Long-time readers (there's got to be one out there) might remember my enthusiastic yelping back in 2004 about seeing Shellac playing (twice) at All Tomorrow's Parties. Not only that, I'd had the pleasure of their onstage company two years before when they curated a full ATP, the memories of which remain immensely fond and loud. Fast forward by four years, and you've got them touring after their fourth album proper released last year, Excellent Italian Greyhound. It's a strange album, certainly not as immediate as the previous 1000 Hurts, with a couple of especially tense and unsettling numbers - anyone else feel unclean after playing A Real Lullabelle all the way through? - but it's a grower for the right frame of mind. And while they sound perfectly good recorded - make that seriously fucking good recorded - ever since I first saw them in 2002 I've felt they were a live band first, recording artistes distant second.
No wonder then that I've been psyched for months about Shellac playing the ABC Glasgow. On a practical level, the nice high ceiling at that venue guaranteed there'd be none of the stuffy heady air that makes my lungs constrict and my head spin, while the gig was bound to wrap up at a reasonable hour, pretty important for someone coming over from Edinburgh on a Sunday night. The icing on the cake was going to the gig with the illustrious illustrative Brothers Dunn, Rob and Gordon, both long-time Albini aficionados (that imaginary long-time reader will know Rob as Albini's Bitch in comments of yesteryear) who'd yet to see Shellac in concert. Expectations were immense, but I knew they wouldn't be failed.
For a band that plays so relatively rarely, Shellac are a remarkably tight band, tuned into each other on stage with a precision I've only seen a couple of times elsewhere. With two of the band members top-drawer record engineers, they've an ear for good sound and the excellent equipment and acoustics of the ABC responded wonderfully to them. When they came onstage I was startled to see that they'd all got younger by at least a decade since 2004, surely a testament to the health benefits of a life of Rock. Their show followed a similar drill to previous times - no projections, no encore, a Q&A session (during which one audience member confused Bob Weston with the compliment that his bass playing was "braw") and the final song ending with the piece-by-piece dismantling of the drum set. And, as with previous times, they were absolutely fucking MINT.
Hell, this was the best I've ever seen them, a band absolutely tuned in to each other, playing off against each other musically and verbally, creating an almighty sound that never degenerated into unfocused noise. Brutal, taut, tension and release, raw yet utterly in control. Perhaps surprisingly, given the menacing edge of the music, they're also a genuinely enjoyable band to watch - dare I say fun? It's not just the stage banter, though that's sharp - it's also in the bullet-time dramatic pause mid-song when all three sloooowly lunge backwards in preparation for the next note, drumsticks slo-mo spinning in Trainer's hands (of course, that next note was hit by all three with perfect precision), the freaky plane-shapes during Wingwalker (a definite highlight), Weston teasing the audience with promises of some Big Black numbers, and the aforementioned closing up even while the drummer is still hammering away. It managed the impressive task of being both a powerful show and a genuinely enjoyable one, the good vibes a welcome counterbalance to the tension of some of the songs (Prayer to God, anyone?).
Shellac live was a rare rare treat that left everyone reeling with big grins and ringing ears, as good a gig as you could ever hope to have. To celebrate, here's the first two tracks from their superb live session recorded at Maida Vale on Radio 1 a few years back, dedicated to John Peel - if you'd like the rest of the session, give me a yell.






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