Esben And The Witch – Electrowerkz, London 10/11/2010

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Click on any image to enlarge | All photographs by Sebastien Dehesdin

It’s past eight, and the entrance of Angel’s Electrowerkz would be elusive were it not for the mass of bodies queuing in the rain. An ex-warehouse spread over three floors, with wide, labyrinthine staircases that require several members of staff to direct gig-goers in the right direction, Electrowerkz is the kind of place where the lighting is minimal, the sound system is terrifically noisy and the cans of beer are cheap. Ergo it’s the perfect venue to showcase tonight’s electronic, and often eerie, offerings.

Starting the evening is Leeds-based duo worriedaboutsatan. The pair stand opposite each other, profiles aimed at the audience, as one of them switches between playing his guitar with a plectrum and a violin bow and the other hunches over a laptop. Together they bash out an array of dark electronica, which bares as much semblance to electronic acts such as Underworld as it does to the likes of Mogwai. Moments of breathy silence fill the spaces between songs, save for a technical glitch where feedback permeates the transition between the first and second song, which sees the pair remain unruffled. Despite playing the kind of music that demands to be listened to, both on stage and on record, worriedaboutsatan come across as endearingly shy, displaying a mumbled and humbled thanks after a huge reaction from the crowd at the end of their set.

As Gallops set up their gear, members of Esben And The Witch can be seen scattered amongst the audience – always a sign that the support act is worth watching – hats pulled down and glasses of red wine clutched in hand. Meanwhile the Welsh four-piece assemble and dive straight into their electronic meanderings that amalgamate both dance and rock elements. Utilising two guitars, keys, samplers, a sequencer and a drum set between them, Gallops’s live offerings sound almost identical to their recorded counterparts. This is not a bad thing, and ‘Miami Spider’ is a perfect example, with its pulsing, repetitive bass line and overriding energetic keys taking on the same spasmodic pace that fans of their self-titled EP would hope for. Although an impressive set, it goes on perhaps a little longer than it should do for a support slot, which is illustrated further by the comparative brevity of the headliner’s set.

Theatricality is very much a part of Esben And The Witch’s act, and in the space between sets an antique assortment of skulls, flowers and lampposts are assembled on stage. You’d expect nothing less from a band that takes its name from a Danish tale of folklore, and in a live environment these props add to the band’s eclectic stage presence and complement their blend of thundering Goth electronica and fantastical themes. After a line up devoid of lyrics, the night transforms with the inclusion of Rachael Davies’s tremendous vocal range. Whether emitting deep and rich rumblings, as with ‘Skeleton Swoon’, or reaching soaring heights on songs such as ‘Marching Song’, her haunting vocals are one of the elements that bind the band’s unique set of spooky stylistics together.

Despite the lack of a formally-titled drummer in the band, the set of cymbals, snares and toms is a focal point on the stage instead of being hidden away in its more familiar position at the back. On occasion, such as during ‘Lucia, At The Precipice’, all three gather around, abandoning strings and keys for drumsticks; in other moments, Rachael wields her own drumsticks like a conductor’s baton, with guitarist Daniel Copeman and keys player Tom Fisher watching her every move. Likewise there are moments when all three play guitar at once, moving as one.

The only disappointment of the night is that it seems to be over far too soon, and there is a collective sense of surprise when Rachael announces that they will only play two more songs. An unusually soft guitar intro starts the last song, making way for the waves of ghostly crescendo and eerie keys. Daniel drums with such force that he needs both hands wrapped around his drumstick to create the almighty crashes that the song calls for. Rachael takes the unusual step of coming towards the front of the stage at the end, rocking back and forth, vocals echoing around her, and a screen of smoke enshrouds Tom, all cumulating to exemplify their enigmatic aura.

Interweaving stories and fairytales with thumping bass lines, an overly enthusiastic smoke machine and ethereal vocals makes for a memorable performance, one that the venue accentuates, and the support acts enhance. The sizeable crowd testifies the levels of success that this band have achieved in 2010, and with their debut due for release early next year, it will be thrilling to see how Esben And The Witch musically cement themselves further in 2011.

worriedaboutsatan

Gallops

Esben And The Witch