If you don't know Mashemon by now, you must be in a cocoon somewhere in the catacombs of Liverpool. But, just to give you the benefit of the doubt we'll give you a chance to redeem yourself by heading down to FACT on April 8th and seeing them in the flesh - for as as far as we are aware they are not robots.
Blessed with a sound that is enthralling and topics that make you think beyond the realms of music, Mashemon will make sounds that won't leave your brain unless you hire a hypnotist. To make you understand, watch the video below:
Last year they performed in the window of the Old Paint Shop and attracted quite a crowd of (now not so) innocent bystanders. What will they do this year? Only the day of the show will tell!
After a dry spot recently whilst we're working on the future of the Nerve Centre, here's some Nerve friend related news! Most of you were probably there at the Nerve benefit gig held last month, and a review of it has been published in Issue 6 of the local music magazine BidoLito! Read on and remember the evening...
Those of you who have committed the requisite good deed to hold Mashemon’s album Disposal Music in your paws will know it’s a good listen, and those who paid the requisite sum to enter this benefit gig for Catalyst Media’s Nerve Magazine saw a performance more than worthy of the good deed first committed to possess their music.The normally sedate surrounds of Next To Nowhere, the subterranean social centre underneath Bold Street’s News From Nowhere, was packed with people young and old, regular and less familiar, sober or not so sober who gave the space an atmosphere all of its own, and a magic as infectious as the most catching disease you can stomach to think of as you read this!
Lights were dimmed, music was played and after hours of anticipation and rumour, Mashemon appeared on stage in some pretty dapper looking suits guitars in hand and ready to assault the crowds with their intelligent music and sharp yet beautiful lyrics. The majority of the set was drawn from their aforementioned good-deeds obtained album and the crowd were surrounding the band at every moment during the set, revelling in the activist fuelled melodies of band components Rocky and Ronny. The dynamic sound of their set filled the area with their polished anarchist energy and one of the best things about the set was their use of multi-media. The animated films playing on the screen just behind them were fascinating to watch and really added a cinematic dimension to the performance that was appreciated especially by this reviewer.
One of Mashemon’s best qualities is the fact that they are brilliant performers, innovative and making the whole thing as natural as eating cereal for breakfast. The duo are as convincing on the stage as off the stage, and have a gift for translating the urgent, intellectual energy of their recorded output easily in the live format.There was definitely a hint of magic in their performance and songs such as religion questioning Brick, with its killer opening statement of “God is watching… worked for seven days, ain’t done much since” is up there with the best opening couplets and like the rest of their songs has a very definite message to be discovered in its hyper intelligent language. Similarly, Facts, concerns itself with war, “The patriot walks a path of war/There might be Christ on every corner/ But he ain’t got nothing ain’t been done before”, yetin a tonal juxtaposition has an almost joyous feel with its use of keyboards and the riffs that come out like screams of electricity. Magic!
There is much that one could say about Mashemon, but in doing that we’d be missing the point that there is a lot to recommend in this excellent local band that have made the perfect middle ground between grassroots artists and accessible music with vital messages that will be understood by many. In short, a good night! More of this and I’ll definitely to going Mashemon’s way!
Review: Wild Eyes and Mashemon at The Nerve Centre, 4/9/2010.
Taking to the shop window of the Nerve Centre, Mashemon are today joined by Richard M. Nixon. Well, a shop dummy with his face stuck to it at any rate. Alongside Tricky Dicky who is presumably there to provide Bez-style ‘vibes’, the duo kick off their first set with the New Order influenced ‘Facts’. The group quickly draws a sizeable crowd of slightly bemused looking passers-by, drinkers on a fag-break from Renshaws and Goths who have wandered out of Quiggins across the road. Continuing with Dull Boy, the track is a spin on the kind of 21st century T-Rex glam Goldfrapp used to do so well. The porn industry savaging ‘Sanity Check’ follows, ringing out like ‘Heroes’-era Bowie.
The band’s second set, this time performed indoors aided by a back projection screen is tougher and more guitar-heavy. Diverting into glitchy ‘Kid A’ style electronica at points, the intertwining of live guitar, bass and vox with triggered samples, synths and drums blend seamlessly. The band’s current ‘Removal Music’ LP is promoted by the brilliantly innovative idea of being free provided the recipient does a good deed in return. Suggestions in the accompanying text include tipping buskers generously and contributing to a tramp’s Special Brew fund.
