Lick Online - Live

Robots in Disguise

2007-10-22T14:23:00.000Z

Firewater, Glasgow, Friday 19th October

Belt buckles like red glowing departure boards? Metallic capes? Hair cuts you poke your own eye out with? Is this nu-rave? Spacelectro pop? Synthtastic sky-gazing? In all honesty, I think I may have arrived a year or two late to really contemplate or pin down the intergalacticality of it all. But whatever the fuck Robots in Disguise are, I'm certainly intrigued by them.

Dear friends and some time bandmates of Mighty Boosh cutie Noel Fielding, the rather elfin and ecstatically gorgeous Sue Denim and Dee Plume make an explosive combination when placed on stage behind a set of microphones and amplifiers. Opening with crowd pleaser DJ's Got a Gun, a synth heavy romp not dissimilar to the work Brazilian counterparts CSS, these two marionettes yelp and pout as if the Slits are sat up above pulling at their strings. They shine particularly on Turn It Up, which packs a much fuller live punch than the more subdued recorded version, and by the time Girl comes along they've literally got the place falling apart. I've never seen Firewater rubbing its tummy quite like this: packed wall to wall by a swelling crowd which becomes so enthused by its favourite DJ duo that the monitor desk and main PA speakers are precariously knocked swaying from their supports.

Having only just come across their music, I couldn't have asked for a better, or more brazenly eventful live introduction to RiD. Be sure to shake hands with them when you get the chance, they'll leave you sweaty palmed and starry eyed!

New single The Sex Has Made Me Stupid was released on 15th October and is supported by numerous live dates, which can be checked out at www.myspace.com/robotsindisguise.

> Vicki Cole

Jakobinarina

2007-07-17T17:33:00.000Z

King Tuts, 11th July 2007

Last week, an enthusiastic King Tuts audience was fortunate enough to witness Iceland’s latest musical export take to the stage in a support slot for Cajun Dance Party. To be honest I came to the gig as blind as a bat, having never previously listened to these energetic boy wonders. I was in for a rude awakening, however, when a decidedly youthful Jakobinarina finally flooded the stage.

Armed with some potentially electrifying hits such as ‘17’ and ‘Jesus’, the six piece delivered a highly entertaining set full of catchy hooks and sing-along choruses that managed to get those in attendance bopping about in no time at all. There were moments where the band’s influences shone through, particularly on ‘This Is An Advertisement’, which at times presents noise punk credentials that call to mind bands like The Cramps.

With a highly impressive SxSW appearance already resting under their six adolescent belts, and having been tipped for the top by Rolling Stone magazine, whether or not this power pop Vikingmobile will implode on itself before they hit the top remains to be seen, but they’re certainly notching up the tunes, the looks and a growing number of devotees that might just establish them as one of the most important bands of 2007.

> Andrew Mitchell

San Sebastian

2007-05-28T12:49:00.000Z

King Tuts

San Sebastian have got a magnetism that is hard to ignore. Closing the second night of T Break, their alluring and ambient sound was a refreshing alternative to the raucous bands that had come before them.

Lead vocalist Niall Gahagan’s whispery vocals and moody aura draw you in like an almost supernatural force. “La Beat Humaine” vividly captures the unconscious by combining a wall of distorted sound with harmonic interludes, which then catapults fiercely into a breathtaking rush of guitar riffs, adding a fascinating dimension to the track. The truly spellbinding “This is Modern” also stands out, with its triple vocals replicating melancholic lyrics above mesmerising drum beats.

Bass player Mark Stansfield has a particularly captivating quality, enticing the audience with his seductive scowl whilst also providing a cool dynamic by way of some sensual arpeggic lines. The only flaw I can really identify is a slight lack of charisma, which may prove problematic when they try to capture wider audiences. The band could also do with cutting the length of some of their songs, as some tracks start promisingly but get lost en route, leaving the crowd wanting something more. But make no mistake, San Sebastian have a unique essence and style that is hard to come by these days.

> Andrea O'Neill

Cardiac/Baillie and the Fault

2007-05-28T12:18:00.000Z

Capitol

According to a 'psalm of life' that I found on Google, enthusiasm is a choice. Playing to an almost empty Capitol whilst retaining the high spirit you have when you're going down a storm in a packed King Tuts certainly testifies to that. Although Mike Baillie's band (who have recently been name YourSound's artist of the month) may have lacked a certain - I hate to say it - X-Factor, you couldn't fault his charismatic stage presence and strong love of live performance. The comparisions to Snow Patrol are obvious and will no doubt be endlessly pointed out as the band progress. However, Baillie and the Fault don't come across as little boys aspiring to imitate their favourite band, but rather as a group of talented musicians who write similarly melancholic, affectual songs.

The aforementioned X-factor may have been missing but their set was never once boring, and the presence of Union of Knives singer Craig Grant towards the end of the show only added to the band's appeal. After an extremely lengthy changeover headliners Cardiac arrived on stage. The wait didn't seem so bad though as the Glasgow three-piece confidently burst into their set with minimum fuss and maximum impact. Their loud, aggressive approach came across very well in the small space and their superbly delivered harmonies were spot on. Cardiac are clearly a band who enjoy their music, and it shows.

Words: Ben Harrison
Photo: Malcolm Cochrane

Amy MacDonald

2007-05-28T12:12:00.000Z

King Tuts Wah Wah Hut

One ticket, one guitar, one local lass and several hundred Glaswegians crammed into an iconic venue makes for a pretty good night. Amy McDonald, at the ripe old age of nineteen, gives a mesmerising performance that suggests she might be the next big thing to come out of a recently prolific Scottish music scene. Taking to the stage with an air of confidence beyond her years, she made it clear that she has both talent and a bright future ahead of her.
A mixture of talented song writing, intelligent guitar playing and a deeply soulful voice combined to give Amy an added advantage in an industry that increasingly churns out an abundance or maufactured pop belles. It is heart warming instead, to see someone with a genuine personality that shines through in all of her songs.
After a small technical hitch, Amy opened with the infectious "This Is The Life", a mixture of acoustic country and indie undertones. Fan favourite "Poison Prince" was next, which combined a rampant riff and a pacey beat, cementing it as one song that should certainly be looked out for at T in the Park this year.
Halfway through the set 19 year old Amy performed "Footballer's Wife", a commentary on today's media saturated culture, which adeptly showcased the innocence of the Scottish Starlet. Throughout the gig you felt like you were being let in on a big secret, similar to the way many fans felt whilst watching Amy’s heroes Travis perform similarly about 15 years ago.
After a rousing applause Amy reappeared to give a unique rendition of "Mr Brightside", a quirky adaptation that was complimented by both her deep soulful voice and the soft acoustic tone that rung out from her lonesome guitar. This summer sees Miss MacDonald embark upon a monumental tour in support of her debut album, which will no doubt make her a huge hit at T in the Park and beyond.

www.amymacdonald.co.uk

www.myspace.com/amymacdonald

Words: Scott Mullen

Photo: Neil Milton

T Break Rundown

2007-05-19T15:24:00.000Z

King Tuts

As the saying goes good things come in threes. Red Snowman, Kobai and Radars were the trio who lit up and subsequently destroyed the T Break stage at Tuts.
A truly eclectic mix of bands performed for a strong crowd of indie snobs, spotty teen scenesters and industry hacks over the three nights, the majority having refined the art of blagging to get this far.

Refined, however, is not what you would dare call Red Snowman unless you want to end up with a fist full of metal for your sins. These guys make System of a Down look like Travis on a comeback. With a raw energy that brings head banging hard rock back from the dead, they match thunderous riffs with bass lines that would pound on hell’s door. The quintet exploded into a veritable barrage of lengthy songs, but fatigue never set in as they attacked both senses of sight and sound with Americanised guitar showmanship, melodically infused in angry ecstasy. If they don’t get through, I’ll pitch my tent next to the portaloos.

Closing the first night were former finalists Kobai who habitually endeavour to
unleash a thorough assault on your highest morals. The spine-tingling sextet’s intoxicating sound appeals to the new indie/rave generation, mixing synth-based heavy guitar licks with pulsating acid-tinged electro beats - think Aphex Twin and Biffy Clyro’s love child. They have linguistically matured and radiate a confidence that only manifests in rocks highest authority. Complacency will never touch the surface with this band, they have balls and they’re not afraid to throw them in your face. If you want your weekend to be full of dirty techno dance debauchery, let’s hope these reckless rave rockers will be there.

Radars initially sounded like they were also available for weddings. But the charming onstage charisma of larger than life front man Mick Radar, and the jaunty stylings of their refreshing sunshine rock melodies rapidly began to make some serious waves. Their jerky pop balladry was welcomed by the weary crowd who had suffered through a pedestrian night, until now. Supported by great backing vocals, Mick orchestrated the audience like an urban poet signalling what the story was behind each song. This isn’t your average middle-of-the-road pop rock, they have something to say and know just how to do it. In their words judges, “Rock is not your enemy”.

Bands that deserve a mention are Theatre Fall who take Weird Science to the stage, combining electronics with grungy guitar hooks. Their youthful musings are transmitted through dual guitars and electro pianos and a hilariously passionate display of facial aerobics. “We were transformers” was technologic.

Fiction/Action have potential to be great but have yet to discover their niche and are let down by their lead vocalist, whose Mike Skinner impression doesn’t gel well with the music. An “18th Century Poet” he is not.

The tranquil lullabies of The Moth and the Mirror were truly alternative. Watch out for them.

The rest were social squanderers who couldn’t even pack a punch in a gay bar. The Cider Spiders - a poor mans Kings of Leon, and The Cuts were the Fratellis in disguise. Why do all Paisley-bred bands insist on sounding like indie-pop pretenders?

Words: Andrea O’Neill

Photos of Fiction/Action: John Summers

The Cinnamons

2007-05-09T14:41:00.000Z

Nice N Sleazys with Meursault and Sweaterlife

First up tonight we have Glasgow’s emotronic kings Sweaterlife. I have watched Sweaterlife numerous times this year already and they are shaping up to be a great live act. With tracks such as ”If This Is The Last Time” and “Techno Techno Techno” they have an abundance of melody that is hard to ignore. In time, when they find their “on stage banter” feet they will become all the better for it.

Next up is Edinburgh based Meursault, or rather a third of the band. Its just lead singer Neil Pennycook who graces the stage tonight, treating the crowd with his acoustic based tales of woe. It is safe to say that he has won many admirers since last year's T Break final and certainly added a few more this evening.

Tonight is the first chance for Glasgow to bear witness to the transformation of the Cinnamons from a bedroom recording project to a fully fledged live act, and the switch is somewhat seamless. While the set is a short one it is equally as sweet, treating a now busy Sleazy’s to a half a dozen well crafted pop songs.

From the superb “Analog Man” that sticks in the mind well after the set comes to an end to the Stone Roses-esque “Armed Robbery”, the Cinnamons have a knack for penning truly catchy and memorable tunes. Too often a band will over stay their welcome on stage and will pad out the set with filler, but the Cinnamons mean business and exit stage leaving everyone wanting more. It remains to be seen when The Cinnamons will venture into the live arena again, but I can only hope that it will be at a venue near me very soon.

www.myspace.com/thecinnamons

> Andrew Mitchell

The Ideal Panic

2007-05-09T14:26:00.000Z

Maggie Mays

Taking the stage like a gang of pop divas, The Ideal Panic kick off their set with “Say!”, a blistering slice of snarling Rock ‘n’ Roll that is coated in swaggering attitude.

Maggie May’s in Glasgow is the scene chosen for the launch of their next single, “Precious Things”… and a precious evening it turns out to be. With support acts that tick every box in the NME checklist, attendees of this gig may be expecting a band layered in the current “Glasgow” sound, singing of drunken nights with beautiful girls and such like, but fortunately The Ideal Panic harbour a saving grace: they’re actually from the Shire (or Ayrshire, for the uninitiated).

