Much has been made elsewhere of Yusuf Azak‘s slightly wheezing vocal delivery, but anyone familiar with the work of Nick Drake is well catered for here and the singing sounds more “normal” than a lot of the autotuned trash that’s on the market today. Song number two on his new record Turn on the Long Wire, ‘Time To Kill’, actually brings to mind Ian Brown (albeit if he suddenly went all folky). … Continue Reading
Teenage Fanclub - Shadows
Right from the opening chord of the lush ‘Sometimes I Don’t Need To Believe In Anything’, Shadows is unmistakeably a new Fannies album. Five years after their previous self-release (Man-Made), Teenage Fanclub’s essential elements are all still in place and performing to good effect – they can still jangle and harmonise along with the best of them, and indeed lead the field when necessary. While that 2005 album was probably the group’s most understated of their now 20 year career, this new release finds them tapping a more youthful and upbeat vein last seen on Howdy! From 2000. … Continue Reading
Hinterland
April 3, 2010
In the current financial climate it’s always good to welcome back an urban music festival for a second year, especially one that has been refined to make it better than the previous one. Glasgow’s Hinterland is this year centred on The Arches and five other small venues, three within five minutes of Glasgow Central Railway Station.
Make Sparks are first on my radar, a band who like most bands within a 20 mile radius of Glasgow, will get rightly or wrongly get compared to Frightened Rabbit. There’s more to them to that and although I do indeed hear shades of We Were Promised Jetpacks and Franz Ferdinand. Their chiming, charming single ‘Rewind’ even throws a bit of a Postcard Records sound into the mix. If they write a few more songs like that with a little more of their own voice, their cover of Eminem’s ‘Just Lose It’ might well end up making its way onto Radio 1′s Live Lounge.
On the other side of Scotland, there seems to be more of a leaning towards Montreal, specifically of Arcade Fire and Broken Social Scene. The Kays Lavelle are one such example of this, half an hour later in Sub Club. With the fiddles, banjos and pleasant nature of their songs it would be easy to lump them under a big tent with The Wilkommen Collective, Mumford and Sons and Broken Records – especially after these charming young men politely converse with the crowd about such pleasantries as their own weddings. That though would be sidelining the icy, elastic snap that their better songs employ.
Completing the lazy up-and-coming Scottish-band-what-sounds-like-current-established-Scottish-band bingo are Little Yellow Ukuleles who aim beyond The Wombats and Dananananaykroyd and towards Biffy Clyro with their angular, anthemic, stadium-aimed rock. “Unamazing, but with bold drum sounds” is my verdict.
Warrington’s Spectrals really impress me, with their laconic, louche Jonathan Richman-esque vocals, and that Moshi Moshi are releasing a single of theirs is no surprise. In spite of earlier Mary Chain comparisons (c’mon, this band isn’t even from Scotland! [Ed: he wrote that bit himself]), they will end up being put in the same pigeonhole as Girls, The Drums and The Strange Boys – check out the surfy instrumental and early rock ‘n’ roll aping for the reasons why. With some self released tapes in their discography, they might even get picked up by glo-fi aficionados broadening their palette this summer.
The main events back in The Arches are British Sea Power and Mystery Jets. A snazzy attired British Sea Power give a stirring, if short, performance of songs mainly from their debut – and a little from 2008′s Do You Like Rock Music? The set is bookmarked by ‘Scottish Wildlife’ from the Man of Aran soundtrack, and ‘Spirit of St. Louis’/ ‘Rock In A’ which sees a welcome, if inhibited, role for BSP’s Ursa Major, a 7ft bear-costume (with Jeffrey Lewis inside it) pawing at the band.
Dismayed with the way that should-have-been-hit-filled 21 was badly promoted by 679 before they dropped them, Mystery Jets‘ new songs are a welcome relief. Those that unfamiliar with their last album are converted by ‘Half in Love with Elizabeth’, ‘Young Love’ and a storming rendition of ‘Hand Me Down’, but in their armoury they seem to move on from Haircut 100 to wanting to soundtrack Top Gun. 3rd album Serotonin sounds like it’s going to be the soundtrack to the summer with massive soft rock, Blur circa Modern Life Is Rubbish, and even New Order on ‘Dreaming of Another World’ at hand.
It would be good to have the festival back next year, maybe roping in a few more venues and bands both local and national to compete with Stag and Dagger for dominance of the Glasgow festival dollar.
Chemikal Underground
If you’re looking to name a contemporary independent Scottish label, there’s a chance Chemikal Underground will be the first. Originally set up by The Delgados to release their debut single, they quickly established themselves as the most important label in Scotland since Postcard releasing records by the likes of Arab Strap, Mogwai, Aereogramme, Bis, Mother & The Addicts and even Interpol (albeit only one record by them). Tonight’s gig, as part of Glasgow’s annual Celtic Connections festival is a celebration of Chemikal’s fifteenth birthday, with a selection of the labels current offerings on stage to help, and Vic Galloway hosting in between.
Travelling from ‘the other place’ to Glasgow, this writer only gets the middle of the evening’s entertainment, four bands who certainly maintain the label’s image of having an eclectic but cohesive roster. Zoey van Goey, are an indiepop five piece whose overall ‘sound’ is difficult to pin down, but they’re entertaining if nothing else. There’s something of a less-twee Belle & Sebastian about them, but perhaps if B&S had been weaned on post-rock, as well as Felt.
