We are very proud to annouce the release of our new music video. The video goes Live, This Friday at 12pm. Stay Tuned.
Got some amazing news. I am very proud to announce that El Born will be Headlining London Barfly on October 16th. This is one of my lifetime goals and a really big deal to any band on their way up. You absolutely have to be there. Tickets are already available on Barfly's website.
This show will be historic for us and our amazing fans and we can't wait to play our next show at this amazing venue.
Buy Tickets: http://mamacolive.com/thebarfly/listings/general/8914/el-born/
“It’s easy to see now I’m down on my knees”
El Born, live at the Water Rats, London, 19 July 2013
I wouldn’t normally see much point in reviewing a band twice in a three week period especially when, last time around, they were so impressive that what more could there be to say? Well, how wrong can you be for, from last night’s performance at the Water Rats, it’s clear that alternative rock favourites El Born, already the band with the biggest buzz on the London live circuit, are going from strength to strength at a rate of knots.
A lot of this stems from the ever-growing poise and composure of the rhythm section. Drummer Mike Brazier (doyen of the art of graceful bludgeony) and bassist Phil Brickell (one part slink-meister, one part walking shampoo advert) intertwine effortlessly as they weave their opaque alchemy, never forgetting that rock also needs roll and allowing singer/ guitarist Si Connelly and keyboards/ backing vocalist Hils Granger to burgeon, to bloom, to experiment, to test and, more generally, to get on with having a really good time.
El Born open their set with “Kangaroo”, a song, as with most of their oeuvre, with multiple mood swings - variously faltering, variously steely-eyed; variously meek, variously swaggering. Connelly, wearing the world’s shiniest shoes and, perhaps as a consequence, shades, drags the ending of “Kangaroo” kicking and screaming into next up “And it’s still a long time”, in which Hils conjures up some keyboard flourishes with a fluid dexterity reminiscent of a scampering spider - a scampering spider, that is, with four rings on each hand, fluorescent orange nail varnish and a trilby. Swapping his Telecaster (which bears a sticker of the Japanese flag) for a Stratocaster (which, in an outbreak of even-handedness, bears a “USA” sticker), Connelly then steams into “1982” which, after a slow-burning opening followed by some extensive ricocheting off the outer corners of the universe, concludes with an extended West Coast guitar-romp-style outro.
And then (drum roll) it’s time for the first outing of a new song, “Rivals”, and it’s a cracker. As with all El Born songs, the lyrics go a lot deeper than might be expected in alternative rock, as what is superficially a song about lovers being in competition (with all the attendant relationship complications) turns out to be an exploration of Connelly’s less-than-smooth relationship with a stultifying music industry. Some great keyboard, at times sounding like a deep-sea monster trying to clear its throat, and a lovely jazz chord to end, this was a great performance of a great song. I’d love to hear a Si Connelly guitar solo somewhere in there but, hey, I’d like to hear a Si Connelly guitar solo somewhere in Vivaldi’s “Four Seasons”, so don’t worry about me. “Air”, clearly an audience-fave, then follows, encapsulating the El Born iron fist/ velvet glove approach to performance as Connelly manages to intersperse an unaccompanied, angst-filled vocal howl-fest with a sample from Johnny Lucas’s summer pop anthem “Lilo”. With the band happily on a roll now, “You made me” sees the audience hit fever pitch as Connelly hits diva pitch, propelling his incredible vocals to somewhere close to a bats-and-dogs-only register. “Wonderboy” then sees those shiny shoes put to good use during repeated ascents of the north face of the bass drum. By “Now that it’s over”, the band are well into the home straight, de-mob happy smiles leading into the twitchiest, most agitated guitar work of the night. Marvellous stuff to behold.
And then, suddenly, it all ends. Or it’s supposed to, anyway. But: as if. In no time at all, the hollering audience has secured an encore, the band return and Connelly and Hils ease into the beautiful, hypnotic duet that is “Gotta Miles Davis in my head” until a microphone sent crashing to the floor does, indeed, herald the final close. A curtain falls on what was, unequivocally, El Born’s best gig to date. They won’t be around as a full band now until October but, when they are, be there, and be there in droves. If only to help Connelly get another 191 guitars so he can complete his set of United Nations stickers.