5 star review on birmingham gig
photo by james barrett !!!
Coppe’ – Hare & Hounds, Birmingham – Music-News.com
Hare & Hounds, Birmingham
added: 7 Oct 2011 // gig date: 6 Oct 2011 reviewer: Ross Cotton
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Coppe’s vast career spans over 15 years, nestled in between the birth of IDM and Trip-Hop, the oriental electronica ‘Godmother’ resembles a hint of both but not quite either, in her own expansive joy-pop world.
Raising funds for the Japanese Earthquake and Tsunami appeals, local experimental organisers Sound Kitchen and Bit Phalanx teamed up with Coppe’ to bring a night of weird and mind blowing electro acts, leaving many scratching their heads, and others consuming the oddball-ness through potty prances of delight.
Founding member of Bit Phalanx, Leigh, explains, 摘arlier this year, Kelli [Ali], who sang with Coppe’, [her voice reminiscent of a sweet-high pitched theremin, from a lost bygone Bjork era that never truly was], introduced me to Coppe’, says Leigh, who’s attire crosses between an eccentric eyeliner-wearing Shakespeare and a bizarre curly-moustached modern-day musketeer, complete with multi-coloured hair pompoms.
鼎oppe’s been going for years and I’ve only just discovered her, so it’s been great discovering all her music; our collaborations have just grown, he says.
典he album we’ve done, all profits from that go to charity, as does the tour. I’m hoping this is going to be a very long journey with Coppe’!, Leigh concludes.
While the journey of this set list would start unpredictably with a none-human act under the name of Mr Hopkinson’s Computer. A very much alive laptop which won the crowd’s hearts with covers of Radiohead’s Fake Plastic Trees and Pixies’ Where is my Mind. Complete with microphone and windows as eyes, the Microsoft hardware provided a satirical realisation of one possible future of digital music.
Though it had to be Baby I Got Your Money that exceeded expectations, as guest vocalist Audrey 3000 was phone-called in to collaborate in one of the most weirdest karaoke experiences that you could ever imagine.
And in his own Stephen Hawkins-esque voice, Mr Hopkinson’s Computer thanked us for being a great audience.
Next came T-Toe, a solo artist who fused together dub-step raves with rapping and trombones.
This unlikely mix brought an authentic light-hearted experience of high voltage wacked-out sounds, with obscure, playful lyrics. 典he itch won’t go away, sings T-Toe, who dedicates his song Eczema to all those sufferers in the audience.
Yet perhaps his track about the London riots was the most exuberant, as T-Toe almost spoofs The Streets, leading to humoured chav imitations. 展hat is you doing rude boy, why be you kicking shit up, he sings, developing a deranged techno dance that soon evolved into incoherent screams and shouts or animal impersonations, I’m not sure which.
While his insanity grew and grew, it slowly made you wonder whether this act was in fact T-Toe’s actual bouncy personality.
A stripped-down version of Modified Toy Orchestra followed as an exclusive Casio set. The duo took the once happy pop-fuelled MTO and drained them into an alien, mind-bending coldness. Opening up an alternative world through their onstage experiment, Brian Duffy and Darren Joyce gave us an insight into the next stage of the toy circuit-bending journey, revealing a much darker, robotic theme of things to come.
Gracing the stage with her flamboyant, pink ‘No More Nukes’ costume, Coppe’ was of course the only finale that would ever seem fitting enough for this eclectic line-up. Her vibrant culture-oozing sounds spread high spirits over the Hare, as she delved into none-stop animated bliss.
Basking in Oriental, Hawaiian and Indian genre-styles to name a few, Coppe’s concoction of electro-beats, bongos, flutes and neon-glowing-psychedelic-colours braved a trippy hippie experience of utter delight, which gave a mind-expansion to those who have never witnessed Coppe’ live before.
And of course, the enchanting guest vocals from theremin-sounding 90s legend Kelli Ali were more than enough to top off a vividly-energetic evening, as both Kelli and Coppe’s voices trickled off each other and faded back in purified harmony.
釘irmingham used to have a really thriving scene about 8 years ago says Bit-Phalanx founder Leigh. I’m really happy that there’s an organisation like Sound Kitchen who are really pushing electronic music in the Midlands again.
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