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>> Edinburgh

So who are The Fratellis? Surely they are just a Glaswegian 3-piece band jumping on Franz Ferdiands’ bandwagon and playing edgy-spiky-art-school-music. Well the answer is clearly yes....no....well....yes...well....NO.

At times the band do sound like Franz but on speed, at other times its like the sun-drenched Beach Boys and then they flip it into the musical equivalent of Brian Wilsons head. KKKKKKYSOOOOOM kkkdaaammm kkkkkkdasshhhh.

And now its spiky Futureheads-Esq guitar funk, which is followed by; yes you didn’t guess it... bluesy, country, folk music. Aha it’s Kings of Leon.
In fact the band are none of the above, they are The Fratellis - they are, what can only be described as, Bluesy-SEX-FUNK. Franz made music to make girls dance to, the Fratellis make music to make them get down and dirty on the dancefloor.

The band have caused a stir among record companies all dashing to get a piece of the them, and quite rightly so. The Fratellis sound is fresh and exciting and they are a band certain to ‘make it big’, or whatever you kids are saying these days.

>> Jamie Crossan

>> The Ark, Glasgow
>> 22nd Septemmber 2005

Drinking in a ‘It’s a Scream’ pub is about as enjoyable as going for a pint in Macdonald’s, with the extra bright lights and it frankly shit yellow colour scheme. The word atmosphere was simply not in the business plan.

That aside, the idea of a mini festival in the aforementioned booze peddlers’ Ark branch beer garden during fresher’s week was one that exciteded me. And I wasn’t the only one, the crowds came and prepared for a ridiculous 10 band, 6 hr marathon and it looked like we were in for a fun night.

Things were due to kick off at 5pm but the bands had been given a free beer tab since 2pm so its 6pm before Aiden Mackenzie comes on. The rain starts almost as soon as the first chord is struck and it should be a warning of what’s to come as those who can’t find shelter on the patio retreat inside to the now welcoming flurescent yellow glow of the bar. Too bad for MacKenzie and Red Lines who do their best to get the party started. The rain eases off a bit as Yuffie come onstage but it becomes apparent that there are some technical problems backstage as guitars fail to respond and vocals are intermittent. The band look a little helpless as the sound man frantically runs around checking wires and switching switches.

Next up, Cumbernauld’s rock behemoths Pylot fire themselves up as the mini festival seems to be finding its feet. Spoke too soon- three songs in though the game is up as the gremlins in the sytem call for the end of play with another power cut.

Unlike Yuffie, Pylot deal with the power cut like real pros. Gareth on drums takes the opportunity to flex his Bonham muscles and attacks the tubs as singer JP starts climbing the 20ft wall next to the stage getting the biggest cheer of the evening so far. Rather than everyone filtering away, more people come out to see the maniac scaling the wall. A great bit of crowd working that saves the promoters skin as the (now fairly stressed) sound man sorts the problem.

By the time Clearfall got on stage, the running order is at least 90 minutes over. They play to an impressive crowd and despite constant complaints by the band about the onstage sound quality they manage to batter out some nice indie numbers with some interesting finger tapping by the bass player.

Allan Cassidy is next, offering a fairly nondescript performance that is easily forgotten. He finishes on a song that sounds remarkably like ‘The Fields of Athenry’, which in Glasgow is a very dangerous thing to do. No scrapping ensues, though, and despite occasional flashes of genius nothing is offered to set the performance alive.

‘Cow Punk’ is a genre that I am not familiar with but one that El Jugador embrace with songs like ‘Muff Diver’ and ‘Buckfast Song’. Very droll. At one point the frontman blows a horn and makes some incohesive announcement about a place called Moldovia and only shuts up when a member of the crowd tells him the name of the place is actually Moldova. The songs are noisy and annoying and it becomes apparent that ‘Cow Punk’ is actually another term for shite.
Thankfully, the set is cut short due to over everyone else’s overruns and they make way for headliners, Myopia, who take the stage just as the bar shuts 20 minutes early. Thankfully I had already nicked a couple of beers from the band’s riders but as I get wired in, I catch sight of two policemen out the corner of my eye, talking sternly with the bar manager. I sidle out of view with my misappropriated Tennents. Not more problems, surely?

