposal that transports you from wildest Led Zeppelin<\/em> or Kyuss<\/em>, it is impossible not enter on the dark rhythms that come from the tiresome dums of Ben Thatcher<\/strong> or, especially, the dramatic bass beats and heartfelt voice of their leader Mike Kerr<\/strong>. Don't forget the name of these Brighton young, because in just a couple of years they will be one of the bands that stay preferential places at many festivals!.<\/p>\n

\n\t\"London<\/p>\n

\n\tTirelessly and with rock still echoing in our heads, it was time to listen the proposal that Keegan DeWitt<\/strong> and Jeremy Bullock<\/strong>, leaders of Wild Cub<\/strong>, presented in the small room. Their electronic pop mail with tropical touches approaches they to Peter Gabriel's Genesis<\/em> or to the sharp guitar from New Order<\/em>, was a calm after the storm that thanked our saturated brain, but as the concert progressed could warn that their album Youth<\/em> may be something heavy and repetitive by moments live, while it is true that when they play songs like "Thunder Clatter<\/em>" and an amazing version of "I Follow Rivers<\/em>" by Lykke Li<\/em> returns the interest to the public immediately. Downstairs in the main room, started British Arthur Beatrice<\/strong> concert, puffed by some sectors of critics as new The XX<\/em>. If comparisons may be odious, in this case are excessive without any doubts, as the band led by Orlando Leopard<\/strong> and Ella Girardot<\/strong> shown a minimalist pop that is monotonous and boring, with no sign of freshness and innovation that boast Jamie Smith<\/em> and colleagues. Possibly one of the biggest flaws of their live show is the large presence of Girardot<\/strong> 's voice, which has greater prominence than on the LP and makes the balance with male voices lose. However, it is fair to point out on behalf of the group for daring and experimenting with rhythms near R&B or some clear guitar and keyboard lines that are not usually seen in modern times.<\/p>\n

\n\t\"London<\/p>\n

\n\tDue to the accumulated tiredness after two days of festival, we decided to avoid the crowds that took place in the small room to see from a good position in the balcony of the first floor to the band which had filled with prepubertal young girls the front rows of the hall, Americans The Neighborhood<\/strong>. Viewed from outside the fan phenomenon that we saw towards the band is quite incomprehensible, with a flat and bland music that reminds a lot of new metal bands of the early last decade as LostProphets<\/em>, but with a live sound in which almost was impossible to listen the voice of singer Jesse Rutherford<\/strong> or distinguished notes that came out of these two guitars on stage. Their presence in the lineup once the concert is finished all incomprehensible.. The last concert of the day was English Fat White Family<\/strong>, which surprised those present both their music, mixing ska with garage rock, and also the hypnotic role of singer Lias Saudi<\/strong>. With a style reminiscent at times of The Specials<\/em> or Madness<\/em> to the mythical Fires Engines<\/em>, they successfully defended their first album Champagne Holocaust<\/em> and made crowd dancing. It was the pre for the session of the legendary Kill All Hipters<\/strong>, who based all show on indie hits of the past two decades and put the finishing touch to a festival which was a success in terms of overall strength and quality music.<\/p>\n

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