Wednesday 03/12/04 The Faint, BeepBeep, SnapAnt - Evol, Liverpool Academy

While the remnants of a children’s party and accompanying buffet linger upstairs SnapAnt take to the stage. Some of the children - who are greatly enjoying their complimentary aftershots - linger too, so a positively half full Academy greets the Invicta Hi-Fi outfit at the ungodly hour of half nine. Tight as you like for a second gig, SnapAnt already have a strong and distinctive sound thanks to musical mastermind James Morgan (“Hello, I’m SnapAnt and this is my crew.”), also of Super Numeri.

 

Chopped guitars and synths, accompanied by robotically falsetto vocal melodies, wrap up nuggets of accomplished electronic. Despite Morgan’s dominance, mention should also be made of the striking vocals, and even more striking sartorial style, of keyboardist Esa Shields, and some particularly fantastic drumming. The rhythm guitarist’s hair should also not escape note. Perhaps at their most endearing when losing themselves a little in a great set closer, it is frustrating that lyrics are lost a little in the mix. But that’s what happens when you don’t get to soundcheck because the headliners spend four hours fiddling about.

 

You can hear the vocals loud and clear for BeepBeep, but that’s mainly because they shout. A lot. Indeed, their whole, largely forgettable, performance gives the impression they are indulging in their own primal scream therapy on stage. There is certainly little musically to cling to, even if I suspect the Milwaukee residents would argue that’s the point. What is unforgettable however is the co-frontman’s stage moves. I can only describe it by asking you to picture his resemblance to a very sweaty Tim Burgess, then imagine him pulling a face like a slightly more animated Stephen Hawking, before utilising the camp arm movements of Frank Spencer.

 

Unfortunately, not he, but BeepBeep’s rather more sedate and quite probably extremely stoned bassist, makes it into the line up for headliners The Faint. They seemed to divide critical opinion in the venue (on a sliding scale of beer drank), but for me they completely work. They espouse an uncompromising style, with a staple of booming industrial samples, unrelenting drums and spasticated rock guitar. But singer Todd Baechle focuses it all, despite his incongruous appearance, and The Faint convey an electro funk too irresistible for your head and feet not to beat along with.

 

Their excellent projected visuals are The Faint’s added dimension, however. Ranging from simple ‘cool looking shit’ to track narratives, the videos emphasise not only the hypnotic rhythm of the songs, but also the anti-militarised-corporate America philosophy which the music seeks to confront. After a particularly stand-out 'Last Dance' late in the set, the most enthusiastic crowd seen at Evol for some time are left baying for more. Perhaps there should be a children’s buffet every week.