Myopia kick off with recent single ‘She Says’, which receives rapturous applause from all. Well, all except the two afformetioned coppers who are now at the side of the stage. Rob steps up to the mic- "The police are here everyone… they want us to stop playing now. But we’re going to play another song anyway because we don’t give a shit", Rock and, indeed, roll. They launch into ‘Dancefloor’ which is predicably cut short as Ark staff storm the stage and start pulling out plugs and leads. The boos from the crowd quickly turn into cheers as Rob blesses us with his guitar. Just as this happens, I have beer poured all over my face as some over zealous bar staff member snatches my drink FROM MY MOUTH who informs me that he had to otherwise I would be arrested. Yeah, cheers for that. The perfect end to a less than perfect gig.
Rob from Myopia tells me later his take on it- "The thing that pissed me off the most wasn’t even that all of our merchandise was stolen while we were onstage despite being told that there would be a member of staff watching the merchandise table at all times. It wasn’t even that our name had been used for 2 months to advertise the gig, the thing that pissed me off so badly wasn’t even that the event was an hour behind schedule due to the fact the sound engineer waltzed in an hour late. What pissed me off more than any of the nights disastrous events was the fact that the venue DIDN’T EVEN HAVE A LIVE ENERTAINMENT LICENCE!!!!!! FOR F*CK'S SAKE!!!"

Sure, T in the Ark had all the ingredients of a good festival- power cuts, police raids, over runs, wall climbing and flowing beer. Just not in the right quantities.
Entertaining for all the wrong reasons, T in the Ark was well worth it, if not for the music then for the comedic organisation. Hopefully some lessons will have been learnt, as the idea is a good one, a little more organisation and tech knowledge could have made for a great wee day of music. Make sure you’re at the next one, providing that The Ark have the foresight to apply for a licence.

>> Paul Bamford

>> The Arches, Glasgow
>> 30th June 2005

The third arch of Glasgow’s Arches is the venue for Glasgow rockers, Capturie, for tonight. Despite the disappointing crowd the venue is hotter than a bonfire in a greenhouse and the sweat drips from the ceiling into our pints. Support comes courtesy of Soul Circus who ram their shouty, catchy pubrock forcibly down our throats without apology leaving us to tend to our bleeding ears before the next act take the stage. Also supporting is The Statler Project who manage to do a good enough impression of Kasabian to muster a toe tap but still the songs are forgotten about as quickly as they probably took to write. And the singer is a tw*t.

And so to the main attraction who take the stage and launch straight into title track of their debut EP, ‘Mentality’. This band are LOUD. An incredible amount of noise comes from this little three piece, and drummer Scott Cowie instantly impresses with some top notch fills and strong timekeeping. James Mcarthur’s solid bass and wall of sound guitar completes the sonic battering ram but it’s the vocal that lets it down a tad. It sounds as if vocalist Steve McLuskey isn’t altogether prepared and the voice on the first song sounds a bit strained. Imagine someone singing whilst on the pan squeezing out some reluctant brown babies and you’re just about there.

‘Dying Inside’ shows a bit more promise with some real moments of stadium filling quality but still the vocals are a let down sometimes sounding like he is reaching a little further than he can manage.

The band have some great riffs and ‘The Need For What’ has some that Metallica’s James Hetfield would approve of. In fact, he would probably go round their house with a lawyer and take away their PC at the same time
‘Never Easy’ is satisfyingly uncompromising with switching time signatures and some good loud-quiet dynamics that perk the attention of some bar loiterers who come around the corner for a better look. With a massive anthemic chorus, this is the track that stands out from the rest.
‘Subject Matter’ climaxes with an impressive display of Cowie prowess on the tubs, displaying as he does some real talent for technical tricks and flares. Perhaps overly technical for the non muso crowd but impressive nonetheless.