“Say!”, the set opener, is fortunately nothing like the next Fratellis’ single and serves as a splendid way to begin the evening, setting the bar for the rest of the night. The Ideal Panic are one of those bands that as a musician you wish you had been part of, because their songs just resonate with crafted songwriting. With a rhythm section as tight as your average pop band and hooks that could topple a stack of “Now That’s What I Call Music…” compilations, its hard to understand why a band like The Ideal Panic haven’t started doing afternoon television appearances or something of that sort.

The band, whether they know it or not, have got more pop in them than all the Mikas and Lily Allens put together; pop being defined as a mix of catchy melodies, charming vocals and lyrics, and a cohesive sound that you can’t help but admire. And for all their pop similarities, The Ideal Panic are a strongly independent unit, releasing their singles (previous single “I See Too Much Of Myself In You” included) through their own iWant record and publishing imprint, which allows fans to construct their own “perfect album”. Each single is backed by two album tracks, giving fans the opportunity to put together the running order as they see it: a task which I’d find extremely hard since all 6 tracks released so far are of single quality.

Previous reviews have likened the band to The Doves, The Smiths, and Razorlight in their hay-day, which does seem like lazy journalism, but unfortunately, (or fortunately, whichever way you look at it), The Ideal Panic are a tricky band to describe, and trying to do so just undermines their originality and potential. In an ideal world, The Ideal Panic would be as big as the aforementioned Razorlight, minus the cocky swagger and 80’s pop replications they call singles. I guess time will tell, because it’s certainly on their side.

Cliché? Tick.

www.myspace.com/theidealpanic

> Ben Pomphrett

Electric Soft Parade

2007-05-01T15:29:00.000Z

Mon 23 April, Oran Mor

Opening with a thunderous instrumental number, Electric Soft Parade announced their arrival at Glasgow's Oran Mor in truly ear bleeding fashion. Driven by brothers Tom and Alex Whites’ harmonies and at times three guitar assault, ESP’s power pop is given a heavy dose of grit and bite live. More so than on record, the band reveal their heavier influences, and their performance at Oran Mor left the punters satisfied, balancing thrashy rock numbers against piano-led ballads. Deciding a couple of songs into their set to play their new album in its entirety was a brave move, but with catchy, bouncy tunes and buckets of good vibes and banter, the band didn’t lose the crowd at all during their ninety minute set. Although they didn’t manage to play every song from the new record, they got close, with standouts being No Need To Be Downhearted Pt 1 and If That’s The Case, Then I Don’t Know.

Refreshingly for an indie band, ESP were all smiles throughout the night, and even had to stop at one point to wait on their drummer as he collapsed into a fit of giggles. With a feeling of joy that shamelessly infectious, and the band behaving as enthusiastically as the crowd, the name of their new album - No Need To Be Downhearted - seems decidedly fitting.

Released the same day as their Glasgow gig, Lick Magazine made the most of the occasion by catching up with Alex and Tom for a quick chinwag before they took to the stage.

Hi guys, how the hell are you?

Tom: We played a Fopp Instore today to minus four people. It was okay though.

Alex: Yeah, you’ve got to just play through. It’s not our fault if people don’t come. We just write our songs and if people come, they come. What are you supposed to do?

Find them and hurt them?

A: [laughs] Yeah, seek them out.

So how is the tour going so far?

T: It’s going well. We played a place called Dunning last night. It’s in the middle of nowhere, up in Kinross. But it’s been good. We spent a few days in a studio up there. It’s been great. We had a couple of gigs in Dundee and Aberdeen, which were good as well.

So what’s Glasgow like to tour? And be brutal….

T: Oh mate, it’s good man.

A: Tom’s girlfriend Kirsty lives here, and my ex fucking girlfriend who just broke up with me today lives in Edinburgh. Sorry about that. Anyway, we love coming here and through the years have always had good shows here. It feels like a homecoming gig without having the pressure of knowing your mates are in the crowd and stuff. There’s always that triumphant vibe. I don’t think we have ever had a really bad show here.

T: We had a really nice show up here last year in Brel. An acoustic thing.

A: We played the Barfly before that. Our drummer Priesty wasn’t around, so we played like we used to; with me on drums, Tom singing, and our bassist; as a three piece. Me and Tom used to swap around and stuff.

What’s the response been like to the new tunes?

A: Brilliant so far.

T: It was good in America when we went over to do South By Southwest.

Speaking of which, how was SXSW?

T: It was alright, but we went to do some shows after that on the west coast, in LA and San Diego. San Diego was very good, probably one of the best shows we played this year.

A: It’s funny because we listen to lots of American music and then you get out there and people who live there are like, “You’re great!” It’s like, fucking hell… that’s amazing.

T: And we were basically a new band out there because we never got to go over for our first two records. Our first label never got us out there. The Human Body EP was the first thing we put out in America properly and then this new record. We’re going to put out a compilation of the first two albums too.

You self produced your new album. Was that difficult? Was it kind of like being in class without the teacher there?

T: [laughs] It was kind of like that. We have been in enough studios with enough producers and engineers running the desk and operating Pro Tools. Recording on reel to reel is just more and more expensive. We basically just figured out how to use Pro Tools in the first couple of weeks and it was just a process of elimination really. We have always recorded at home and stuff. We were using Truck, our label's own studio, so it was ultra cheap. It meant we could actually spend time working out what sounds good and dicking about with the mics and stuff.

That must have allowed you a lot more freedom, not having to answer to anyone but yourselves.

T: Yeah. The way the label works, it’s not your usual A&R setup in the way that a label like BMG works. It’s very fucking relaxed, you know. Robin, from the band Goldrush, he basically runs Truck and it was unusual because we had never been in the position where a label had signed us because they had genuinely liked what we did, and didn’t want to fuck with it and just wanted to release it… which was amazing. We expected to deliver the record to them and for them to “umm” and “ahh” about it for six months. That’s what has always happened in the past. But it was similar to how we worked with Brakes and Rough Trade. It’s a similar setup.

Electric Soft Parade’s new album No Need to be Downhearted is out now.

http://www.electricsoftparade.com/
www.myspace.com/electricsoftparade

> Ally McGurn

We Were Promised Jetpacks

2007-04-25T12:49:00.000Z

Nice 'n' Sleazy

On their MySpace, We Were Promised Jetpacks maintain that they sound like “Bloc Party crouching on their knees behind Biffy Clyro, about to be pushed over by We Are Scientists and The Strokes”. The likelihood of this was on a par with me becoming the next Mrs Johnny Depp…and I wasn’t mistaken.

Hailing from Stirling, the starry-eyed sophomores were clearly deluded, attempting to juxtapose their varied but admirable musical influences with a sound that was as dispiriting as their city. If front man Adam Thompson tried as hard with his vocals as he did with his hair then they would at least have reached the starting block.

Guitarist Michael Palmer, on the other hand, was in a league of his own. Sporting an afro that would out shadow Beth Ditto, he commanded the set and thrilled the crowd with his extraordinarily hypersonic riffs. Lighting up the stage with enough energy to power a whole town, style and self-assurance poured from Palmer as he launched into his rapturous composition. On drums Darren Lackie sometimes struggled to keep up the pace, briefly losing one of his sticks, but swiftly managed to get back on the beat.

Although the majority of their songs failed to strike a chord, “Small Talk” and “Let’s Call This a Map” were highlights, the latter combining heavy angular guitar layers with catchy melodies and jazz undertones. Although they had a fair amount of support, ergo leaving the audience suitably satisfied, I left wishing I really had been promised a jetpack.

> Andrea O’Neill

Young Knives

2007-04-21T12:24:00.000Z

Glasgow QMU

The Young Knives are not your typical indie-pop trio. They seem to have skipped a few stops on the road to indie cool, resulting in their image of geek chic (without the chic), ignoring the typical drain pipes and styled hair of present factory made scenesters. But it’s not just TYK’s style that is quirky. What other band can claim to have a guitarist who goes by the name of The House Of Lords?

Kicking off the night with the driving drum beats of Part Timer - the first song from their album Voices of Animals and Men - The Young Knives certainly start as they mean to go on. The Oxford trio’s signature left of centre pop sound is a sure crowd pleaser, and after seeing them play live it becomes evident that the boys are no spring chickens when it comes to touring. Their confident between-song banter coupled along with their magnetic group dynamic makes for an atmospheric and well executed live show. Adding to the performance is an epilepsy inducing light show, which is worth a look if nothing else (unless you are actually epileptic... then it’s probably best to just stay home and listen to the album).

Clear harmonies ringing out over bouncy guitar riffs: that’s what really sums up The Young Knives. The catchy Here Comes The Rumour Mill takes that extra leap and forces the crowd into fits of eccentric, energetic and almost spasmodic dancing. Although not particularly ground-breaking, The Young Knives at least rise above that all too familiar generic style that is so commonly paraded amongst this dilapidating genre we call indie.

> Michael Tod

Strumadum

2007-04-21T12:12:00.000Z

13th Note, 18th April

What’s better than rocking out, I hear you ask? Rocking out for a good cause, that’s what. Just as The Clash did, when they played Rock Against Racism in the late 70’s, or a couple of years ago when REM and Bright Eyes played the Rock For Change tour throughout America, music events and charity have gone hand in hand like two nervous adolescents. Glasgow’s 13th Note was the venue for another of these historic events, albeit on a slightly lesser scale, as students of Paisley University hosted an event to raise money for the Schiehallion Ward at Yorkhill Hospital. And what could have been a sloppily constructed musical love-in by a bunch of stoned teenagers turned out to be a well organised, interesting and most of all, enjoyable night.

After a last minute drop out, proceedings were kicked off by a solo set by Alex Sakulin of Black Tie Affair. Handling himself well with little time to prepare, he got feet tapping using only his keyboard and voice. Without the backing of his bandmates, his sound was a little thin, but he was able to hold the room’s attention, thanks to his song ‘Big Love’, which warns drunken lads of sleeping with “the fat girl in the corner”. Wise words, Al.

Up next was The Mrs, three ladies armed with only an acoustic guitar and a world of heartbreak. Enchanting the crowd with husky tales of misplaced love and boys who messed them over, they brought a gentle hush over the room. Lead singer Michelle Low's silken voice added power to her deeply confessional lyrics, whilst guitarist Audrey Tait lent her deeper, more fragile tones to some of their slower songs. Third member Jennifer Muir joined in for some great three part harmonies, adding another dimension to the each track.

After the raffle, where two lucky sods walked away with a home phone from Bang And Olufsen and a Yamaha guitar, it was time for tonight’s headliners, Pilot Episode. Anyone hoping for a nice face melting guitar solo was left disappointed, as the band decided to play a more stripped down acoustic set. Lead by charismatic songwriter and frontman Craig Ward, the foursome rocked nevertheless. Without the wails of the guitar, the bluesy roots of the songs came to the fore, displaying Ward’s songwriting talents. Apart from the slight setback of an out of tune bass, the band found their feet and by the time they played southern fried ballad ‘Here She Comes’, they had the crowd of friends and fans nodding their heads in unison. Wards’ banter in between numbers kept the crowd entertained, and by the end of the night the punters walked away satisfied in the knowledge that they had heard some good tunes and helped out a good cause.

www.myspace.com/pilotepisodemusic
www.myspace.com/blacktieaffair_music

> Alistair McGurn

Piano Bar Fight

2007-04-19T15:18:00.000Z

King Tuts, 15th April

On the Tut’s monthly flyer, tonight’s gig was advertised as a Succioperro one. The crowd however was a mixed bunch of people who were there to see not only (or not even) Succio , but also support bands Orko and Piano Bar Fight. It is easy to see that all the band members are mutual fans, watching each others' sets and selling each others' merch, and by wandering through the crowd you could pick up nuggets of peoples' like/dislike conversations with regards to each band.

