So, TYCI have pulled it out of the bag again, this time bringing two artists over from the states to play at the Hug and Pint.
The support of the night comes from Globelamp, a one woman project by Elizabeth el Fey.
Before starting her set, she tells the crowd that she is from Olympia, Washington, afterwards proceeding to sing about how she wants the California sun, adding later that she also comes from the sunshine state; although it’s worth noting she sings with a particular English twang that does not lend itself to either place.
In accordance with the music itself, what is played is a high velocity, witchy noise, which is eclectic, but at the same time whimsical, with the very nature playing on fantasy and storytelling.
This is apparent in the subject matter of the latter songs as she covers Jefferson Airplane’s ‘White Rabbit’, and ‘Crocodile’, a song about Peter Pan.
It is true that Globelamp can be otherworldly, and on hearing the songs from the not yet released, The Orange Glow, you can see that the songs are steeped in wonder — although more tangible and real in a live setting than in the dreamier recordings.
Mothers dive head first into their set, never wavering in quality or sound; they have found and finely crafted a lo-fi, fuzzed-out type of sound and ride the wave of it, the crest of that wave coming in the form of the lead singer Kristine Leschper’s vocals that twist and bend beautifully around the instrumentals.
The band is lit under a red hue, adding to the dusky atmosphere already created by their music; by dusky, I mean that when the guitars ring out, they seem haunting, like a wind passing through a desert, always keeping you in suspense.
The song that receives the best reaction is ‘It Hurts Until It Doesn’t’ with its warm familiarity, delightful hooks and gradually slowed down verses, which cascade in tempo with the help of brutally honest lyrics.
This type of song, particularly on hearing it live, is one of that you know is special as it portrays heartbreak, but is still melodic enough to be able to dance along to.
They follow a similar pattern for the rest of their set, having a penchant for never quite reaching the climax of a song, but choosing to suddenly break and then continue building up to ensure you’re kept on your toes.
The ‘last’ song of the night is the most ferocious, showing that Mothers can excel on both sides of the alt-rock spectrum.
The final song actually occurs when Leschper returns to perform a stripped back version of ‘Mother and Wife’, rounding off a particularly wonderful evening.
Words: Alisa Wylie