The set closes with ‘Get Out’ which is a storming heart attack of a tune whose rapid bass runs and drums grab the balls (and ovaries) of everyone watching and don’t let go until they leave the stage.

The band feel as though they still have a wee bit to go to take the step up from bedroom angst rockers to world conquering metalheads although they definitely show some promise of doing so.

>> Paul Bamford

You can find out more about the band at http://www.capturie.com/

>> Nice N Sleazys
>> 23rd October 2005

One records sure are doing things the right way. As well as El Presidente being F*CKING EVERYWHERE with their album being released a few weeks ago, One records have signed three of the most promising young bands in Glasgow – Drive By Argument, the Flying Matchstick Men and Fickle Public. As I arrive at Nice N Sleazys and eventually get to the front of the enormous queue, the guy on the door writes the word c*nt on my hand instead of the usual crummy hand stamp. I can tell that this isn’t any ordinary Sleazys gig, and these are not any ordinary bands.

Drive-By open the show with their usual swagger (slightly curious as to why they are starting the show, I later find out that this is because most of their loyal fans need to get the last train back to ayr), and already start to show more maturity than the fragile band I saw a few months back at King Tuts. Songs like Eye Fish Star Fish Eye, and Most Guys Can’t Dance, I’m Not Most Guys (blimey…) stand out from the polished set, and Drive By Argument now appear ready to take on any crowd and on any stage.

As far as stage presence and stage performance go, I honestly cannot tell either way. The combination of the huge crowd and annoyingly placed pole just in front of the stage makes it impossible for me to see anything at all, except the odd glimpse of bass player Ryan Drever’s head as he throws himself around the stage with that I’ve-just-climaxed look on his face. But I’m guessing, like all of us, that he’s just enjoying the music.

I’m sure I’ve said this hundred's of times before, but the standout song yet again, is Lower Your Pieces. I dare anyone to try and write a better melody line than this. Its just a fantastically well written song that evolves like – I could easily write some sort of pretentious, w*nky sounding simile here, but just trust me on this one.

The set closes with another stormer, debut single Sex Lines Are Expensive Comedy – released on the 7th of November. Seemingly on repeat on every radio station in the land, it has been described by Zane Low as the ‘future of Scottish music’ and on tonight’s evidence, I can see why. They are, without doubt, the most exciting band in Scotland at the moment.

And so to the Flying Matchstick Men. A disco rock 5-piece that are possibly the only local band in Glasgow who could follow Drive By Argument after a superb show like that. If you haven’t yet experienced the FMM then you’re in for a real treat. Front man Graham ‘f*cking’ Peel (his words, not mine…) is an absolute star. As much a comedian as he is a singer, he is the complete entertainer and with songs like Duvet and All Your Secrets getting everyone in the mood for some sleazy dance moves, they cap a storming night of local talent.

Expect huge things from these two bands next year.

Two of the best bands in Scotland.

Joe Sach

Online:
http://www.drivebyargument.com/
http://www.flyingmatchsticmen.com/
http://www.onerecords.co.uk/

>> Glasgow Barrowlands
>> 19th October 2005

It’s The Edinburgers versus The Weegies, The Snobs v The Neds, The Yas meet The Chavs. Stereotypes aside, Carling’s East meets West showdown is a battle of the bands like no other and tonight the ‘Westside’ are getting in about it. Of course, there are the standard sweaty teenagers, snoggers in the corner and girls being comforted by embarrassed pals as they spew up that ‘final vodka coke’. Don’t be fooled though, tonight is serious. Tonight is more than just a chance to get laid or prance about on stage for half an hour. Tonight is a real opportunity to impress and for the lucky few, a chance to kick-start their journey to stardom. Some dubious middle aged people linger around the edges of the crowd meticulously analysing the moves of each and every band. Most likely to be proud parents, there is always the chance that EMI have dropped in to check out what Scotland’s got to offer in the form of new talent.