Although I have seen Piano Bar Fight several times before, they are one Glasgow band that I always enjoy watching. Not everyone kisses their arse, which is rather refreshing, and I got the impression that there were as many people watching them that don’t like them as there were that do.

The non fans couldn’t say they were a bad band though, because PBF are great at what they do. Each performance incorporated scatty yet mesmerising dancing from vocalist Sean Cumming, who sings his naturally poetic lyrics with a resonance not too far from that of Morrissey. Making use of stripped down guitars and bass (although some of their absent and slightly more serene songs also tick the ambient box) Piano Bar Fight's overall sound tonight seemed kind of Rapture-ish, at least in a rhythmical sense. Saying that, maybe I just hear them everywhere so everything starts to sound like them.

Despite some crap tuning and typical Tuts sound fuck ups, from a few songs in and until the end of their set, PBF pulled off their usual energetic yet charmingly unpolished performance, and attracted joyful applause from most people in the room.

www.myspace.com/pianobarfight

> Kim Miller

The Sounds

2007-04-19T13:35:00.000Z

King Tuts

The Sounds - a modern day Abba for the more discerning punk rocker - went down a storm in Glasgow this week. Fronted by the beautiful Maja Ivarsson, the Scandinavian group took the stage to be greeted by a sold out King Tuts crowd.

Starting with ‘Painted’, an upbeat track with new wave undertones, the band quickly cemented their sonic presence as dance pop masters. As the night went on, the large crowd seemed to get more and more into the band’s energised electro/punk beats, which transformed Tuts’ minimal amount of floor space into a vast sea of bouncing heads and raised hands.

Half way through the set the band launched into ‘Tony the Beat’, a highly sexualized rock anthem that allowed the band to show their true colours. The song itself is a perfect example of everything that a good pop song should be: catchy, sharp, lively and ridiculously infectious.

What strikes me most is the The Sounds’ remarkable resemblance to Blondie, not just because of the look of typically Swedish belle Maja, but also because of the funky sound that is generated between their snappy lyrics and crisp beats. The band (who have recently featured on the soundtrack for ‘Music & Lyrics’) wowed the relatively small gathering, and played with a bold conviction that would have equally satisfied an audience of thousands. It was a truly unique experience that I have never come across in such a small venue. It even went unchecked when Maja sparked up a ciggy in the middle of the set, adding a slight air of rock and roll to the proceedings.

The band closed the set with ‘Mission’, a song that left the exhausted crowd undeniably captivated.

www.thesounds.com

www.myspace.com/thesounds

Words: Scott Mullen

Photos: John Summers

Midlake

2007-04-19T12:52:00.000Z

ABC 1, 9th April

Last Monday Texan indie five-piece Midlake came roaring into town, and having already been bumped up from Oran Mor to the ABC, I could tell that the crowd would be teaming with eager fans. Starting off the show with a fair amount from their latest album, The Trials of Van Occupanter, the band indicated an obvious fondness for 70’s folk music not only in their musical style but also in the abundance of facial hair that adorned all of their faces. Whilst the new album is packed with juicy harmonies, its focus on piano and acoustic guitar over the band’s earlier emphasis on keyboards ultimately left me a bit unsatisfied. My ears really perked up however, when singer and songwriter Tim Smith declared that they were going to play some of the older stuff. The more up-beat percussion sound was far more my cup of tea, especially stand out track ‘Balloon Maker’, which was very reminiscent of both The Polyphonic Spree and The Flaming Lips. The rest of the show incorporated a nice mix of old and new tunes, and at the end they treated us to a new song that they hadn’t even completed yet! Altogether it was an evening that exercised little strain on the ears, and it’s safe to say that the whole crowd left feeling wholly relaxed.

www.midlake.net

www.myspace.com/midlake

> Alison Rose

Beer Jacket

2007-04-12T14:38:00.000Z

Lick Magazine catches up with alt-folk wonder boy Beer Jacket before his headline gig at Nice ’n’ Sleazys to talk shop about the Scottish music scene, having famous friends, and the perils of the modern music industry.

So you’ve secured a fair few support slots with big acts over the last few years, haven’t you?

Yeah, I mean the tendency is to ask solo people to support solo people, or for bands to support bands, but I’ve been lucky. I’ve not been limited to supporting solo musicians so I’ve been turning that on its head.

We saw you support Rilo Kiley two years ago, how was that?

They were incredible; they're seriously one of my favourite bands. I've never been so nervous before a concert or since, and I've played with a lot of people I've really loved. Actually I tell a lie, I also played with Arab Strap and I’ve always been a really big fan of them. That was amazing, especially because I was the only support that night, I remember just feeling so ridiculously privileged, and I really like Aidan and Malcolm as people too. In the past I always felt really left out of the Glasgow scene because I played in bands that were on a different quest from all the bands that we looked up to, we were never really trying to get signed or anything like that. There was something really sordid about being in that mindset where being signed was the most important element of your existence, and I always was a bit embarrassed at that to be honest, when coming into contact with these people.

The thing about Malcolm Middleton and Arab Strap is they just seem to do their own thing and don't really seem to bother themselves with mass popularity. Do you share that same ethos?

Absolutely, I've been playing music as a means to an end since I was about thirteen. But I had basically decided I was going to stop doing this, playing music, because I felt like I didn't have anything particularly to offer. I basically decided that I was going to do one more concert on my own and I was going to write and record for it, play it all in a row, then sell 5 copies and quit playing music altogether.

What changed?

Well basically, all the CDs disappeared... and it wasn't necessarily because of the money in my pocket. It was just nice to think you'd done something for an honourable reason, just something that is an end in itself and isn't trying to get anywhere.

Do you think you'll ever take your music to a professional, more full time level?

I think if anyone plays music just purely because they love music then it's more than a job, even if it takes up less of your time, physically playing music. I mean I think about music constantly, and not in a mathematical way. Everything that I do in my life somehow relates to music. I cant shift it from my head, whether it's something I’m thinking of writing or even if it's just something I’m singing along to, and it's the same with everybody... I mean I'm not unique in that sense. I just think that if somebody is occupied by music or preoccupied with music, then that's better than having music as your occupation. I think it can become really really tired.

You're supporting Jeniferever soon, right?

Yeah, I met them maybe a year or so ago, and since then we've built a mutual appreciation of each other's music. And we just like hanging about. They're really lovely people and great musicians.

Do you ever tour?

I think if I was to do the amount of touring that any sort of grass roots musician has to do at the beginning of their career, then I would've played to probably half the people I've had the privilege of playing to within Glasgow, Edinburgh and Aberdeen, because I've been playing to massive audiences and not having to work as hard as these folk who have to trawl up and down the country. Again it's just another privilege of the situation I find myself in.

You played Belladrum last August. What was that like for you? Is it scary playing in a place where people don’t know your songs?

Yes aye, it is scary because you don't have a sound check and you just go up. Fair enough it's easier for me because I’m on my own, so there's a tiny number of things that can go wrong. I mean you can be bad for a start. Something could break and leave you pretty defenceless, but i mean, it is easier for me. But yeah, the idea of still having no sound check and just going up in front of people who have never heard you before or don't know who you are, they don't get the idea of not using your name. They say "What are you calling yourself Beerjacket for? There's only one person on the stage."

We heard that the name is a metaphor for the way that alcohol keeps you warm when you’re cold. Is that true?

Yeah that’s true. It followed me a wee bit because the first set of songs that I wrote just happened to mention certain references to drunkenness, but I wrote them really quickly. It must have just been an idea that I had. It's not like all the songs are about alcohol.

So it's not a big theme for you then?

No, I'm not an alcoholic… that'd be quite a good song name though! But yeah, I guess I was just trying to come up with an idea that covers things up. One of the main reasons why I didn't use my own name is that I like the idea of having a certain amount of anonymity even though you're on your own on the stage.

Did you want to distance yourself from the male singer songwriter cliché?

Yeah, I hate that idea, but I still don't want to have a band. Not because I don’t like other people or because I think my ideas are better or anything like that, but just because it just takes so much discussion and arguing, which results in ideas becoming diluted. I think that whether my idea is great or not, it's going to be the pure idea and it's going to be what I intended from beginning to end.

What's the snobbiest thing you've got in your record collection?

To be honest I'm really proud of my record collection, maybe because it's not snobby. For example I've got Slint... but I’ve also got Christina Aguilera.

How do you feel about people who shun pop music altogether, and only like "underground" music?

Well I mean what happens when that music goes over ground? It's ridiculous. I think people confuse my mentality of doing this without having a record deal, of not being involved in that mobile circus night after night, with the idea of me being somehow against mainstream or commercial music. And it's not that, I just think that the music industry has had its day, and people who are obsessed with the division between mainstream and underground are probably lying to themselves about the music industry anyway.

What do you think of the MySpace phenomenon? Do you think that technology distances people from really experiencing music?

No, I think it brings people so much closer. For example, I played with Sean Lennon. I’d never have come into contact with him under any circumstances. It's ludicrous that I played a concert with him. And not because he's a celebrity or whatever, or not because of who his parents are or anything like that, but just because the guy is in his own right such a ridiculously artistic individual.

Are you surprised at how encouraging a lot of bigger acts have been towards your music?

It's interesting. People in bands that I like tend to be sceptical that I’m just another singer songwriter at first, but I’ve just been lucky that that fact of my existence hasn't held me back from making bonds with these people. I'm not going to say "contacts" because I think a lot of people look at musicians really cynically as vehicles for their own success. And a lot of them aren’t even like that. I mean, Guillemots are the perfect archetype of a hardworking band. They do so much more than they need to do, and yet even more amazing than that they make time to help out humble musicians like myself, and it just blows me away.

So let’s talk a bit about your own music. You recorded your first two releases at home, what process did you go through whilst recording “The Slow Lane Is Faster”?

They kind of technically were all home recorded. The first one was just a wee scabby demo. It was sort of like when you don your maths homework and you're supposed to leave all the working in. That's what it was sort of like. I did it in pencil I suppose, if you want me to put my bad production into a metaphor. The second one had slightly more colourful arrangements.

Do you like recording or do you prefer just playing songs live and letting people hear them? Do you think there's a certain craft in recording?

There's definitely a craft in recording. I wouldn't necessarily claim that I’ve got it though, because I’m definitely from the school of home recording… you know... making mistakes, leaving them in, and then noticing them every time i play the CD - which isn't very often. If I leave the mistakes in I think it leaves more room for honesty. In the studio there's more of an emphasis on getting things right and I think that it’s difficult to recreate any kind of intimacy. The other week I recorded a song in the living room of my in laws' house when they were out. And it was really good. There was like rain outside and stuff… and that sounds really clichéd, god it sounds clichéd!

Want us to leave it out?

No, no, no, leave it in... leave in the honesty and rawness of my cliché ridden stupid mouth. But yeah, there's a much more clinical approach to the studio, whereas if you do it by yourself it's ugly in the right ways. You know what i mean?

Aye Pete, we certainly do.

Beer Jacket’s most excellent latest release, The Slow Lane Is Faster, is available now.

www.myspace.com/beerjacket

People in Planes

2007-04-11T12:52:00.000Z

Barfly April 5th

Another mid-week support slot for one of the greatest bands in Britain? However depressing this idea may be it was with a warm heart and open arms that People in Planes were welcomed back to Barfly.Having had a killer year in the US - where the band have now sold 50000 albums and toured the living shizzle out of the various states - their return has been a long time coming! And little time was wasted in showing the early crowd what they can do. Ripping through Moth, Barracuda and the frankly incredible Light for the Deadvine evidence of PIP's brilliance continues to mount. Their recent successes have obviously given the band a perk and the joy in their performance is catching. Superb! Once again the mighty People in Planes has shaken Glasgow to its very foundations. These Welsh titans are taking music to terrifying new heights, and if new tunes like Last Man Standing are anything to go by then the release of the next album will make the world a place worth living in.

http://www.peopleinplanes.co.uk/
www.myspace.com/peopleinplanes

Russell Moore

Amusement Parks on Fire

2007-04-06T11:01:00.000Z

Glasgow Barfly, April 5th 2007

Hand a guitarist a delay or distortion pedal - particularly the daddy of distortion pedals, the Electro-Harmonix Big Muff Pi - and they're likely to make a lot of noise. Whether that noise is a life-affirming wash of sound or an ear-assaulting cacophonous dirge however, is thereafter left in the musician's hands. Very few get it just right. My Bloody Valentine and Mogwai became masters of such noise, and Amusement Parks on Fire look set to follow in their footsteps.

