Review: English Teacher @ SWX

By Amélie Peters, Music Sub-Editor

Lyrically seraphic, English teacher combine a colossal of emotion into the smallest phrases. Almost absurdist in their wielding of music, English teacher have their audience in the palm of their hands.

I myself am not usually drawn to a gig without possibility of a mosh pit, But English Teacher are entrancing and whilst no one will be stage diving or surfing the crowd. There is something almost indescribable about the palpable energy and sense of collective experience that seems to emanate through the audience.

From attractive murmur to willowy echoing cadency, the utopian heights to which Lily Fontaines vocals can stretch is all absorbingly encompassing.

Forming in 2020, after meeting at Leeds Conservatoire, English Teacher has in the past four years risen to meteoric fame, going on to win the Mercury Music Prize for their debut studio album This Could Be Texas.

Lit by a back drop of human sized daffodils, and a idilicli painted backdrop, the stage is quaintly lovely. Interrupting the picturesque of the scene is a giant head.

At one point Fontaines picked up the head staring directly into its eyes, the bizarre injection of the stony faced theatricality sent me almost into to hysterics.

I have most recently discovered that the giant head aforementioned is in fact a reference to Frank Sidebottom the character to which they owe the credit of their original band name - Frank. I do still wonder about the giant papier-mâché head.

Abstract and eloquent to the extreme, the notion of being the World's Biggest Paving Slab is a sharp one. Bringing to the forefront, a feeling of being repeatedly stepped on, the imagery in the lyrics is fantastically well written and a feeling I think most people can understand.

Whilst the world's biggest paving slab is an emotive piece sure to tug on the heart strings, it is not based in as much fantastical fantasy as one might think. The slab in question, is in fact real and as the song states has a level of celebrity.

Located in the mash of town and city that is Lancashire, the paving stone outside Colne Town hall in Lancashire is outlandishly big, measuring 10ft by 9ft, whilst not an eye saw it is a little silly.

Often compared to Black Country New Road and the likes of Squid, it is difficult to argue a resounding difference. Built off the same post-punk platform, these bands stretch the building blocks of music, sculpting something more subtly powerful than those in the same field.

Whilst the similarities seem to rain down, I'm not opposed to a slightly similar stance and like to argue that nothing is ever really original or new.

Ever nosy and curious to the inner workings of a band, I was intrigued by the mention of fallings out during the song writing process.

As Bristol was the last stop along the road for the band, they popped a bottle of champagne on stage to celebrate. Off-handedly commenting on the turbulence of the process of the album's creation, Singer Lily Fontaines mentioned that the band 'fell out, then made up, then fell out again and then made up.'

'Broken Biscuits' is a political bleak ode to the collapse of a system that never really cared that much. This could be Texas is littered with tracks that's poetry washes over you, kaleidoscopic in colour every phrase seems to echo some deeper meaning that personally resonates.

I will preface my next statement with the fact that I have an intense weakness for falling in love with any post-punk/punk band that uses either a cello, violin or viola. Hence my similar adoration for post-punk band Man Woman Chainsaw, who I heartily suggest you give a listen to.

The cello is exquisite, the leaping, rasping soaring sounds adding a layer of angelic crying-esc beauty to the bands sounds. If the lyrics are gutting then the cello adds the final blow.