![]() ![]() Meddla also had the opportunity to dominate during an instrumental excursion, rife with frequency-bending knob-twitches. Femmesis also selected New Order's "Blue Monday," and Tønin performed an impromptu a cappella reading of Vera Lynn's "We'll Meet Again," dedicated to her recently departed grandmother. Their last number, "Medusa," made its minimal thump-march climax, preceded by "Sapiosexual," the closest they've come to a catchy single release. Both of them are movers and dancers, with Tønin allowed even more disco-punk gesticulation time inbetween her half-sung, half-intoned lines. Arch Femmesis take on that punk nihilist throbbing, but converted through a filter of stripped house pulsation, in a half-popped fashion, basslines and wrenched high frequencies, managing to be part-commercial and part-extreme. It also prodded the audience into filling the space, rather than mostly cramming into the rear part of the room.Īrch Femmesis came up from Nottingham, a duo of vocalist Zera Tønin and electronicist Meddla, operating in the stark, minimalist zone pioneered by such twosomes as Suicide and D.A.F., although nowhere near as frighteningly savage as those veteran artists. As most of the acts weren't heavily dance or mosh-orientated, it made for a curiously pleasant change to have bar staff serving tables, instead of the old bar-huddle of yore. It was amusing to experience this mainly alternative rock space transformed into a jazz or comedy club layout. This wasn't such a bad arrangement, given that most of the bands were local, and might not have pulled in many more folks anyway. The allowed audience number was 36, seated around the edges of the club, and on tables in the previously-standing-space in the middle of the floor. Your scribe attended four of these evenings, which usually featured three acts, often in a stylistically-themed combination. There were 21 shows in the series, up to the end of June 2021. ADELPHI MIDAUTUMN FESTIVAL OCTOBER 21 SERIESThe New Adelphi Club in Hull responded by launching a series of shows titled The Victory Club, inspired by its old name, from way back in 1923, when it was a services haunt for World War One veterans. The English virus regulations changed on 17th May, allowing the re-awakening of music venues, although subject to limited, and spaced-out, audiences. ![]()
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