It's all very well throwing around comparisons with post-rock luminaries but that's far too easy. Yes, the sound that emanates from the speakers reminds you of the early-90s and OK, the band did record their second album in Iceland - in the converted-swimming-pool-cum-studio owned by Sigur Ros; but such comparisons can overshadow the latent creativity on show at Glasgow Barfly tonight.

Taking the stage slightly late due to technical issues, Amusement Parks... look a little flustered but as Michael Feerick starts opener "Out of the Angeles" everyone settles down to enjoy. The quality of sound in Barfly tonight is as good as it's ever been, and the layered guitars punch sharply through the initial silence. What grabs my attention most is how well Amusement Parks... manage to build aptly on quietness. In each song a perfect wall of noise is built up steadily layer upon layer, not quite cocooning the audience until the very last note rings out.

Tonight's set is mixed with songs from the eponymous first album, the follow up "Out of the Angeles" and - as the setlist exclaims - a "new one"! The biggest audience reaction, of course, comes when the singles are played. Both "Eighty-Eight" and "Asphalt" were highlights, the
latter combining a hefty dose of echo and a guitar played with a cello bow. The set ends enveloped in feedback as Dan Knowles and Feerick tweak settings on pedals to coax out every last shadow from their amplifiers, before hopping off the stage triumphantly to leave the audience completely stunned.

The band are currently touring to promote their "A Star Is Born" E.P. out now on V2 records.

www.amusementparksonfire.com

www.myspace.com/amusementparksonfire

> Words and Photos: Neil Milton

A Band Called Quinn

2007-04-03T16:59:00.000Z

Barfly April 1st

What’s that you say? A support act credited with its own review? Well, yes, you’d be right; but this is no ordinary support act. Lickmag favourites ‘…Quinn’ return with a flavour of new album Sun Moon Stars and a sublime live show to boot.

Breezing into action like the greatest summer band you’ll ever hear it was with seemingly little effort that they won over the usually oblivious start-of-the-night Barfly crowd. Hook after hook followed, creating an almost dreamlike state of musical reverie. The flexible groove of Unsung Feeling was a particularly great moment, creating a Stereolab-esque air of superb euro-tinged pop.

Quinn mix the ability to conjure the classic three-minute song with touches of jazz and electronic synth stabs making for a sound both instantly recognisable yet unique. An eclectic outlook on music is always appreciated in this humble reviewer’s opinion and A Band Called Quinn has it in bundles. An upcoming collaboration with French DJ, remixer and producer Kid Loco is surely a point of distinction. Couple this with the truly remarkable new album and it goes a long way to making this band something to look out for in the coming months.

Summer 2007? Can’t wait.

http://www.quinnonline.net/
www.myspace.com/abandcalledquinn
http://www.tromolorecords.com/

Russell Moore

Colette McKendrick

2007-04-03T16:43:00.000Z

Barfly, April 1st

It’s been a busy few months for Glasgow’s favourite songstress Colette McKendrick. Some international radio coverage; spending a fair old while on top of the download classical charts; and organising an intimate showcase for females in music – all in a day’s work!

But let us not forget the music. Tonight’s show is a timely reminder of Colette and her band’s passion for playing live, and holy sh*t are they going for it! Opening with new track ‘The Boss’ the band is truly firing on all cylinders. Even the usually gentle psychedelic strummer Arthur Izat breaks a string - it’s a fair sign of things to come.

Continuing to carve up the stage with Kangaroo and Colour it’s only in preparation for debut single Peter Pan’s Biggest Fan that the band seems to pause for breath. Proving once again to be a highlight of the set this song should reveal its worth as the forthcoming debut single from Etheria.

It’s a testament to Glasgow music that crowds will gather for bands of true quality – and Colette’s crowd gets bigger every time.

http://www.colettemckendrick.co.uk/
www.myspace.com/colettemckendrick
http://www.alicornrecords.com/

Russell Moore

Pull Tiger Tail

2007-04-03T16:10:00.000Z

March 25th, Glasgow Carling Academy

Tonight is Get Cape, Wear Cape, Fly’s biggest gig to date, and as they roll into Glasgow they bring with them homebred darlings The Dykeenies and London’s new hopefuls Pull Tiger Tail. It would be very easy for me to say that the latter are on their way to greatness, and it would probably be a bit too obvious to compare them to bands like The Automatic and Bloc Party, so I will resist. Instead I find it more important to mention the under appreciated succession of power pop bursts they effortlessly churn out one after another, whilst failing to invoke much in the way of a reaction from the sombre crowd. In half a year's time when Pull Tiger Tail are the band that NME are whoring themselves out to, I'm sure that everyone here tonight will stake claim to being there first... but it's just a shame that the crowd couldn't give the trio the attention they deserve in the mean time. Songs such as ‘Animator’ and the new single ‘Let’s Lightening’ are sugar coated gems that warrant a warmer reception, standing as evidence that Pull Tiger Tail won't be skirting fringes for much longer.

>Andrew Mitchell

Dumb Instrument

2007-04-03T15:44:00.000Z

March 22nd, Oran Mor

Tonight I find myself stood within the heart of Glasgow's West End for Dumb Instrument's "Song Ya Bass" single launch . Having done a bit of groundwork on an act I was unfamiliar with, and finding myself presented with music that wasn't exactly my cup of tea, I entertain no big hopes of really enjoying the show.

Luckily however, the band thoroughly surprise me. Everything about them is unique, from the way they grace the stage, to the way in which their songs tread a fine line between ample tunesmithery and short social commentary. Covering topics ranging from Oor Wullie to Wheelie bins, and Death to Cliff Richard (a song so good they play it twice!) they manage to have the crowd listening intently one second then laughing at singer Tom Murray’s dry wit the next. There's little in the way of banter, and you get the feeling that Mr Murray isn’t entirely comfortable on stage , but the songs more than make up for that.

The set draws sadly to a close only for the crowd to demand an encore which is albeit hesitantly obliged. After this the band politely offer a reminder that there is a single available to buy and exit stage to a rapturous applause.

I walk away from Oran Mor feeling happy that my pre-conceptions about Dumb Instrument were entirely wrong. Having thoroughly enjoyed their melancholy yet upbeat set, I would recommend that anyone who has the chance to see them on their upcoming tour should take advantage of the opportunity.

Dumb Instrument's new album will be out this summer on Hackpen records. They play King Tuts 3rd May.

www.myspace.com/dumbinstrument

www.dumbinstrument.com

Words: Andrew Mitchell

Photo: Jamie Gibson

My Alamo

2007-04-03T15:26:00.000Z

King Tuts, 4th March

This gig had the potential to deliver so much, but in the end delivered nothing at all.
My Alamo, popping their tour cherry, failed to attract a big crowd on a damp Sunday night, despite being billed as the headline act on Kerrang's 'Breakthrough Tour'.

Two and a half hours after doors opening, My Alamo took to the stage with lead singer James Rigby sporting a hair-do that would look better placed upon an Essex hooker. The welsh/brummy combination failed to deliver anything from the outset, attempting to rock the 25 odd strong crowd with a 9 song set that was condensed into 35 minutes…thankfully.

The opening song was ironically called "Fire It Up", and lead into a miss mash of thrashy melodies that reverberated around the famous venue like a megaphone-wielding wasp in a jar.

Well into their 35 minute set came a disappointing live version of big single “In the blood”, which failed to live up to the energy showcased on the slightly more listenable studio version.

Front man Rigby’s grungey tone sounded like a poor Feeder tribute act at times, making you wonder how the band have managed to acquire a place at this year's T in the Park.
The insignificant night was brought to a close by a rendition of “French Kiss”, which was played in part on a lead guitar with only 5 strings… but it's not like you could really tell.

Words: Scott Mullen

The Rapture

2007-03-26T09:41:00.000Z

Glasgow ABC, Sunday 4th March

With a New album to promote, the New York quartet famous for their Electro Pop anthems arrive at Glasgow ABC to entertain an enthused and colourful crowd. The Lick catches up with Luke and Vito for a pre-gig chat about touring, recording the new album and eh… sea captains.

So guys you’ve been on this stretch of the tour for a week or so now, how is it going?

VR It’s been great, we’re doing the largest shows we’ve ever done and they are all sold out. The crowds have been really, really amazing. We’ve been to France and Ireland so far.

How are you finding touring with S**t Disco?

VR Well we’ve only played a couple of shows with them because they missed the ferry for last night’s show. They were too wasted or something… but yeah they’re great, really great opening band.

You’re on the road for quite a while, where are you looking forward to visiting most?

VR We’re really looking forward to Japan and we’ve never been to Australia. People have been after us to play there for years and years, so it should be an experience.

LJ The thing about touring is, the first few days you just want to quit and you feel like crying, but then after that you’re pretty much great and it’s nice to be there. Our bus driver this morning was telling me about a sea captain who throws up for the first two days every time he goes out to sea. I think that applies to me as well, but I think the human sprit can adapt to anything.

You guys have played Glasgow a few times before in the past, how do you find it?

VR We’ve played optimo twice, I think, the QMU two or three times, and we played the Academy once with the NME tour alongside Franz Ferdinand, so yeah we’ve played here a lot and its always a great crowd.

The new album, ‘Pieces of People We Love’ is out now, would you say that there’s a new concept for this album?

VR Well, with this album the production changed; the production values have a lot to do with it. On the last one the mixing was really different to this, it’s a lot glossier and certainly more of a pop record.

Your new producers, Ewan Pearson and Paul Epworth, have previously worked with bands like Bloc Party and The Futureheads. What was it like to work with them?

VR It was cool to work with new people because we never really worked with anyone but Universal and DFA. Paul is a friend and did sound for us for years before he was recording with Futureheads and Bloc Party, so we just called him. He’s a great person and really excited to be working… he’s really energetic person in general.

You also had Danger Mouse working on this record, how was that?

VR It was cool. It’s weird you know… he’s Brian to us. He’s become a really huge producer, but he’s just a really down to earth guy.

LJ The nice thing about Brian is that he didn’t get famous until he was older. He had already established that he was a nice guy so he’s not a dickhead. In fact, he finds being famous kind of funny.

Have the band got any plans for the summer? Are you playing any festivals?

VR We’ll still be touring, we just put out the record so around the world people just want us to show up everywhere. As well as the usual places, we’re going to Australia for the first time and we’re playing Singapore, New Zealand, Mexico, South America, the UK and Canada. The list just goes on and on…

LJ We’ve got to the point that we’re not mega famous, we’re not even marginally famous, but its nice because people have our records everywhere and they are happy to see us. Even though it’s not a lot of people its enough to make you feel really good when you get up there.

VR Hopefully we’re going to start with the festivals in the US and then come over around July and do some of the European festivals. hopefully in September we’ll get to play Electric Picnic too, that would be awesome.

Quick Fire

Hip Hop or Hair Metal?

VR Hip Hop
LJ Beastie Boys first album, kinda both.

Sun or Snow?

(both) SUN!

Staying in or going out?

VR Staying in…
LJ Yeah!

The book or the film?

VR Book!

Black or White?

VR Black
LJ Pass

Tour or Recording?

VR Recording, because we’re doing a lot of touring at the moment.
LJ I’d go with recording to, because the more touring you do the more burnt out you get.

MP3 or CD?

VR MP3 cause it’s faster.
LJ I’d say record.

