Noisy Charlie ( 嘈查理 )

Live review from Planetrox China Final 2019


Two of Us

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

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Performances by Noisy Charlie ( 嘈查理 ):