Words and Photos by Ged Camera
“The harder I work the easier it looks,” is a quote loosely attributed to George Best, but if you ignore the fact that he was considered to be one of most naturally talented footballers ever to grace a pitch and instead consider the ethos behind the statement, then there is some truth in the ability to craft and perfect one’s art.
Mother must work really hard, because the sounds and atmosphere they conjure are so gorgeous in their simplicity that you imagine they’re easy to create. It can only be a short time before some of those industry executives present this evening realise this band’s potential and arrange for them to seduce a wider audience.
What those execs would have made of the sight of vocalist Allie Bell with her hair in rollers, à la Vera Duckworth, during the sound check is anyone’s guess. That all-important first impression would surely soon be put to one side once she signals the start of the set by clicking a set of maracas in a metronomic fashion.
Never wishing to seek the common ground of mediocrity, Mother like to indulge in a bit of fun, but when it comes to the music, they are deadly serious. That’s once you overlook the images of synths/keyboards player Karl Astbury and guitarist James Moss subsumed within XXL Tango-coloured boiler suits. Meanwhile, Chan-Yang Kim (drums) and Tim Schiazza (bass), also of The Yossarians, have decided to save their costumes for another time.
Their songs aren’t introduced. That would seemingly disrupt the seamless flow of the set, a dynamism that begins with subtle, hypnotic beats rising to such intensity that the front rows start punk-like pogoing before gradually gliding back to more controlled movements.
The final song resembles the afterglow, warm and inviting, yet the lyrics hint at something more dangerous and threatening: “So remember me / You’ll see my shadow”. Hopefully sooner than later.
The set was performed as part of Soup Kitchen’s Record Store Day 2016 showcase on Saturday 16 April.