Finally if you could play any gig, any where, any time through history where would you play?

VR Opening for Beethoven.
LJ Roman Coliseum before the killing.
VR It’s a bit Bill and Ted.
LJ Yeah we’d show up with phone booths and a generator.

Words: Alison Rose
Photos: John Summers

Bedouin Soundclash

2007-03-21T12:29:00.000Z

+ King Blues and Circuits
18th March 2007 - Glasgow QMU

There may have been sleet, snow and sub-zero temperatures outside, but in the QMU it could have been mid-summer – with an evening of reggae-tinged rock and good vibes courtesy of Canada’s finest - Bedouin Soundclash, featuring support from London indie-popsters Circuits and up-and-coming Hackney folk-punk-dub sextet the King Blues.

Having begun life in 2000 playing house parties at University in their native Kingston, Ontario, Bedouin Soundclash certainly know how to entertain a crowd, generating an instant party atmosphere with their unique blend of buoyant reggae rock and dynamic junglist style beats.

Playing a set drawing predominantly from their 2004 album, Bedouin had the Glasgow crowd dancing and singing from start to finish. Equal parts boisterous and soulful, the band mesmerised the QMU audience with song after song of good-time-vibes including the raucous “Shelter” and laid back acoustic “Jeb Rand” – based on the 1974 film “Pursued” – and of course their hit single and crowd favourite, the sublime “when the Night Hears My Song” to rapturous applause.

For me the high point of the set came with the trio’s rendition of Vern Maytone’s reggae classic “Money Worries”, with the singing from the crowd threatening to drown out the sound onstage, to the obvious delight of Jay Malinowski, the act’s singer and guitarist – who exclaimed in obvious sincerity “I’m falling in love with Glasgow tonight”. Judging by the crowd’s reaction, the feeling was mutual.

> Iain Taylor

Futuro

2007-03-21T12:23:00.000Z

Club NME, The Arches – March 15th 2007

The wonderfully atmospheric Arches plays host to the weekly Glasgow arm of Club NME, a nationwide attempt by said music mag to merge gig going and after show clubbing, with resident DJs on hand to spin the tunes as soon as the acts have vacated the stage. It’s a nifty concept, eliminating the tedium of being turfed out at the end of a gig only to queue to get back into the same venue for the club.

Tonight’s occasion is the launch of ‘Lights Out’, the new single from power pop threesome Futuro. Before the boys can show off their wares, however, early arrivals in the audience are treated to support from nicely named mentalists The Plimptons.

It’s all about the comedy with this lot, with onstage costumes running the gamut from nun to chimney sweep, and including a male bass player who was so convincing in a dress that I only realised he was a bloke after reading his name on their website after the gig.

The ramshackle Plimptons gleefully rip the proverbial pish out of a spectrum of musical styles and clichés, with a particular penchant, it seems, for poking fun at ‘Britishness’ in its various guises. It’s all good fun but, like efforts from fellow pop jesters Goldie Lookin Chain, might not hold up to repeated listens at home without the distraction of the onstage slapstick.

The supremely polished Futuro have no time for such tomfoolery, launching into their punchy set with the minimum of fuss and chat.

Not a note is wasted, with urgent riffs, angular guitar and clipped vocals drawing obvious but complimentary comparisons with The Killers, or a less arty and arch Franz Ferdinand. The three person set up naturally lends itself to their pared down approach, the restrained lead guitar and driving bass mirroring and underpinning the vocal melody rather than running off an indulgent tangent.

Futuro describe themselves as a “truly self contained unit”, handling all of their own recording, audio and video production, promotion and design. This tight knit ethos is writ large in their live performance, where their precision, professionalism and taciturn presence leave them just the right side of anal.

The only downside is that the material loses the power to surprise fairly quickly, falling neatly into the genre of terse, sparse pop rock already mined to great effect by the likes of Bloc Party and the aforementioned Killers.

Personally speaking, however, this is preferable to and less tiresome than the enforced wackiness of scamps such as The Plimptons.

‘Lights Out’ is out now, with live dates also lined up for April at Firewater, Glasgow and Carnegie Hall, Dunfermline. Check out http://www.wearefuturo.com/ for further info on the band’s quest for world domination.

Words: Annie McLaughlin

Photos: John Summers

Mistake Us For Friends

2007-03-15T15:20:00.001Z

Capitol, Glasow
14th March

With Capitol on Sauchiehall Street fast becoming the favoured venue for local bands, I wasn't suprised to hear this would be the stage marked out for the recently signed punk band Mistake Us For Friends.
The first band drew a small crowd of about eight in the front row, but by the time M.U.F.F. took to the floor at 10pm the room was substantially busier, mostly with loyal followers of the Hamilton based four-piece.
They began the set with the first track from their forthcoming album 'Kill The Composer', a fast, melodic and political burst called 'The Gunpowder Plot' which raised the bar and set the tone for an epic 30 minutes of hardcore punk. In between songs lead singer Steve raised his pint to an audience of friends whilst guitarist and part-time stand-up comedian Beanzie was egged on to entertain the crowd as usual.
After displaying a handful of carefully constructed, thoughtfully written and heroically performed tunes Beanzie yet again brought the group back to a comical reality by thrashing out the Deal or No Deal theme tune on electric guiutar, much to the audience's delight!
All in all a punk-tastic evening for a band who have earned their place on Lickmag.com's list of bands to watch.

Check out www.myspace.com/mistakeusforfriends
www.mistakeusforfriends.com
Kill The Composer is set for release in early April...watch Lickmag.com for the latest updates!

Fiona Reid

Reuben

2007-03-15T14:45:00.000Z

ABC2 - 21st February 2007

Tonight the ABC2 (one of Glasgows better small venues with a capacity of around 300) is packed out with punters waiting to catch a rare headline show from one of British Rock's
best kept secrets, Reuben. Support is provided by local(ish) boys Sucio Perro.

First to take the stage, however, is the sublime Red Light Company, whose perfect brand of
indie-pop comes across like someone has mashed up the best bits of the Killers with the
Arcade Fire. They seem rather out of place when compared with the other two acts on tonight's bill, but nevertheless they capture the attention of everyone in the room, and extract a deafening applause from the crowd by the the end of their set. Tonight's show is only their third as a band, which is unbelievable considering how many veteran bands aren't even this tight.

It may be a plea for more 'friends' but it transpires during their set that they have less than 100 people added to their myspace. It was up to 112 by the time i got round to checking it out, but I still urge you to do the same (www.myspace.com/redlightcompany).

Up next are Sucioperro, who clearly have more than a few fans in tonight. This could be due in large part to the fact that frontman Dragon collaborated on high profile side project Marmaduke Duke with Biffy Clyro's Simon Neil.

It seems as though Sucioperro can't decide if they want to be radio rock, or something more alternative. Cramming more ideas into one song than most bands do in a whole album, it just doesn't work because half the ideas are crap and it all comes across as pretentious rather than clever, jumping from something your mum could enjoy to full-on metal beatdowns at the drop of a hat. They try to put on a good live show by jumping from the drum riser and lurching forward against the barrier whilst holding their guitars high above the crowd, and give the devil horns at every available opportunity. To me, however, it all seems a bit arrogant, and whilst it works in near enough their home town, you can't help thinking that their heightened stage antics might inspire less enthusiasm elsewhere.

Reuben, on the other hand, are a band that aren't about scenes, genres, pretention or haircuts. Their riff heavy tunes are hard to pigeon hole. Jamie Lenman's gutteral roar is distinctive enough to set the band apart from their peers, and they occupy an odd position which is not quite metal, but not quite screamo, and too heavy to be straight-up rock.

The band are touring to promote their new DVD, 'What Happens in Aldershot, Stays in Aldershot', which is being filmed on tour and also in the studio whilst recording their new album. The band take to the stage wearing foam rubber helmets in homage to the cover of WHIASIA, with Lenman wearing naught but a hospital gown and boxers, the former we later learn he half-inched from a local hospital whilst being treated for an as yet un-cured bout of food poisoning. The show doesn't suffer for it though, and their live performance is just as energetic as any gig they've ever played before. The band seem to be in good spirits, and could definitely be put up for a 'Cheeriest Live Band Ever' award. They crack jokes about shitting between songs, and Lenman replaces screams with falsetto parts, thus surprising bandmates to the extent that bassist Jon can't stop laughing until the end of the song. Reuben hammer out track after track from debut Racecar is Racecar Backwards and 2004's Very Fast Very Dangerous, as well as throwing in a few new tracks for good measure.

Reuben have such energy and onstage charisma that it's impossible to have a bad time at their shows, and they're the sort of band that you could see every night for a year and still enjoy. And you get the feeling that they'd be up for it, too.

> Jono Bolton

Le Reno Amps

2007-03-15T14:14:00.000Z

Friday 9th March - Nice 'n' Sleazys

The last time I saw these guys play live, they were filming the video for their new single ‘Wound Up’ and had the normally subdued sleazys crowd (as anyone who attends the Nice ‘n’ Sleazys open mic will know) chanting “Amps! Amps! Amps!”, whilst laughing along with front-men Al Nero and Scott Maples’ oddly geeky yet fantastic banter. Fresh back from supporting Brakes on the Scottish leg of their U.K tour, the Aberdonian quartet did not disappoint this time around.

Their set is a mix of old and new as they kick of with the sprightly paced ‘If You Want a Lover’, before playing some material from their 1st album. Soon after, they launch straight into some songs from their forthcoming set, with joyful country number ‘Beautiful’ and the 7/8 fanfare of ‘How You Did Me Wrong’ standing out as the most irresistibly addictive tracks. The thing about the Amps is, love them or hate them, their songs are so catchy that you are almost guaranteed to find yourself humming at least one tune the next day, and the show they put on is always entertaining.

Sounding like a spaghetti western gone mad, it’s hard to pin them into any particular genre, with the next few tracks sounding like a warped mixture of Country meets Frank Black. People start to dance as they loosen up, and the end of the gig really gives testament to the band’s ability to please a crowd. They round up the evening with a mashed up version of ‘Once You Know’ that periodically stops and starts, then seamlessly breaks into Cher’s ‘If I Could Turn Back Time’. Bouncy new single ‘Wound Up’ is saved for the finale, and as the band perform it they freeze on stage for a good minute or so near the end of the song - much to the confusion of a mostly drunken crowd - before picking up the riff right where they left off and finishing their set in style.

After the gig, I managed to catch up with the Amps very own Al Nero, who kindly agreed to answer some questions about the band…

The Lick: Congrats on a good show! We understand you have just returned from touring with Brakes, that must have been quite something…

Al Nero: Yeah it was great, a few rock'n'roll tales but y'know what happens on the road stays on the road right? We're all fans of Brakes music so it was good to play with a band we all enjoy. Plus we went down really well at all the gigs… which doesn't hurt.

The Lick: We were talking earlier about trying to pin Le Reno Amps into a particular genre and I heard someone describe the band as ‘Alternative Country’, would you agree with that?

Al: I guess alternative country is a strong element of our music, especially on the latest album. Scott and myself do the writing and we both listen to a lot of different stuff, but kind of meet in the middle somewhere… I guess you could say Leonard Cohen, Cat Stevens, and Johnny Cash are the classic songwriters… especially Cohen. Then there’s Beck, Cake, Violent Femmes, The Pixies, things that are maybe seen as a little left field but as long as there's a good song at the heart of it, we're up for it.

The Lick: The new single is sounding good, what’s the rest of the new album going to be like?

Al: Thank you. I guess you could say it's our stab at doing a really coherent sounding record. With the first album we we're trying to capture that lo-fi mixtape, everything but the kitchen sink sound. This time we just wanted to have a set of really strong songs and record them as well as we could. It all sounds really fresh!

The Lick: So I take it you guys will be touring the new album then?

