At Cosmosis Security Festival (sorry, Cosmosis Psychedelic Festival) there was a name that I hadn’t heard in a while, The Longcut. A band I’d heard of but didn’t know much about. So, in the spirit of adventure I battled my way upstairs. It was worth the effort…
The interesting thing about The Longcut is the faces they were. One face is that of yet another gang of Stone Roses baggy tykes, laying out indolent dance-y tracks full of cool-o licks and swaggering vocals. The other face is one of disinterest. They remain aloof and stony faced, reimagining Manchester post-punk cold-hearts. Their dance music isn’t hedonistic or debauched, it’s mechanical, almost obligatory. They approach dance music with a resigned weariness of one who refuses to get excited by events. Yet it is this approach that makes them interesting. Euphoria is replaced by subjugation; while The Longcut feel chained to their music it is this quality that allows them to inhabit the music they play and forge their identity as the dance music band that doesn’t like dance music. Like Gang Of Four, the urge to party is tempered by iron self-discipline. The automation and steadily constructing soundscapes suggest a rigidly programmed scheduled for a good time, one which was delivered in spades.
With the Warehouses piss poor sight lines during the first song I quipped “are we sure the band is on and this isn’t just a CD?” As the set developed this didn’t matter, the music was sharp and engaging, harsh lines suited to the concrete environment. The invisible band became an irrelevance. The music was powerful, everyone was digging it, all was good. Is seeing the band necessary with dance music? In this case no, the only real question is that a later time slot closer to midnight may have suited them better, with the inhabits well-oiled with expensive booze.
Right, I’m off to google search their back catalogue.