With slight trepidation Send For Walter enter stage left. Being first up on a night like this is never easy and it isn’t until late in their set that the three guys and a gal from Ayr get into their stride. Nervously they stumble through their opening tracks and only some Sons and Daughters-esq harmonies save the early moments from being instantly forgettable. It may be nerves, however you get the feeling there is something missing from their sound. At their best they are a gritty Supergrass with nods towards Jefferson Airplane, but the feeling lingers that they really need an extra guitar or some more imaginative synth parts to fill out and innovate their sound. Coming to the end of their slot, the band noticeably relaxes and impresses with the thumping ‘Running Out’, an angry cross of Small Faces quirkiness and Kings of Leon confidence. Final track, ‘Only When It’s Dark’ is just as promising however still there is an immaturity to Send For Walter that taints an otherwise tuneful and melodic show.

Immediately it is abundantly clear that Kobai are a little different. To a monkey-like chant of ‘Kobai’ the six Glasgow boys jump head first into their aptly named opener ‘Serotonin’. A Kasabian meets The Music classic, within seconds Kobai establish themselves as the band of the moment. Style and self-assurance pours from the hairy, model types and it’s hard not to cynically suggest they are the work of the record industry production line. Cynicism firmly out the window, second track ‘Shattered’ gives no breathing space as they tear through an edgy and brash guitar fuelled romp akin to Funeral for a Friend (minus the yelping drummer). Alacritous drumming, psychedelic synths and pounding bass lines continue to blow the onlookers collective mind as Kobai plough through two more tracks that would easily revitalise The Cooper Temple Clause fading career. Electro madness follows as long haired duo Chris Jarvie and Ross Hinton bear down on the synthesizer. ‘170’ is a track so fresh and innovative it’s a real surprise Soulwax didn’t write it first. A welcome break for the knackered performers comes in the form of ‘Undone’, a slow almost 80’s sounding electronic amble where petite vocalist, Ross Hinton is left in the limelight to carry the hallucinogenic, spacey mess. It’s the combination of musical simplicity and complex masterful synths that makes Kobai’s electro-dance rock so appealing. And it couldn’t be more showcased than in their closing track ‘Uber Techno’ which spews innovation and originality all over the now sweaty and slightly bedazzled crowd. Slightly stunned, we all return to reality where unsigned bands just simply aren’t this bloody good. Kobai are sure to be playing in a small shady pub near you soon, catch them before the record labels do.

What’s worse than trotting on first is being billed after a band like Kobai, whose power and energy is sure to intimidate any established act never mind an unsigned one. Forgotten Sunday however aren’t fazed and start their set with just as much vigour and passion as their predecessors. Touting an emo fuelled, punked up sound, Forgotten Sunday pile through a couple of heavily US influenced tunes akin to Taking Back Sunday or Rival Schools. New track ‘Sign of The Times’ is fairly bog standard lacking in inspiration and diversity. Not much better is ‘Remember Me’ which starts promisingly with a haunting picked guitar riff, only to predictably descend into a bit of a distorted dirge. It’s not that Forgotten Sunday are a bad outfit. In fact, their technically sound, have plenty of catchy expressive melodies and great quiet/loud dynamics, they’re just on the wrong side of the Atlantic and a few years too late. They’d find far more success and critical acclaim in Dallas than Drumchapel. It’s music for the middle class, confused, angsty teenagers who believe the world is against them and music is their only salvation. It’s music a lot of us struggle to relate to and in many ways there’s nothing hugely wrong with it. It’s just so inoffensive and so basic, it verges on being ironically ‘forgotten’.
From their set up it may be forgiven for anticipating a Coral tribute band when faced with Nothing Yet, the last act of tonight. Thank god they’re not. Brimming with over confidence that touches on arrogance they crash into their opener only to be stopped short by the lack of bass. Bass plugged in, they produce a fairly unfocused noise of spiralling electrics, funky bass and incoherent vocals. It’s a shaky start however Nothing Yet show some promising early signs. As their set progresses, they become tighter and the keys are a welcome addition providing Muse-like riffs at times. Psychedelic, acoustic driven ‘Here we are again’ is the highlight perfectly illustrating the bands ability to integrate quiet/loud dynamics and still manage to produce a listenable melody. Still there is the feeling however that Nothing Yet are attempting to cram too much into each song producing a pleasant enough noise but one that lacks direction and focus.
It’s Kobai who are The Lick’s winners tonight but really, what do we know? At the time of press, the victors had yet to be announced however from here they will progress to the regional then grand finals where £1000 of studio time is up for grabs. Whoever’s victorious, we should all get our arses in gear and support Glasgow’s hopefuls. I mean we can’t let those east side poshos win now can we. Westside.