Al: We're touring Scotland in April and the rest of the UK in May. There’s a bunch of Album launch gigs around Scotland, the closest to here being Firewater in Glasgow on Thursday 5th April. It's the Horrorshow Clubnight too so it should be really good. Then there's others including Aberdeen and Inverness. We also have a few dates at the end of April supporting Electric Soft Parade. Then come May we're doing a bunch of dates around the UK with a great band called Actress Hands… So yes, you could say we're quite busy at the mo! But looking forward to it as ever.

Lick: It certainly does seem like it’s going to be a busy few months for you, what do you reckon the future holds for Le Reno Amps?

Al: I guess we'll be plugging away at promoting this album most of the year, hopefully do a couple of festivals in the summer, and providing things all fare well we'll maybe try and get in the studio again later in the year to work on record number 3. For now though, all our energy is going into ‘So For Your Thrills...’

The Lick: Nice one, cheers for talking to us.

Al: No problem min!

Le Reno Amps new album ‘So For Your Thrills…’ is released on Monday 9th April on Pet Piranha Records.

www.lerenoamps.com

www.myspace.com/lerenoamps

Words: Jamie Russell

Popup

2007-03-11T16:23:00.000Z

Glasgow Barfly, Friday 9th March

At times, Glasgow's Barfly is a strange venue with gigs simultaneously run on the ground floor and the basement. This works best when the volume is balanced though far too often it's not. Regina Spektor, Craig B (Aereogramme) and Malcolm Middleton - to name but a few – have all played downstairs as a cacophony of Punk or Metal has tornadoed above them,

soldiering on as screams and feedback drift down the stairs. Tonight though, Popup have decided that they can compete with the guitar-shredding disharmony above our heads; and they do it spectacularly.

The scottish quartet are on their way to Texas this week, having been invited to perform at South by South West. Tonight is their "Warm up party" and dancing is the order of the evening.

The set begins at blistering pace with recent single, "Chinese Burn" and doesn't slow down until a wonderfully rendered cover version of the Dougie MacLean penned Frank Miller classic, "Caledonia". Afterwards - of course - the pace picks up again and the band close their set with first single, "Lucy, What Are You Trying To Say?".

Popup are a strange amalgamation of all that's good in Scottish music. Similar in style to the jaggy pop of Franz Ferdinand and early Delgados, their lyrical style and delivery owes a deliberate nod to the Yummy Fur's John McKeown, and the pictures that Damian Gilhooly
paints in Popup's songs are reminiscent of the brighter moments of Arab Strap.

With such an interesting blend of apparent influences it could be considered difficult to pigeon-hole the band, but that's probably a good thing and I'm sure that the girls dancing down at the front don't really care. In fact, this is one of the most striking and enjoyable things about Popup. The energy and enthusiasm the band exude from the stage is hard to ignore and is lapped up avidly by the excited fans at the front.

So... South by South West awaits. And if American music-lovers enjoy this band as much as those in the Barfly did tonight, then Popup could be coming home from the states feeling very appreciated indeed.

Popup will be back in Glasgow Barfly for the venue's 5th Birthday party on the 4th May.

> Words and Photos: Neil Milton

Drive By Argument

2007-03-08T15:05:00.000Z

The Garage, Glasgow
5th March

After a lengthy and considerably soggy jaunt to the Garage I arrived just in time to meet a mass of Drive By Arguement fans gathering steadily on the lower floor. Not only was this another packed out gig for the Ayrshire based band, but a celebration and launch night for the latest single, The Sega Method.
The third date in their current UK tour was jumping with rowdy Glaswegians partial to toppling a pint or two over each other, but amidst the madness and one punch up which occured, Drive By Argument were a runaway success.
Lead singer Stewart 'Stoke' Brock was the perfect gentleman, dedicating several songs to their loyal followers whilst delivering a set of fast-paced synth based tunes built to give Panic! a run for their money.

Drive By Argument's new single The Sega Method is available for download from iTunes and the limited edition vinyl is in available in Virgin and HMV

Words: Fiona Reid

Photo: Chris Baldie

Au Revoir Simone

2007-03-07T13:23:00.000Z

Nice ‘n’ Sleazy - February 27th 2007

It’s a brave soul who’ll sit cross legged on the floor in Sleazy’s, exposing their rear end to years of spilled beer, Glasgow pavement sludge and the odd spew stain.
It’s also somewhat disconcerting to witness, with the row of lotus legged gig goers lounging in front of the stage at tonight’s show calling to mind a toddlers group settling down for pre-afternoon nap story time.

The ‘I’m so laid back I’m horizontal’ vibe permeates the pre-gig atmosphere, chiming nicely with the little I know about tonight’s headliners, New York based purveyors of floaty, airy, keyboard indie, Au Revoir Simone.

First support act Wake the President kick off proceedings by shocking the lazy arses down the front to their feet with a ten minute long thrash metal number.

Not really.

The Glasgow four piece walk a fine line, following in the footsteps of fellow countrymen Belle and Sebastian, Arab Strap and even Del Amitri by pulling off lyrics which are both sardonic and self deprecating and melodies at once mellow and jaunty. They even manage to get away with copious jumper wearing and trousers with braces, a talent in itself.

Second up are the intriguingly named Down the Tiny Steps, self proclaimed ‘folk-rockers’ fronted by Fence Collective collaborator Jonnie Common. Jonnie delivers his lyrics in a half Scots rap, half sung monologue while the band behind him veer wildly between folk, acoustic pop, morose indie, funk and electronica. The guitarist’s Hank Marvinesque moments and Common’s witty lyrical observations prompt my mate to describe them as “The Divine Comedy meets The Shadows” which seems as good a description as any.

When Au Revoir Simone finally glide on stage, it’s a bit like that scene in Lord of the Rings where the hobbits are awestruck after seeing the elves in the forest. The three women exude an air of willowy, ethereal, arty cool which makes everyone else in the room seem a lot shorter, grubbier and, well, Scottish.

Any impression of aloofness disappears as soon as ‘the Simone’ get underway. Their dreamy, unaffected indie pop is endearingly interspersed with rambling onstage digressions about how great Glasgow is and a mini stage invasion by some (politely) eager fans.

It’s no small feat for a solely keyboard based band to sustain an atmosphere in a live setting, but the set ebbs and flows nicely, the band alternating perfectly between catchy, upbeat synth numbers and soporific, wistful tunes reminiscent of Stereolab and Air.

By the time the lights come back up, Au Revoir Simone have floated off again, leaving a gaggle of dreamy eyed hobbits to wander upstairs and back into the rainy reality of Sauchiehall Street in February. If the band’s hectic touring schedule is anything to go by though, it won’t be long before they grace us with their presence again. Au Revoir then, but not goodbye.

> Annie McLaughlin

Capdown/Howard's Alias/JB Conspiracy

2007-03-01T16:05:00.000Z

18th February - King Tuts

With the release of their first full-length album in over five years, Capdown have exploded back onto the UK tour scene armed with new material, a new member and a new zest for live performance. Lick Magazine sits down with singer and saxophonist Jake Simms-Fielding for a laid-back mid tour chat.

"This feels like a new start to be honest" says the surprisingly mild-mannered front man of the band's latest offering 'Wind Up Toys'. "We wanted to release a record that we knew our fans would like whilst introducing them to new aspects of the music that we're interested in. We've got a fifth member of the band now so I think the sound has changed quite a bit. We've been doing this a long time so we just wanted to experiment with the sound a bit."

Capdown started as four school friends growing up in a small town outside Milton-Keynes. They first graced our stages 6 years ago as a ska-punk outfit renowned for both their high-energy live shows and their unfaltering work ethic. Playing up to 250 shows in a year they have built up a huge fan base in the UK, Europe and Japan. So, why the five year break?

"The scene was changing a lot," explains Simms-Fielding. "We played a ridiculous amount of shows to support our first two records and wanted to take a bit of time out. A lot of people had commented a couple of years ago that the live show wasn't as aggressive or as energetic. I think that that energy is back."

First up were Surrey six-piece The JB Conspiracy, a good solid ska outfit that put in a fun, lively performance. Enjoyable, but nothing to write home about. Howard's Alias were next to grace the stage with their ear-grabbing take on reggae-rock. Opening with fan favourite 'Rabbit In Headlights' they continued through a flowing, riff-laden set. Not even a 10-minute setback with the bass amp could stop front man Matthew Reynolds striving to entertain the crowd, promptly launching into an impromptu rendition of the Postman Pat theme tune. A great set from a very professional band.

Three hours after his claim that Capdown had re-found their passion for live performance, Simms-Fielding eagerly proved it. Racing around the humble King Tut's stage, he worked the packed room like a seasoned pro. A seamless blend of old and new kept the crowd, and the band, bouncing and singing along throughout the hour-long performance and made sure no one in the venue was let down.

Words: Ben Harrison
Photos: Chris Baldie

www.capdown.net
www.myspace.com/howardsalias

The Ads

2007-03-01T15:44:00.000Z

20th February - Nice'n'Sleazys

What do you do when you’re just another Glasgow band trying to get noticed? According to the buzz-worthy band The Ads you work really hard, make fun, catchy music, and get people talking about your live performances. The band, who consist of four artfully disheveled, earnest and laid-back musicians, have been in their current configuration for about a year. The Ads are: David “Murphy” Murphy on bass, Colin “Dave” McLaughlin on lead guitar, “Kemy” on vocals and Matt “Matty” Roberts on drums. While the nicknames are cute, the band is dead serious. And their future is bright. Named one of the Sun’s Top 7 Bands of 2007 as well as News of the World’s “Gig of the Week”, the band is in the studio twice a week and onstage upwards of three times a month.

As for mounting the formidable precipice that is becoming an “it” band, The Ads are on their way up. Along with the press accolades, the group sold out King Tut’s in January, a major milestone along any band’s journey. Next is catching a record deal. “Getting signed this year is a must, really,” Kemy says, “there’s a few [record labels] hovering around, promising.” The band is due to hit the studio and record a demo this month, a pressing which will consist of all new material. They’ll then hit the road and continue perfecting their live performances and working the fan base. They’re optimistic. “It’s an ideal time for us,” Kemy adds, and with all the hard work, the good press and the persistent buzz surrounding their live shows, it’s no wonder they feel this way. With upcoming shows at Barfly, Oran Mor and Glasgow School of Art there should be plenty of opportunities for those hovering A&R people to get down to business with The Ads. They’re not so much trying to get noticed anymore as keeping up the good notices. Just another Glasgow band? Not with this kind of year ahead of them.

Words: Carmody Wilson

Photography: John McGowan

Babyshambles

2007-02-26T13:24:00.000Z

> Barrowlands, 20th February

Usually you go to a gig and you expect at least some kind of uniformity in the crowd. Tonight at the Barras, however, this is definitely not the case. Up at the bar there are neds in shiny tracksuits and white trainers battling for a spot in the queue, whilst down by the stage stripey shirted adolescents stand scowling at middle aged former rockers.

Babyshambles - the band that have inspired this peculiar melding of scenes - are due on at nine and it’s now quarter past. Having been brainwashed by the tabloid’s avid commentary on Pete
Doherty’s erratic pre-gig behaviour, I begin to wonder just how long I’ll be
left staring at roadies as they tinker around with wiring and microphones.

I’m not kept waiting that long though, and it’s a pleasant surprise to witness the band jangle onto stage
just fifteen minutes after their scheduled start time. Doherty, armed with a
bottle of champagne which he soon sprays all over the crowd, appears at
least partially coherent as to what’s going on around him. Strapping his
guitar on over the top of his trademark white shirt and tie, he leads the
band into a couple of up-tempo agit-rock numbers which leave the sweaty
crowd gasping for more. I’m become slightly puzzled at the sight before me,
and find it terribly odd to behold a man who has been widely publicised
as a good for nothing junkie float easily about stage in a rather charming
and inspiring manner.

