Battles, Manchester Academy 2

Having listened to them on record, you’d be forgiven for thinking that Battles are purely a studio band. 2007’s ‘Mirrored’ showed the band at their mind boggling best, layering riff upon riff to make a jittery math-rock classic. There’s something tribal at the heart of it, an element that’s completely universal, and that’s been the key to their success. Playing Manchester as part of Warp’s ‘Merry Fucking Christmas’ showcase, it’s a joy to see them craft their work in the flesh.

In short, it’s phenomenal. The logistics of it all are almost beyond comprehension. John Stanier’s drum set being centre of the stage is apt, given how fundamental it is to the make-up of the groups sound. Of course, the same could be said of most bands, but few utilise the rhythm section in the same way Battles do. The slow build up and quick release are marked by the rattle of a tom and the single, looming cymbal that is repeatedly pounded. It also grants the creative license that the rest of the band revel in. Somewhere in the back, almost out of view, is Dave Knopka, constantly attending to a variety of equipment, and with good reason.

Much of the unique atmosphere of a Battles gig is down to the live layering and looping the band do, of which Dave is the key component. Vocalist Tyondai Braxton quickly changes between guitar and his heavily distorted vocals, whilst juggling keyboard duties from either end of the stage with Ian Williams. Seeing it all happening is like watching an experimental ballet or an avant-garde musical interpretation of Kafka. Without music coming into it, it’s astounding viewing, as if they’ve being guided by something from above. A lot of musicians struggle with playing their own instruments – Battles somehow manage to imitate something resembling an orchestra.

Whilst 65daysofstatic have consistently been brilliant throughout their career, they’ve never managed to quite crossover into anything resembling mainstream acceptance. Judging by the packed venue, this isn’t the case here. What’s apparent is that a lot of people in attendance aren’t really the kind you’d imagine at an experimental, post-rock gig and seem intent on treating it as though The Prodigy are playing, which might be down to ‘Atlas’, the standout single from ‘Mirrored’. The final track of the main set, it easily garners the biggest reception of the evening, and it’s somehow even better in the flesh than on record, whereas old favourites like ‘Tonto’ and ‘Rainbow’ can never fail to please.

A lot of the set was left to newer material however, meaning personal favourite ‘ddiamondd’ was left off the setlist, but thankfully, that barely even mattered. On this showing, the second album is in fine fettle, with the band building upon the broken, jaunty, progressive base they built themselves to move onto greener pastures. Ending with what they call their ‘hippy number’ from the forthcoming second album, it’s hard to conclude anything other than it’s a pleasure being able to watch such masters of their craft going to work. Superb.