Buzzing, textural and loud artistic guitar based rock, Loop formed in South London in 1986, releasing three heavy hitting records of hypnotizing riffs. Having not performed together in over 24 years, original members guitarist vocalist Robert Hampson and bassist Neil MacKay delivered an extremely tight set of thundering riffs complemented by the sharp and thundering drums and wild trebled guitars
Playing support for the evening were The Godspot, a foursome of Vancouver locals playing throw-back 60s revival style rock along the lines of the Brian Jonestown Massacre. Meandering through some moderately paced rock tunes, The Godspot had a few numbers that fired up towards the end of their set as the band locked into a groove.
. Situated at the end of a five week long North American tour followed only by dates in Seattle and Portland, the band’s stop at the intimate Biltmore Cabaret, is their first and perhaps last performance in Vancouver. Playing selections from their three studio records, 1987’s Heaven’s End, 1988’s Fade Out, and 1990’s A Gilded Eternity as well as singles, the set-list functioned as a general compilation of the band’s repertoire.
Opening with the buzzing and shrieking solos of “Soundhead” the sonic texture of the guitar tones, combined with the talent of high-calibre veteran musicians contributed a sharp and rich sound. Using a formidable looking setup of distortion, delay and loop petals, Robert Hampson’s conduct of feedback and tone shows further mastery. “We have always sounded more visceral live” commented Hampson before stepping onstage, “on the records, we usually have another 5 layers of guitar tracks.” In an age where more and more bands attempt to prove their value with distinct texture and style, Loop have more often than not, evaded widespread attention despite excelling in bombastic volume, tone and experimentation, characteristics that have garnered increasing interest in recent years with the expansion of stoner rock. Tight & crashing cymbals, steady tom beats synchronize with the overdriven guitar tones for a powerful effect that hypnotize and overload the senses. Though abrasive and limited in specific attitude and tone, Loop excel at what they do; hammer out mesmerizing, wonderfully toned, riffs with extreme volume. Loop’s professionalism and skill over distortion effects are worthy of distinction and were observable in many subtle sonic details; Hampson’s subsequent musical projects include the experimental 90s outfit Main is equally detail oriented. The crushing volume of the guitar resonates in a clean, yet heavy tone that dwarfs the muddled crunch that is all too apparent in present day rock. The four musicians skilfully weaved blazing distortion, clockwork tight and cymbal heavy percussions with accessible vocals in a progressive yet accessible format.
Much of Loop’s work predates My Bloody Valentine; it is sobering to discover such a rich and idiosyncratic style of massively loud walls of guitar produced in the UK that is seldom referenced in conversation. The evening’s audience were primarily music enthusiasts born in the 1970s although there was a substantial minority of younger viewers enthralled by the exquisite tones of a more often than not overlooked gem.