Leftfield
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The last time Leftfield took to a UK stage, some four years ago at Brixton
Academy, they literally brought the house down - the groups
deafening volume and wall-wobbling heavy-heavy bass sound managed to
dislodge large chunks of the venues ceiling. Come Brixton on this, only Leftfields second ever UK tour, and you suspect that the recently refurbished venue will easily withstand everything Neil Barnes and Paul Daley can throw at it.
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| Its not that the Rhythm
And Stealth show isnt as famously loud as the pioneering Liveism
tour - it is: 130 decibels is a loud as you can get without seriously
damaging people. More that every other band has since copied Leftfields
grand design and hiked up the volume and installed a dozen more bass bins;
even Noel Gallagher wanted to know the secrets stored in the Liveism
sound desk for use at Oasis shows. He didnt get them. After a disappointing display at Ireland Homelands
and a few brushes with worried health and safety officials at shows on the
continent, there are few more welcoming (or crazed) places in the world
than the Barrowlands for Barnes and Daley, two men
pushing 40, to properly begin their British tour. Unlike their stadium techno peers - Chemical Brothers,
Orbital and Underworld- the Leftfield live experience
doesnt rely on eye-popping visuals for effect, but instead bases its
dark aesthetic on anonymous warehouse rave culture. Sure, Barnes,
drummer Daley and live accomplices Adam Wren and Nick
Rappalucci spur the typically enthusiastic Glasgow crowd at
every opportunity with towel-throwing and air-punching. Yet the star
tonight by some distance is the sound itself: booming Teflon-coated bass
and rampant, relentless deviant dub. Theres MC Cheshire Cat too, chattering and
toasting on the song Chant Of A Poor Man and Inspection
Check One, prowling the stage and bellowing over Phat
Planets freshly-toughened digital dub riffage. Elsewhere older
tracks like Storm 3000 and Song Of Life staple Vangelis
synth shivers to unfeasibly-hard techno. Its easy to accuse Leftfield of being one
dimensional, of possessing one particularly brutal dub-based idea, but
when the plan of action is executed in such a heroically truculent and
astonishingly loud manner, for 90 minutes, its sounds like the best
idea on earth. Piers Martin |
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This
Review by Piers
Martin was Originally on
at
http://www.nme.com/reviews/reviews/20000512125930.html
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