MAN WITHOUT COUNTRY / BORIS A BONO / LUK | LIVE REVIEW
Norwegian Church Arts Centre, Cardiff Bay, Thurs 26 Feb
Earning broad acclaim with a 2012 debut which saw them enlist the talent of Sigur Rós production supremo Ken Thomas, the Cardiffian pair has continued to pursue a proclivity for melodic, effusively-rendered dream pop with Maximum Entropy. Having secured mutual respect in recent years from contemporaries such as M83 and Active Child, the show’s support needed to competently deliver in anticipation of the two-piece’s performance.
Merthyr-based one-man outfit Luk provided initial spirit-rousing bravado, occupying the stage with a conflux of rap and distorted spoken word samples. Set to a visual backdrop that revelled in subliminal-themed messaging which often appeared anything but self-effacing; the response was positive, if modest, from the disparate scattering of people. Follow-up Boris A Bono, however, managed to enthuse and engage in presenting an incandescently wrought combination of shimmering strings and waiflike vocals that induced an exuberant reach over the audience, as evidenced with distinct roars of appreciation at the close of the set.
The crowd grew as the night progressed, attendees filing in to witness Ryan James and Tomas Greenhalf’s glimmering brand of synth-pop irradiance transform the ostensibly serene surroundings of the Norwegian Church into a palpitating repository of sleek electronic architecture. Commanding the space with spellbinding gravitas and tenacity, the set saw the outfit delivering an unrelenting sensory eruption with flourishing harmonies that entranced and invigorated in equal measure. A soaring rendition of Puppets, from first album Foe, resonated with seasoned fans in the room whilst an opalescent cover of The Beloved’s Sweet Harmony served to further showcase the scope of influence from which the band draw inspiration.
James’ unearthly vocal aptitude and Greenhalf’s etheric ambience coalesced to create haunting soundscapes like some rebellious alien offspring of maestros Vangelis and Eno, while still maintaining a pulsating vitality suggestive of Depeche Mode and Propaganda. This ability to configure an entirely immersive sound was reflected with unflinching panache on lead single Laws Of Motion. And as the final performance of the night, its luminous neon-drenched afterglow clinched a rapturous and extended reception from within the venue’s Scandinavian wooden walls. Uncompromising and consistent, this was a tour de force that reaffirmed the duo’s eminently sophisticated credentials.
words CHRIS PEACH