Described in the Nerve Centre programme as a ‘psychedelic jam band’, The Wild Eyes are exactly that only without the tendency of some psych bands to disappear off into the melodic ether never to return. Opening with the same delay pedal glide as early U2 they move onto to Velvet Underground motorik beats and Dylan-style vocals in quick succession. Strongly influenced by the Nuggets collection, a digest of the greatest one-hit wonders, almost were’s and never-had-a-chance bands of the US underground in the mid 1960s, The Wild Eyes augment this with a large dollop of My Bloody Valentine style guitar clatter. The Nuggets tracks staple elements were the trebly aggression of The Who, the melodic nouse of The Beatles, The Stones’ swagger and a large portion of strangeness entirely of their own making and so it goes here.
The backdrop of the Nerve Centre and the varied crowd makes the group appear like The Yardbirds during their cameo as the in-house club band in Blow-Up. Battering through one track with drumming that would have done the Jesus and Mary Chain proud, the band’s economy is to be praised, singer-guitarist Huw wringing the maximum amount out of a single chord before switching briefly for the chorus to one other. Using the array of FX pedals at his feet sparingly so the sound doesn’t become saturated, he deftly steers the three-piece through the changes in tempo and texture with many of the tracks moving through various movements in the space of four minutes.
The finale however stretches things out to epic proportions. Beginning with a long-drawn incantation that recalls early Verve before sparking into life and speeding up, they squeeze the life out of a three-note guitar riff made vast by the cavernous reverb FX. Concluding their set in just over half hour which has seemingly felt like a quarter of that amount of time, The Wild Eyes’ pupils are fixed firmly on the future whilst acknowledging the sound-sources of the past.
If I had to list for you the multitude of good deeds I committed in order to gain a copy of this much discussed album, I would seem like man touched by a multitude of angels with very big halos. Instead, I'll tell you about the CD by Mashemon that hasn't left my stereo since I picked up my well earned copy last week at The Nerve Centre.
With a cover consisted of many fifties bathing costume clad dolls floating in a swimming pool whilst a similarly clad female looks into the distance smiling, the Removal Music album is a fast moving experience, with wit, charm and distinct melodies much in evidence. It's also well worth a listen as well for the adventurous, the keen of taste and the sonically adventurous. Opening with the opposite sounding Dull Boy, the Mashemon sound is hammered home instantly with a song that is anything but dull. In it's pertinent lyrics, pointed delivery and well produced sound, it is an opener in the tradition of the best, leading you with a aural bang across the temporal lobe to an adventure in a music wonderland where you go round and round in listening cycles and never, ever get bored. Following is Sanity Check, a deceptive slow opener that leads to a full foot-through-floor smashing that makes the listener nod to themselves in the way of "Hey, This is good!"
I could go on and say something similar for every track, but that would be pointless. It's enough to say that if you are a sinner, a saint, an anarchist, a rebel of any kind or just plain alive, you have a social obligation to do a good deed, whatever it may be, and earn yourself a copy of Removal Music! Stand out tracks for this intrepid reviewer are Sanity Check, This Monkey Is and Facts. So, in short, to paraphrase closer Facts, you really should change your way to Mashemon's way! Or else.
Here it is , people, the one you've all been waiting for! I probed Mashemon's Ronny and Rocky with some delightful questions and got some delightful answers....
You performed on Saturday in the shop window for the pleasure of many. How was it for you when the crowds started appearing?
Ronny: I found it quite a pleasant experience, watching people go past and seeing the surprised looks on some of their faces. It was particularly gratifying to see the traffic stopping. I’m glad people enjoyed it.
The Nerve Centre has seen much activity in its short open time. Have there been any highlights for you?
Rocky: It’s unfair to single out particular things when the whole thing has been fantastic. But I’m going to do it. I really love the work of Carl Fletcher and meeting such a really nice and genuine fella has been the highlight for me. Jonathan Corkill has also produced some really hypnotic pieces. The visual equivalent of listening to Can. Fantastic stuff.
What are the influences on your performance and music?
Ronny: I’m not really sure. Obviously the music we listen to has a bearing on what we do, but the greatest influence for me is what sound I can extract from the instruments, fitting together melodies and harmonies that interest me and trying not to come up with any particularly rubbish lyrics.
Rocky: I’ll answer the question then! Berlin period Bowie, early Human League, Neu! And Nick Cave.
You were offering copies of your CD in exchange for various "currencies" during the show on Saturday. What's the best deed I could do to get a copy of your CD?
