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ChopChop

Jul 18, 2024 By Nick Roseblade Photography by Nick Roseblade Web Exclusive

There are some gigs that you wish could happen as soon as you see them announced. This was one of those gigs. LC Pumpkin playing near where you live isn’t to be missed. Especially considering it’s been YEARS since he’s played live. Then when you factor in that he’ll be supporting ChopChop who are releasing a new album “Bell Well”, with DJ Firey Biscuits playing whatever the hell he likes in between, AND it was at The Rose Hill, my favourite venue in town, this was bound to be something special.

As I entered The Rose Hill DJ Firey Biscuits was firing on all cylinders. As to what he was playing I have no idea. The music ranged from alt-pop, avant-garde soundscapes and world music instrumentals. I think. It was hard to tell at the time and even harder to remember now. The Rose Hill is a bright spot on the UK’s experimental and avant-garde touring scene. Originally an old boozer that was run into the ground now it’s a space for the weirder kind of gigs, a record label, with a rehearsal space for hire in its basement. They also have the best stocked bar in town with the widest selection of non-alcoholic drinks I’ve seen. 0% beers, fruit drinks and a pay what you want tea bar. And they sell RSPB badges too. The place is a winner!

For the uninitiated LC Pumpkin is a one-man band. He sings, plays a sampler and a banjo all at the same time. Attached to his banjo is a metal pole with a cork on the end for triggering samples and live beatmaking. This isn’t even doing justice as to how mesmerising he is live. His set started with “Superheroic Tendencies”. Massive beats, ramshackle melodies and vocals hidden behind enough fuzz and detritus to make it almost incomprehensible, more no that late though, but totally captivating. More of the same followed with “People as Furniture”. After he ran through this one, he said “I’ve some more but if you’ve had enough, I’ll just stop now”. The crowd was baying for more, so he launched into fan favourite “Beta Blockers”. This one has more of a hip-hop vibe. Think of a wonky Beastie Boys and you are on the right lines. The beats were massive. Basslines huge. Needless to say, the crowd was down. There are times when I think that LC Pumpkin could easily pivot to being a beatmaker for other people. Up next was the slower “Spacedust”. The crowd, and Pumpkin himself, appreciated the change in pace. A few years ago, Jarvis Cocker played some of his music on his 6Music show. He joked that what he liked about it was that he couldn’t understand what LC Pumpkin was singing about. This became the idea for a new song. That song is “Be Incomprehensible”. As the title suggests we have no idea what he’s banging on about, but I think the jist is yourself and be comfortable in your own skin. Sage advice. After that he played a new song “Debt Based Money”. This one is rumoured to be on his next, and sixth, EP. But when that is coming out, is anyone’s guess. Including Pumpkin’s… And then, like all good things, it was over too soon.

After a brief set from DJ Firey Biscuits, ChopChop took to the stage. While lead singer Xelis De Toro was waiting for the rest of the band to make themselves known he was acting like a boxer. Shuffling his feet. Sparing with his shadow and getting himself ready for the performance to come. They opened with “Lifetime”. The song felt like it was about not missing out on those simple moments in life and not letting other people stop you from doing them. “Everybody should be able to walk to the end of the land and come back with a bunch of flowers” is a lyric that stands out. “The Weatherman” was the first new song of the night. Here De Toro told a rambling, charming, story. The music had a nice bounce to it. It wasn’t too lairy, or chaotic, but really fun and quirky. Another new one “The Cannery” was up next. The music was more electronic and abstract. As the song progressed things got wilder, and wayward. Next up was the star of the set “Elastico”. This is an exercise in surrealism. Both musical and lyrically. Here, drummer Ed Briggs really became the MVP of the band. His drumming ranged from standard 4/4, to funky/hip-hop drumming to avant-garde. At one point he put some small trays/cymbals on his drums and, well, drummed around them. The noise was unlike anything I’d seen a drummer do for a very long time. It gave the music a specific quality that I won’t forget for a hurry. As you can probably guess, ChopChop make some weird shit. Unlike a lot of avant-garde music, it’s not massively abrasive, or weird on purpose. It’s a mixture of rock ‘n’ roll, pop, jazz, funk and electronica. At no point was it incomprehensible, that word again, or pretentious. It was five people making a joyful racket. Having a great time and giving a group of people a great time too. After one song, possibly the ESG sounding “Rats”, De Toro said “See, we are a bit rock ‘n’ roll. A tiny bit. Don’t get too excited, but it’s what we are.” Their set ended with the riotous “The Lighthouse” which felt like something from a compilation of lost African jazz/funk music from the 1970s. Huge melodies exploded from the speakers. Adhoc basslines and delightful on-stage dancing.

On the way home I wondered how different culture would be if bands like ChopChop and LC Pumpkin were the prevailing giants in the charts. Would earnest singer songwriters be the underground? Or would no one give a shit because bands like ChopChop, and LC Pumpkin, are so much fun we wouldn’t have time to feel sorry for ourselves? We’ll never know as they aren’t. Instead, we are given nights like this, where for a few hours we can let go, with wild abandon, and rejoice in the other side of the coin. A place where elongated monologues, samplers played by banjos and ridiculously talented drummers are the kings. I’ve seen the future and its pumpkin shape!