Live review from Planetrox China Final 2019
Two of Us
Insomnia
Split
Misnomer alert – noisy is a relative term, and compared to the previous chaos these guys are positively demur. But rock is littered with inappropriately named bands – Thin Lizzie? Not thin and no Lizzies. Metallica? OK that one works. Noisy Charlie can really play though, in spite of the Gretsch-wielding guitarist’s broken arm. First track Two of Us is perfect Canto/indie-pop, helped out greatly by the singer’s soaring vocals and excellent guitar solo, which builds up deliciously. Insomnia is delicate, mesmeric and beautiful – the ultimate shoe gazing experience. And what a voice – like a screamo Pavarotti. Last track Split has a lovely trip-hop guitar motif with perfect tremolo effect, with the singer holding a knowing finger to his lips for the audience to delay their applause until the song comes back in for a final refrain. Cute. And while they may be the least impactful visually – they kind of look like they just strolled out a 7-Eleven – and there’s plenty of trendy polymath trickery, beneath which is real soul and emotion … I was blown away. These guys should be at Glastonbury, or at least Clockenflap. They are also kind of sensitive muso types – if my daughter had to date musicians (perish the thought), I may give my reluctant approval (obviously not with all of them, she’s not that kind of girl) – certainly ahead of the previous “Bring Your Daughter to the Slaughter” guys anyway.
– Dan Creffield
Live review from Underground Rocks 2019
1. Raise up
2. Gate
3. Two of us
4. Insomnia
5. Split
未知是否因為首次The Hub演出，Noisy Charlie的現場表演音量頗為失衡，大部分時間都聽不到主音聲線，只聽到鼓聲，但亦而聽出鼓的部份分明有勁，幾過癮。樂隊整體風格突出，每首歌都有不同感覺，又鮮明的分別，卻又一致地帶點迷幻、失落。如果能夠改善樂隊整體配合及和諧感覺，一定更正。而歌曲Insomnia最能表達樂隊獨特、吸引之處，正如失眠的感覺般纏擾，迷惘、迷失但又不頹廢！
– 傑仔
One of the best surprises of Underground Rocks 2019 was finding that opening band Noisy Charlie were superb. The band opened their set with Raise Up, a song dedicated to the government, which had a strong reggae vibe in its off-kilter guitar and distorted shouts. However, this was just one genre they would blend into their shape-shifting sound.
Guitarist King produced a stunning tone with his shining Gretsch Black Falcon, which sat high and crisp in the mix. Vocalist C朗 was intriguing to watch; the emotions of each song playing out in his facial expressions and mannerisms and he channelled every ounce of himself into the performance. There was a touch of Cedric Bixler-Zavala to his elastic singing – the Mars Volta vibe was especially heightened when C’s voice paired with bassist Samuel’s intricate and jazzy bass scales and King’s intricate noodling.
Clean-toned arpeggios started Two of Us, during which C’s soft vocals took a backseat to cerebral post-rock. A distinctive melody took listeners on a journey, evoking shades of Hong Kong group Prune Deer. King was impressive in his speed and precision as he delivered a great solo before bringing things home with a loud, heavy rock finish.
There was a slight delay while drummer 威倫’s kit was fixed after a cymbal rattled loose, but the show was quickly resumed for Insomnia. Melancholic guitar and morose singing instantly conjured Deftones in all their early 00s angst. A slow tempo and soft vocals soon built to soaring, anguished wails, crashing cymbals and galloping toms creating an all out frenzy to finish.
A sunny picked indie melody intro led into upbeat closer Split, during which psychedelic guitar effects came into play before an all out drum-smashing, guitar-destroying, bass-rumbling, manic-voiced outburst to finish. It may be a cliche, but the only criticism of Noisy Charlie’s set was that it wasn’t longer. They showed how a band with a shifting genre/post rock sensibility can work with vocal elements if done right. They have clearly mastered eccentricity without sacrificing integrity and it was a pleasure to be in their thrall for five varied and exciting songs.
– El Jay