Ronny: The best deed? That’s a question that has puzzled philosophers for thousands of years. What I would like to see is people making other people happy. Spread a bit of love. It is really not that hard to do.
Rocky: Dropping a turd in Otis Ferry’s cereal bowl would make me a happy boy.
What, in your opinion, is the message of The Nerve Centre?
Rocky: I like the fact that people are given a platform for having a go. There seems to be a growing movement of people getting together and saying “enough of this shit, we can do a better job.”
Talk us through the formation of Mashemon.
Ronny: We were working together for the NHS and I had been trying to get out and make some music after moving from Wales. I played Rocky a tune, he liked it and off we went. Bands can be complicated beasts, there’s always someone to pacify and compromises to be made. Thankfully, since we’re both pretty simple and laid back we don’t have that problem. We just do stuff that makes us happy.
Did you have a look at the gallery and did any pieces catch your eye particularly?
Ronny: I liked the Strange Cargo piece.
Many have commented on the visually striking statue in the centre of the gallery. What was your initial reaction to him?
Ronny: An ancient Greek Hulk! (Note: Imagine you're watching The Hulk for a few seconds now!) Hulk comment on modern day political system and failure of democracy! Hulk cold, want pants!
Is there anything you would change about Liverpool?
Ronny: Same thing I would change about the entire country; less violent drunks, fewer wife beaters, get rid of the parasitic consumer outlets, exile everyone who drops litter and don’t pick up their dog’s shit, more art, more original music, fewer CCTV cameras. The list is endless. More kind people who care about other people would be a start.
What should the future be for The Nerve Centre once the closing party has wrapped?
Rocky: I’ve been left wanting more. I honestly think it has been special and I wonder if that has been because the people involved have had so much to say and do, but with so little time to cram it all in.
Any final thoughts for the people of The Nerve Centre?
Ronny: It has been a grand enterprise! More!
Rocky: I’d like to say a big thank you to you all for getting off your arses and making this happen despite all the shit and hassle that was thrown at you. You did it. Feel proud.
Thanks for your Mashemontastic responses! If you're one of those people whom ignores YouTube videos between text, shame on you! Watch the video now!
If anybody was at the Open Mic Night last night, where Vinny Spencer and Gabi Monks of Rich Mans Ruin and friends entertained us all until the days end, I hope you had fun! I know I did, even if my camera still refuses to talk me after all the photo's I took at the event. By the way, look out for some of the photo's popping up on a post soon! Moving on to today, and there is so much going on you are in extreme danger of not leaving The Nerve Centre all day! But that's OK, because it's worth it!
12pm -2pm: We Didn't Vote To Die At Work.
Screening of FACE THE FACKS, a film about the real burdens of corporate killing. Hilda Palmer will outline the We Didn’t Vote to Die at Work campaign, followed by Dawn Adams and Linzi Herbertson introducing FACE THE FACKS. More info
2pm-3pm: Poetry Workshop with Clare Shaw.
Clare poet and activist, delivers her unique approach to developing poetry.
3pm-4pm: Random Family.
Local folk music band the Random Family bring their music to The Nerve Centre. Check out their MySpace to hear more!
4pm-4:30pm: Music Tripping Forecast.
Check out their MySpace page to hear more before you come down and them at The Nerve Centre.
4:30 - 5pm: George McCain and Yellow House.
Stories and repartee at The Nerve Centre from George and his lovely Yellow House!
5pm - ??: Ade Jackson.
Singer/songwriter and spoken-word artist Ade Jackson tells noirish stories against a backdrop of folk and flamenco-tinged finger-picking guitar.
And if that wasn't enough for you, look out for the four performances from Mashemon spread throughout the day. It's sure be memorable so get on down here!
P.S. Rat Hole Radio are here again tomorrow evening from 8:30pm, with newly arranged talks and discussion from 7pm! Short notice, but what else are you doing on a Sunday evening? You can also listen online at Rat Hole Radio.org.
Mashemon Present: The Very Models of Modern Musical Mannequins
As the industrial aspects of popular music have developed and taken hold of the medium, performance becomes as much advert as it is art.
Performances by artists are used to influence sales, appearances are targeted to maximize exposure. Such is the nature of recorded music; such is the nature of art when it is repeated and replicable.
Mashemon will be appearing as their own shop-window dummies to merge artist with advert, combining the aspects of the modern musician; creator, performer and marketeer.
Mashemon will be appearing September 4th for four ten minute slots at 11am, 1pm, 3pm and 5pm. Come on down, it's sure to be an event to remember!
