Digital, 30th October 2009
Northampton based two-piece Maps – James Chapman and August Jakobsen – are an interesting find, James being the brains behind the sound. They were nominated for a Mercury prize in 2007. James writes and records at home on a 16-track. His influences include Low, My Bloody Valentine, Kraftwerk, Spiritualized, Brian Wilson and Godspeed You! Black Emperor. The music harks back to some 1980s heyday – the sounds of Human League and OMD spring to mind.
It was surprising to see Digital almost empty at 9.30 on a Friday night. The minimal electronic demographic that has turned out to see two disc-jockeys of the electro pop apocalypse seem slightly half-hearted with their awkward shuffling and gentle nods of the head.
The band trudges out to their tiny audience to a barrage of white noise, dark undertones and dry ice. Maps are equally uneasy here as they would be on any stage, anywhere in the world. They are head down droners, with a natty sideline in peculiarly catchy repetition. The intro tape is looped and hypnotic. The anti- appearance of Maps and the sudden stopping of the tape jolts everyone back to normal. Normal, though, is the last place Maps belong.
A curiously quick 35-minute set is a barrage of percussive beats and Cathedral droning that fills Digital like gas. The gathering of introverted enthusiasts appears to come to life, admittedly, self-consciously and claps politely after every song. The opening triumvirate ‘So Low, So High,’ ‘You Don’t Know Her Name’ and ‘To The Sky’ are beautiful and could melt icecaps. The expansive sound of ‘We Can Create’ seduces.
There are no short tracks, no filler; it’s all epic swathes of sonic tidal waves that kick like My Bloody Valentine. ‘It Will Find You’ with repeat keyboard riffs and soft industrial clutter, is almost euphoric, and ‘Back And Forth’ serves as a sly reminder of James’ Short Break Operator Days. Chapman’s voice is wispy and sometimes becomes overwhelmed by the wash of chiming synths and samples.
There are swirls, multi-layered synths and an interminable rhythm section – washes of colourful electronics and pre-programmed blips and bleeps. The performance is subdued amidst the stupor of complex electronics. The satisfaction in their performance lies in the visceral sonic expanse of their music, the perfect soundtrack for chin-strokers. Maps are one of the most sweepingly gorgeous noises there is at the moment. All the parts fall into place beautifully.
Words by Isabel Owen
Photography by Sam Bond
myspace.com/mapsmusic
What did you think of the gig?
David: 9/10 “Really good, really good melodies”
Pascal: 10/10 “Fucking brilliant, off the cuff”
Steve: 8/10 “Really, really good, euphoric, aggressive”
Ben: 10/10 “Blissful dolphin feeder”