As the night progresses, the band exhibit a firm air of professionalism but at the same time maintain a high level of excitement, and the crowd seems to be lapping up every gritty guitar wave like a pack of obedient dogs. At one point somebody hurtles an empty water bottle at Doherty’s head, knocking his hat clean off. He simply chuckles “good shot” and continues playing.

Maybe I’ve just been lucky enough to catch Pete on a good night, but judging by his performance during this set, he’s certainly proven he’s got the talent to challenge the gossip.

> Vicki Cole

The Cardinals

2007-02-07T17:11:00.000Z

> 13th Note
> Thursday 1st Feb

It’s all or nothing for anthemic indie rockers The Cardinals, but before they take the charts by storm, Lick Magazine catches up with them at 13th Note to have a quick – although slightly cramped – post gig chat about fame, fortune and the wearing of Mancunian tracksuits.

“Manchester bands are people’s bands, aren’t they?” chuckles The Cardinals’ boyishly handsome and rather oddly named vocalist Seven, as he perches himself more comfortably inside the small alcove we’ve chosen as our interview spot. Taking into account the warm manner in which he has just greeted me moments before, I find it hard to disagree with his statement. Sporting pointed cowboy boots and the trademark Weller barnet, I’d honestly expected some arrogant prick, but instead find myself presented with a polite, softly-spoken young man who seems perfectly happy to discuss his dreams and past experiences.

Growing up in a Manchester suburb as the “only kids that weren’t wearing tracksuits,” The Cardinals were brought together by their mutual need to do something just a little bit different. Inspired by mammoth stadium rockers U2, the band write and perform pop rock anthems which - though on first listen appear reasonably conventional in structure and production - possess a starkly infectious edge which may just put them on the map as 2007’s Doves.

Having played with a then unknown Leeds collective called Kaiser Chiefs on the band’s last Scottish tour, Seven is no stranger to the quick pace at which the music industry races along:

“Seeing Kaiser Chiefs achieve such massive success is reassuring. They were just like us, they were just playing these kinds of gigs and no one really knew them. They were just starting to build something and it’s reassuring to know that if you have a dream and you work at it, it will come true.”

For the young singer, merely gaining cult popularity isn’t something that the band would be satisfied with, and he admits that for them, in terms of success, “it’s all or nothing.”

“We’ve always been into the greats, the massive bands like U2,” he explains. “We’ve always been inspired by bands at that level. And I think they get a bad press now because being popular has become unpopular. But I have nothing but respect for bands that’ve gotten that huge, because it’s an amazing fucking achievement. A lot of people are just too shit to be big so they say they don’t want to be. But in all reality, everyone wants that.”

And mass success, it seems, may not be far off for these Manchester lads. Watching them perform down in the cave a few minutes before, I’m struck by the band’s high quality songwriting and the confidence with which they fill the room. In particular, second single “Hold On” stands out as a huge, textural blend of soaring Edge-like guitar riffage and distinctive vocals, which gets the front row bopping along like a family of excitable field mice.

Even as we chat casually at the top of the stairs, several Note-goers breeze by, greeting Seven and expressing their delight at having just seen him sing his wee heart out.

Such warm reception is not something that the band has always had guaranteed, however:

“I’ve found the Scottish crowds to be great. They stay and listen. It’s always hard when you go to a strange town and no one knows you, and then you go to some places where no one even watches the bands. Whereas people here do, it’s really great.”

I’ve got a feeling there are bigger things in the pipeline for The Cardinals, but if all else fails, at least they know they’ve got an attentive crowd waiting for them up here.

The Cardinals’ second single “Hold On/Hello” is available for download through Tri-Tone Recordings on 18th March.

> Vicki Cole

Frank Turner

2007-02-07T15:49:00.000Z

Nice'n'Sleazys

Thursday 1st February

I'm guessing I wasn't the only Million Dead enthusiast who was a tad sceptic when informed of ex-front man Frank Turner's decision to make the genre switch and branch out into singer-songwriteresque folk music. After last night though, I'm guessing I'm not the only person feeling a bit foolish for ever doubting him. The night began with dubiously named one man act Beans on Toast, who warbled through a frankly dull set that was only made marginally more interesting by his pronounciation of the word 'cock'. This was followed by an energetic and reasonably entertaining half hour from Oxford quartet Dive, Dive, who provided harmonies galore with some impeccably timed stops thrown in for good measure. By the end of their set, however, the now packed room felt slightly impatient as it buzzed in anticipation of Turner's arrival.

Expecting an entirely solo set, it was a pleasant surprise when Frank was joined on stage by the Dive, Dive boys for a number of songs. His voice soared on "Worse Things Happen At Sea" and single "Vital Signs", whilst the whole crowd chanted along to political anthem "Thatcher Fucked The Kids" and bounced emphatically throughout hoedown "Back In The Day". The atmosphere was perfect. Although it was clear that a large proportion of the crowd were simply in awe of the man and would have applauded him peeling a banana, he was completely deserving of every deafening cheer. Ending the night appropriately with 'The Ballad Of Me and My Friends', Frank Turner delivered a well-rounded, professional performance, which won over and warmed the entire room.

Words: Ben Harrison

Photos: Chris Baldie

Cute Is What We Aim For

2007-02-02T21:54:00.000Z

The Garage, 25th January 2007

It’s a crisp January evening, and Buffalo power poppers Cute Is What We Aim For are all set to blow away their sell out Garage crowd. Lick Magazine catches up with them backstage before the show to discuss their spectacularly digital rise to stardom.

It’s with complete disillusionment that I’m lead down one of the Garage’s dingy corridors towards the dressing room of the oddly named Cute is What We Aim For. Asked to sit down on a red felt bench next to some guy who is leisurely restringing his electric guitar, I wonder what awaits me behind the black steel door I’m sitting opposite from. I envision entering the room to be greeted reluctantly by four stuck up, Green Day worshipping emo kids, who’d rather be doing anything else but get interviewed by some timid Belle and Sebastian fan. But upon my summoning, I enter to find lead vocalist Shaant Hacikyan rooting around in his suitcase, ankle deep in clothes. He lifts his head in surprise and shakes my hand eagerly before sitting down next the rest of his band mates, who – having already greeted me in a calmly polite manner – are perched comfortably in their black garb on a luxurious leather sofa.

As a band that is just beginning to grasp at the dizzy heights of mass exposure, being interviewed is something that these teenage natives of Buffalo, New York are gradually getting used to. Having formed only two years ago and clocking in at an average age of nineteen, it’s hard not admire how far these guys have come in such a short space of time. Arming themselves with a couple of self-recorded demos in early 2005, they went on to win Pure Volume’s battle of the bands competition, securing a slot at New Jersey rock fest Bamboozle as their third ever gig together. By the end of the year, the band was asked to sign with Florida based label Fueled By Ramen who, as home to acts such as The Academy Is… and Fall Out Boy, seemed like a perfect fit.

Early 2006 saw the band venture down to Florida to record their debut, “The Same Old Blood Rush With a New Touch”, with respected producer Matt Squire (Panic! At The Disco). Having only recorded by themselves in the past, it was a daunting prospect for the young group:

“We were really scared,” explains Shaant, pulling his knees firmly into his chest as the others listen silently.

“He just showed us the light, and he instilled such confidence within us. I think that’s what it really comes down to. It was the most amazing experience I’ve had within a band, and just getting to work alongside him was fucking great.”

Working with such an experienced producer at such an early point in their careers inevitably put a lot of pressure on the band to do well.

“He’s the type of person that’ll give you an inch, but you don’t take that full inch. You know how a lot of people will say, ‘I’ll give you an inch, you want a mile?’”

I nod in agreement, watching him become much more animated.

“Well, we were straight up with him like, ‘Ok, you can still have the rest of that inch,’ because we didn’t want to push him off in the wrong direction. He expected the most of us, and that’s something that a lot of people have never done. I mean, let’s be real, the four of us scholastically and stuff like that have always just made the cut. But we never stood out. Getting to do that [record with Matt Squire] was just great. I still think about the stuff he told me every day.”

As Shaant continues to talk, I’m struck by how incredibly young the four of them are, and wonder what it must be like to live on the road all the time and travel constantly at such a young age.

Shaant grimaces: “The van was worse for me because you would have to take your luggage and go to your hotel room…”

Jack Marin, bassist and newest addition to the band, cuts in,

“People say it’s the same thing every day but it’s totally not. It’s just like any other job when you don’t want to get up in the mornings every once in a while. But as soon as you see the reaction on kids’ faces and how excited they are at shows, it’s makes it so much better. If any band is up on a stage having five hundred to a thousand kids lose their minds to their songs, and they’re like “This is stupid”, then they should probably stop. Cause it’s a lot of fun.”

The novelty of waking up in a different city each morning isn’t lost on the guys either. I ask them where their favourite gig have been so far, to which Shaant replies:

“I’ll go off on a fifteen minute fucking rant about each city.”

Jack describes how touring the UK differs from playing shows in the US:

“The kids here are way more into your music as opposed to just the artists themselves
being really loved. Whoever ran up to us today while we were here, I couldn’t really understand what she was saying,” Jack says as he turns to Jeff, pointing absentmindedly.

“I was meeting you outside the show and she ran up grabbing and was like ‘Blaaaa’. I couldn’t understand her!”

Trying to comprehend unfathomable accents isn’t the only obstacle the band has had to overcome whilst greeting fans. Shaant has often been the victim of teenage girls who admire him just a little too much.

“In the UK, fans are very forward. I’ve had my region grabbed three times. Not yet this time, but on the last tour three times. And I’ve never really experienced that in my life because I don’t really mess around. So I was just kinda like, ‘Ok… that’s mine.”

Despite mild counts of sexual abuse, the band remain firm about how much their fans mean to them. Self-dubbed as a ‘laptop band’, Cute pride themselves on being able to keep in touch with the kids that listen to them. Up until recently, they even posted their instant messenger names online.

“That doesn’t work so much anymore, the computer shut down.” Explains Shaant. “We used to get bombarded with messages, but it was just kind of our thing, so we were like, ‘Well fuck it.’ They’re giving their energy to us by listening and supporting the band”.

As an act that has always embraced online communication, Cute regularly update their MySpace and have even posted early demo versions of songs like “Lyrical Lies” and “Teasing to Please” on their profile. Having a listen earlier in the day I notice that, although their much lauded brand of pop punk is by no means unique or groundbreaking, Cute stand out from their drainpipe clad peers because of Shaant’s nifty ability to turn a good phrase.

“Lyrics are the most important thing for me. We can all write a catchy song, but it’s difficult to write a catchy song and have it really mean something to you. I can always go back and be like ‘Oh, we should have changed that melody, or we should have dropped that chorus, or changed that guitar part.’ But those lyrics… for me, in the position I was in at that time in my life, I was so happy.”

As well as standing out from the crowd in terms of literacy, Cute also surprise me when I ask them who they’re main musical heroes are. Shaant name checks a host of varied artists, amongst them Bob Dylan, Conor Oberst, Elton John, Sting, early Oasis, (and the slightly less surprising) Blink 182.

“Our taste in music is all over the place,” explains Jack. “I actually listened to David Bowie’s Greatest Hits 68-93 last night, and that’s three hours of like, ‘Man this is so good. How is that guy still making music?’ And he still looks totally awesome!”

I ask them which celebrity they’d most like to punch if they had the chance.

“Shatner! I’d punch William Shatner,” exclaims Jack after a few moments of hesitation.

“Nah, I like Boston Legal too much,” retorts Shaant.

With a click of the door, their tour manager reappears, indicating that our time is up.

“Who would you punch in the face?” Shaant asks him, chuckling, “Pete Doherty? Actually no, I like him. As an American, I find him to be a complete spectacle, because in the States, you get sent to jail for what he’s done.”

“Yeah, you don’t go in with fifteen counts of heroin possession and then walk free,” agrees Jeff. Shaant laughs again:

“And just dance down the steps, getting pictures taken of you smoking cigarettes. I’ll never forget that, seeing the pictures of that event put in a row. But we’re totally into that; we’re into singers the twisted singers with internal conflicts. Like Conor [Oberst].”