Next is the debut performance from The Unwinding Hours, formed from the ashes of Aereogramme (disbanded in 2007). They instantly create an atmosphere, beginning with sparse guitars before getting louder and more epic, slightly reminiscent of The Twilight Sad, if a little less dour. The highlight of their set has to be during their last song, ‘The Final Hour’, when the it changes from sparse instrumentation to an ear-splitting, trouser-flapping din, forcing numerous members of the audience out of their skin. Unfortunately some of the material verges a little bit on the MOR side of things, but with moments like that up their sleeve, it’s certainly worth giving them a chance.
Lord Cut-Glass are label founder and former Delgado Alun Woodward’s new project, making literate pop music, which certainly has echoes of his former band, if augmented with Scottish and gypsy folk influences, and even ska rhythms at one point.
Laura Groves
As a big fan of Blue Roses‘s wonderful debut album and having been lucky enough to catch her a couple of times live before at The Great Escape and Glastonbury, Muso’s Guide was pleased to have the opportunity to chat to Blue Roses’ Laura Groves before her gig at The Captain’s Rest in Glasgow, earlier this month. Having to jettison an interview indoors thanks to the elderly gentleman, wearing his medals and a large poppy (it was Remembrance Sunday) who insisted on querying the war records of drinker’s grandfathers (no, really!) and not satisfied with was asking who had their medals. Laura chatted to us about her year, approach to song-writing and upcoming plans as well as Wild Beasts, gender roles in music and Twitter out in the wind and cold. Considering Laura had to cancel one gig before this night due to a sore throat, Muso’s Guide was very relieved that the tour was completed without anymore illness.
The Big Pink
October 14th 2009
The Big Pink are a band to be approached with caution. They tick a lot of the right boxes – cool influences, cool record label, a well thought-out image (their artwork prominently featuring the beautiful photography of Marc Atkins, handily consisting primarily of female nudes). They’ve had their fair amount of hype this year, as well as releasing that song.
Arne Weinberg - Alpha & Omega
As bassline house and UK funky emerges emphatically from London, the home of cutting edge minimal and techno is, and arguably always has been, Berlin. But while nearly all techno king pins, including the likes of Michael Mayer, Superpitcher, Ewan Pearson, and Ricardo Villalobos continue to operate out of Deutschland, one 4/4 minded German has recently made the switch to the slightly grittier climes of central Glasgow.
Arne Weinberg has been crafting delicate techno and ambient records since 2001. His record label has been an entity since 2004, and is just releasing his first full length since the relocation to Scotland. Weinberg’s exodus from the epicentre of techno will not come as too much of a surprise to fans. His brand of rattly electronica is far more akin to the producers over at Soma records – Glasgow’s premier techno label.
Weinberg’s is a thin, wiry sound with sparse atmospherics, quite alien to the warm, layered template as preferred by his contintental peers. As a consequence, and as with several albums on Soma as well, Alpha & Omega is not immediately accessible. Yet after a while you begin to familiarise yourself with the arch of its narrative, which subtly builds near the heart of the album, and then dies down to simmer at the end. Both in sound and structure, therefore, Weinberg shares more than just a passing similarity with a Scottish and Soma contemporary – Vector Lovers. But even that artist’s records aren’t as coldly metallic as Alpha & Omega. It brims with skittled hi-hats and whistly synth pads, all unfolding neatly and with little fuss. … Continue Reading
We Were Promised Jetpacks
August 21st 2009
Having heard significant amounts of hype around this band of late, this particular Muso felt it was about time to head out and check this band out live to see just what they have to offer.
And glad we were to have made that decision…
Gay Against You
When I opted to review this Gay Against You album I chose it because they had a funny name; well, there’s nothing funny about this Glasgow-based group. Not because they’re a deadly serious group who demand respect, but because listening to them is like being aurally violated by Keith Chegwin, painful and simultaneously the most annoying thing on the planet.
Incrediboy
It’s no secret that here at Muso’s Guide, we’ve got a bit of a thing for Glasgow. A city with a sense of camaraderie to go alongside its rich back-story. On our brief weekend stop a little while ago, we ran into Incrediboy and the Forget Me Nots, a delightful little ensemble led by Christopher Panks – coincidentally, one of our contributors. Aah, that camaraderie…
Formed around three years ago, Chris and and Mikey (other guitarist) “have written and played as long as we’ve known each other”. Based in the band-hubbub that is Glasgow, they’re surrounded by a wealth of unpolished talent as well as a core of “great bands that have been on the scene for ages”. According to Panks, these include French Wives, Brother Louis Collective and Zoey Van Goey – and with this exciting and consistent heart to the scene, “the difficult thing is to make it out of Glasgow”. “With these amazing bands playing all the time, it really spurs you on,” he continues. “You feel people pulling for you and wanting you to do well and it’s refreshing really, because there are a lot of scenes where bands would trample their own grandparents for a certain support slot.”
They’d describe their music as “simple folky pop tunes with post-rock tendencies… a band that could be some peoples favorite band, or at least someone’s girlfriend’s favorite band”.
Read some more here, download an mp3 at the bottom and show them some love.
How and when did you become Incrediboy and the Forget Me Nots?
“We started doing some bedroom demos and the songs sounded good but because we were like kids with new toys we fired about a million layers on, and it just didn’t sound as good when we stripped it down to play live. So we went about recruiting a backing band, for our first show we played at the Carling Academy Glasgow at a show I organised myself. Then for various reasons half the band couldn’t commit to us exclusively anymore, and we’re just getting into our stride again now, we have a fantastic new piano player and a great violin player, and it certainly feels a lot more natural I think.” … Continue Reading
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