Indie & Lo-Fi Pop Live: The Proper Ornaments + Omni - 05. Feb. 2017
*ein Jever Live Motorschiffskonzert - präsentiert von ByteFM und Cafe Hochberg*
Proper Ornaments is the project of James Hoare (Ultimate Painting, Veronica Falls) and Max Oscarnold (Toy, Pink Flames). The band germinated slowly from their friendship, which began when Max distracted James from shop-keeping, as his then girlfriend attempted to steal shoes. Max was freshly arrived in London from Buenos Aires; helped out with a plane ticket by Andrew Loog Oldham as it happens, to escape a drug-lead implosion of a previous band and a family member’s plan to have him sectioned. The chance meeting blossomed into an epicurean riot of luminous highs and cold, dismal crashes that conversely produced music that was very well ordered and faintly angelic. It was so much deeper and more refined, serious, simple and affecting than anything suggested by the bare facts - a guitar band in East London, ten years into the infancy of a millennium that had so far freighted those five words with plenty of horrendous mental associations.
They released a single on San Francisco’s Make a Mess and an early E.P. with London’s No Pain in Pop in 2011 – then a collection, ‘Waiting for the Summer‘ (LoRecordings) in 2013, which bore the influence of past UK guitar music – The Beatles, Felt, Durutti Column, Television Personalities, Teenage Fanclub – framed by West Coast psychedelia and sunshine pop. Tape recorded and unpretentious in all sorts of ways, it seemed bound to slide around the sides of a snow globe-like mainstream, into that ambivalent fate of being a bands’ band: Real Estate, Woods, Crystal Stilts, and Metromony solicited them for support slots.
Türe 19:30; Konzerte ab 20:30; Eintritt 12€
Omni - the band, not the hotel - are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of "Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of '78, and pushing the roots of rock & roll to its limits remains in vogue. "Deluxe" serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?”