CityLife

Review by JA for manchestermusic.co.uk A Cabinet Of Curiosities.... A musical play of extraordinary proportions by persons unknown... Set in a dark basement venue, a location steeped in musical history and forged from the soiled currency of the very same Factory era machine that spawned the very definition of ‘post-industrialism’ (at least when it come s to music), I find the embryonic results of a strictly underground and rather spectacular cross fertilisation of both genres and talent. This isn’t any old gig. You can go to one of those down the road. This isn’t a rent-a-crowd indie cash machine – you can go to one of those over the road. No this is UNDER the road, where a stage is dressed in reams of tatty old newspapers and some clumsily draped curtains, stolen from what looks like someone’s Nan’s flat. The sound of howling winds are constantly in the backdrop. The stage lighting is a faint glow from a series of well placed desk lamps. The narrator is Psychologist, philanthropist and TV presenter, Leonard Skully. He is scheduled to explore the realms of the magnificent and the terrifying through the medium of music and dream. He’s ill. He’s absent. Does this wreck the show? There’s obviously a yawning gap, but the show must go on, but thankfully it doesn’t feel forced or desperate. POLITBURO begin with a busked set. Singer Nick is draped in a Poncho and they’ve created a street-scene set – it’s all perfect for Nick Kenyon’s poetic narratives and controlled angst derived wails. Politburo write eloquent songs, even if they do wrap them up in a twisted cabaret of gnarled hooks and determined bass lines. POLITBURO dare to be different by denying themselves of anything resembling a clique and by single mindedly creating the music they want to - it sets them apart from many chasing a dream rather than a creative aspiration. Fortunately for the audience, A CABINET OF CURIOSITIES provides a suitable peer group of musical adventurers. The PLAGUE DOCTORS make a fleeting appearance, as they create an interlude that seems to be a mixture of frightening electro-Euro-pop and off the wall storytelling, all from behind those special masks. I think it may have been a love song, but I'm not entirely sure... As the night continues, so does the theatre and one act I’ve not encountered before are the splendid KINGFISHERS CATCH FIRE, a boy / girl / boy trio, who have the female on guitar, one smart looking fellow on keyboards and a singer who is both a poet, raconteur and emotionally flamboyant performer. Each nugget of a song was fitted out with retro-synth sounds and the twisted curl of a twangy but slightly distorted guitar – elaborate yet simple. This comes across with the delivery of Marc Almond (or at least the passion), as the bobbing digital beats mix in a light conversion of Electro Clash battling it out with an orchestral sci-fi ambition. This is an act I’d very much wish to encounter yet again. The best as they say, is yet to come. THE THINMAN PROJECT is another electrobeat concoction, with two synths and another guitar player, but the pulses and other sounds torn from the 80’s, serve a slightly different purpose. This is the soundtrack to the tale of the “Sack Mask Killer of Napoli”. I won’t give too much away as the production will be playing through the next few months at various venues. All I can say is that there were 1970’s French B-Movies and comic book capers involved, all with just a little dash of horror. Superb. BILLY RUFFIAN had already impressed with their album “My Secret Life” and it all seemed pretty fitting that their punk rooted music was already based on a style that wrapped their music around stage bound lyrics. With the appearance of a rather large and scary creature, the CABINET OF CURIOSITIES came to an end. What effectively was a dress rehearsal seems to have provided enough evidence that this is the strangest of ideas and also the most original... I wouldn’t walk into this particular Cabinet expecting something akin to the Royal Exchange, but I would if I was you, steel yourself for something nearer to 30’s Berlin – a poignant echo of that past art world when the Weimar Republic failed – Is that a parallel with a 2009 Britain – Facism, Poverty, Economic catastrophe ? Is this theatre a new breed of political cabaret and an expression of this modern epoch ?... Dadaism, Surrealism, new functionalism, and other avant-garde experiments all seem to be embraced at least in part, with a twisted view on popular entertainment. A cabinet Of Curiosities is that dark, but full of self effacing comedy too – this isn’t the final version, but when complete it will be even more memorable.

The Black Eyed peas turned up and trawled through their usual nonsense for a crowd so stupid they would applaud a cat scratching its own behind

I wasn't actually at the gig but i imagine it was rubbish. He hasn't done anything good since the wired for sound video.

I think you're giving this place more credit than its due, it stinks of damp for one problem!

They usually put on a good show, shame you can't see them in anything but arenas these days

I went to the matinee on Saturday and it was absolutely fantastic with the exception of the Pharaoh who had a really odd squeeky voice! Not a big problem as the rest of it was so good, but the Pharaoh is the best character and surely anyone can do a comedy elvis impression? Even I can do a better one than that.

The Plague Quackers are back so get down to the Ram and Shackle this Tuesday to get your dose of the plague...

Can somebody confirm that my favourite baby oiled sax player Tim Cappello is part of this show? His work on Tina's Mad Max 3 tune 'We don't need another hero' has never been beaten, it is the zenith of 20th century music

I believe Ultravox were better in the early days before Midge Ure, check out John Foxx he's still going strong http://www.myspace.com/foxxmetamatic