Godfrey McFall

>> Nice N Sleazys
>> 28th September 2005

Devoted listeners to Jim Gellatly’s brilliant beatscene show on Beat 106, may not need an introduction to this lovely 5-piece from the East End of Glasgow. Formed in 2002 and with more line-up changes than the Scottish footy team, the Mandrakes have now settled down and started to create some great tunes.

Ask any A&R man for advice on how to make it big in the music business and they will most certainly reply with the following answer: write hit records. Easier said than done you may say, but as the Mandrakes open their set at a typically smoky Nice N Sleazys, opening song The Camel Tree, suggests that the Mandrakes may have a potential one in their armoury. A brilliantly written track about everyday life, that lyrically flattens the mood of the listener whilst lifting them up with a soaring melody line at the same time. Aired quite a few times on the Beatscene, the crowd definitely enjoy what they’re hearing and even if the live show lacks a little something, the Mandrakes set the tone for a cracking set.

We Will Fall is another stand out of the set, with vocalist Gary Beattie’s very distinctive voice becoming more and more influential in the Mandrakes sound. Although the band are obviously a well-oiled unit when playing live, the gap from playing live to performing live still has to be bridged. With only bassist Alan McKechnie really looking like he feels what he is playing, there is a certain stiffness within the rest of the band.

However, I’m being picky and nothing can be taken away from the very strong songwriting. It’s just that so often with local unsigned bands wanting to pick up new fans, you have to get people to watch before you get them to listen. And if they listen, chances are they will love.

>> Joe Sach

On The Web: http://www.themadrakes.co.uk/ or www.myspace.com/themandrakes

>> Barfly

Stumbling into the lager-sodden-carpeted Barfly, 20 mins late (as usual), I only manage to catch the end of Cobra Grande, a non-offensive, trendy hair-cutted indie outfit, but am not overly concerned, because next up are Kobai, a six piece electro rock group from Glasgow.

I recieved a demo from Kobai six months ago and was totally blwn away by their diversity and lacfk of desire to cling to the coat tails of 'Raising Kain' or jump on the Dohert-esq smackwagon and actaully have a stab at originality, a trait all too rare in the current Glasgow music scene.

They open with the beautiful 'Undone', flooding the room with haunting vocals and a rythmic ambiance created with the help of delicate keyboard and a hypnotic beat. Next up is 'Seratonin', an untterly danceable belter, synthesized rythms, heavy crubching guitar riffs, explosive beats and a dirty as fuck climax, a clear crowd favourite with the Kobai army of fans. I find 'Shattered' a bit of a non-ground breaking offering, certainly not bland, and maintains the crowds attention and then finds its self being totally destroyed by 'Electronic, another dance infused number, delivering us a wee adrenalin rush and an inability to keep the four limbs still. 'Blinded' is a song that really stands out. Its a sleazy fucker with an obvious influence from The Music, complete with menacing Kasabian-ish attitude and contains more hooks than me nan's crochet bag. The strange Primal Scream/Soulwax hybrid batter through the pulsating set and finish on 'Uber T echno', a hard hitting, energy oozing rave like song(complete with cowbells!) and has the Kobai boys working up a sweat you can almost taste (which I did, but thats another story), no vocals for this one, just fully blown rocking out. The genre-defying boys leave the stage all too soon, making way for touring headliners 'Souldrive' , heavy rock with more than a salute to 'Metallica'.

Laurie MacMillan

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