“Or Elliot Smith!” I exclaim, beginning to enjoy myself.

“I never got into him, but I hear he was just insane. I need to get into him. Just one more tour and then I’ll have time.”

Upon my departure, I ask Shaant where he sees himself in the future:

“I’d love it if, in ten years, or let’s just say fifteen years, I could go over to Tom’s house and see his wife and two kids who he’s supporting with our band. Or the same with Jack or Jeff. It’d be great to get bigger. But if it doesn’t happen, we’ve already reached points we’d never thought we would reach. So we’re more than content.”

With that, he bids me a sincere farewell and the band begin to get ready for what they enjoy most; playing to the kids that like them.

Words: Vicki Cole

Photos: Lisa Devine

www.cuteiswhatweaimfor.com

Isobel Campbell and Mark Lanegan

2007-01-28T13:52:00.000Z

>> ABC, Sunday 21st Jan

It’s a mixed crowd for tonight’s gig, the first in Campbell and Lanegan’s mini tour of their critically acclaimed collaboration, Ballad of the Broken Seas.

A quick scan of the room suggests a hard core of fans in each performer’s camp, devotees of the brooding ex-Screaming Trees and Queens of the Stone Age vocalist mingling happily with followers of Isobel Campbell’s lilting, languid melodies from her Belle and Sebastian days and beyond.

A fair number of more impartial observers also seem to have been lured in by the fact that the show is part of Glasgow’s folkish Celtic Connections festival. Certainly the woman who asks us to move out of her line of sight (before the gig even starts – she’s watching a roadie tune up) is possibly used to more intimate gig settings than the packed ABC1.

Support comes from Kathryn Williams, charming the audience with a delicate yet soulful set and a great line in self deprecating onstage banter. Williams has the always useful lyrical knack of finding the poetic in the everyday, underlined by her talent in crafting soaring melodies and harmonies that do more to strike awe into the unsuspecting listener than any wall of sound assault on the ears.

So much of the rapturous reception surrounding the blues, folk, soul and country inspired Ballad of the Broken Seas has focused on the supposed contrast between the styles and personas of its two artists, with reviewer after reviewer casting Lanegan in the role of tormented demon lover to Campbell’s ethereal, wistful ingénue.

A couple of songs into the live set, and it’s striking what a lazy assumption this is. Sure, the distinction between her breathy, ghostly vocals and his gravel throated baritone is an obvious one, but it obscures the stylistic and psychological similarities that have made this combination such a success. As well as neglecting the fact that the vast majority of the album’s dark, eerie lyrics and melodies come from Campbell’s mind, not Lanegan’s.

On duets such as noirish ‘The False Husband’, it’s clear that the two are sides of the same twisted, darkly manipulative coin. Where he is haunted, she is haunting, responding to the plaintive dirge of “Where’ve you been my darling?/Where’ve you been my love?” with barely audible replies, a voice ahead on the wind leading him to the edge of the cliff.

It’s a similar story on their dusty, country cover of Hank Williams’ ‘Ramblin Man’ with Campbell reacting to Lanegan’s itchy feet by staking a claim to the trousers in the relationship, taunting him with: “Lying on somebody just like me/Got you dancing to my melody”.

The pair’s taciturn and introverted stage presence lets their emotive singing voices do all the talking, with Lanegan refusing to rise to the bait when the crowd good naturedly heckle him to speak. Although he does almost smile.

Both take their turn in the spotlight, with Campbell reprising her solos from Ballads and Lanegan treating the audience to the tragedy laden ‘Wedding Dress’ from his wildly inappropriately named album Bubblegum.

Exquisite as these solo turns are, it’s comforting when the two reunite to close the gig, restoring the weird balance between them and underlining the disservice done to each by easy ‘Beauty and the Beast’ comparisons. The dark heart beating at the centre of this collaboration is as much Isobel Campbell’s as Mark Lanegan’s.

Sugar and spice she ain't, and we might make a romantic balladeer out of him yet.

>>> Annie McLaughlin

Ray Lamontagne

2007-01-26T16:03:00.000Z

>> Clyde Auditorium
>> 22nd January 2007

The weather tonight is rather appropriate. The wind around Clyde Auditorium is quiet and cold, and there’s frost underfoot out on the patio. The onstage arrival of soulful miserabilist Ray Lamontagne is not dissimilar. There’s a distinct air of unease as he straps on his guitar and steps up to the microphone. I get the sense that, despite the amount of records he has sold over the last year, he’s still not used to sharing himself with the rest of the world.

It’s only with the soft swell of “Be Here Now” that the audience actually let’s out its breath. “Don’t let your mind get weary and confused, you will be still, don’t try,” rasps Lamontagne gently as washes of pedal steel fill the room. Bent over slightly, it almost seems as if singing causes him some kind of deep rooted psychological pain. He is so weighed down by the music that even encouraging cries from crowd members seem to provoke no reaction. As a non-fan, I find myself becoming increasingly inquisitive as to how Lamontagne’s emotional state will progress throughout the evening.

My inklings are not entirely unfounded, as after the first few songs we’re presented with an entirely different man. During “Hold You In My Arms”, Lamontagne becomes more animated and empowered, his voice resembling a roaring car engine as his band stretches beneath him like a dusty open road. At the end of the song, he finally opens his mouth to speak, and utters an almost indiscernible thank you. This arouses some excitement in the audience, one of whom yells “Say something!”

This request is not granted until a few songs later - when introducing his hit single “Trouble” - he finally addresses his adoring fans and warmly thanks them for coming along. Just like the stage lights shift from cold blue to a warm tan orange, the uneasy atmosphere also shifts and becomes more relaxed. In places, the music is a bit bland and my chair is so damn comfy that I near convince myself I’m watching Saturday night television, but before long Lamontagne whips out another stunning roar and snaps me back to life. Up until now I’m still not sure if I even like the guy, but then some wifey down the front yells “I love you Ray!” He pauses with a coy smile and says, “I love you too.” It’s at this point that he wins me over.

After a couple more gospel-tinged numbers with his full band, Ray returns alone for his encore, in slightly more jovial spirits. Whilst telling a harmonica anecdote, I notice he’s standing a lot taller than he was before, and by the time he strums his last chord, I’m rooting for him as much as the next person.

> Vicki Cole

www.raylamontagne.com
www.myspace.com/raylamontagne

Joanna Newsom

2007-01-24T16:37:00.000Z

>> City Halls, Candleriggs
>> 14th January 2007

In trying to describe this experience I’m reminded of the look in old rockers’ eyes as they wistfully recall that fateful day back in 1979, during which their young and exhilarated eyes bore witness to Robert Plant’s god-like Knebworth antics. I can honestly visualise myself twenty years from now, in some suburban bungalow, bombarding my rebellious teenage daughters with numerous tales of how magical it was to see ‘that Joanna Newsom gig’ live at Candleriggs.

Admittedly, the word ‘gig’ doesn’t really do the night justice. There are no stinky toilet cubicles or doors wrecked by graffiti, no irritating emo disciples or dusty tour buses parked outside. Instead, City Halls finds itself positively bursting with energy as frantic ushers lead neckerchief clad boho-intellectuals up towering magenta stairwells that overlook stiff, formally dressed string players. All in all it’s a rather suave affair.

We tiptoe quickly to our seats on the balcony as support act Alasdair Roberts tinkles with the tuning on his acoustic guitar. A few ancient sounding folk ditties later and the hall is once again filled with the soft murmuring of the crowd, as they wait in sharp anticipation for the arrival of the elfin queen herself. Thankfully, we’re not kept waiting too long, and as Newsom glides timidly onto stage in a simple white dress and heels, I feel all my ethereal preconceptions of the singer float firmly away. She mutters an entirely genuine ‘thank you’ into her microphone before positioning herself behind a giant, majestic harp. Met by eerie silence, she begins to pluck the first few skeletal notes of Ys opener ‘Emily’, the strings swelling and recessing beneath her earnest warbling like wrists on a hot day.

This is far better than any of us could have imagined. Van Dyke Parks’ astonishing arrangements are played out note for note as Newsom, the scurrying spider, draws us into her web of lyrical genius. After a quick hats-off to the orchestra, she launches head first into ‘Monkey & Bear’, accompanied on backing vocals by bare-footed drummer Neil Morgan. Once again, the song sounds nigh on identical to the studio version; a fact which is by no means detrimental to the audience’s enjoyment of the live experience. Newsom’s stage presence is magnetic enough to keep the audience completely captivated during even the most lengthy songs.

‘Sawdust and Diamonds’ is a particular highlight as it allows us the opportunity to hear Newsom’s delicate harping without the backing of the orchestra. She seems to have no problem filling the room, and leads straight into ‘Only Skin’ with increased confidence. We are surprised to learn that this is the first time she has ever played with an orchestra, as her seamless performance gives little away. By the time ‘Cosmia’ reaches its triumphant climax I can scarcely believe that almost an hour has passed by! As Newsom rises to her microphone I half expect a goodbye, but am pleasantly surprised when she yelps “We’ll be back in twenty minutes!”

In the second half we are met by a wholly different experience. Gone are the flutes and cellos, to be replaced with only Newsom herself. As she starts to play ‘Bridges and Balloons’ I’m reminded of why I started listening to her in the first place. Unlike the baroque grandeur of Ys, the songs from The Milk-Eyed Mender reveal a more insecure and childlike side to Newsom’s voice. She is joined later in the set for “Clam, Crab, Cockle, Cowrie” by two of her band members on drums and guitar. Stumbling over one of the lyrics she later apologises, claiming that she is nervous because of the orchestra. I have an inkling, however, that pretty much every person in the building will forgive her without so much as a moment’s pause.

Whilst speaking between songs she appears amused and charming. “If I pronounce anything wrong you can throw food at me”, she says before putting her own folk-pop twist on a traditional Scottish folk song. My favourite part of the night comes when she auditions a new track from her forthcoming live EP, in which she squeals fiercely like a cork popping from a champagne bottle during each chorus.

At the end of the set I’m disappointed by the absence of songs like ‘The Book of Right-On’ and ‘En Gallop’, but clap feverishly nonetheless, as Newsom rises amongst a thousand thankyous, and waltzes off stage. The house lights come up and my heart sinks. “Guess there’s not an encore, then?” I ask my friend Catherine. She shrugs her shoulders as the fans continue to cheer, whoop and stomp their feet. No one is leaving it appears, and after about four straight minutes of rapturous applause the house lights fade back down and Newsom reappears, overwhelmed by the adoration she is receiving. She sits back down behind her beloved harp and starts to pluck the enchanting harpsichord intro to ‘Peach, Plum, Pear,’ and I’m absolutely overwhelmed with excitement. Scratch twenty years, I’ll still remember this show when I’m crippled, blind and riddled with Alzheimer’s!

> Vicki Cole

www.dragcity.com/bands.html

Kerrang! Tour with Biffy Clyro

2007-01-24T10:25:00.000Z

Glasgow Barrowlands
Tuesday 23rd January

I Am Ghost skulked onto the Barrowlands stage with the misery of a Tim Burton character, a feeling only encouraged by their somewhat lacklustre performance. The six-piece band seemed lively and eager to please, but their classical inspired rock songs and lead singer’s deathly pale face did little to excite the few who had arrived promptly at 7pm.
The Audition managed to lift the mood with the help of front-man Danny Stevens, who bopped and hollered his way through a set of mediocre tunes. Despite their rigorous attempts to rouse some audience interaction, they failed to leave any lasting impression on anyone except their die-hard fans.
Third to grace the stage were the excitable and vibrant The Bronx, an all-male band displaying a catchy collision of rock and roll with punk. The Californian band was fronted by an enthusiastic and charming front-man whose attempts to dance and stage dive with an injured knee were unmissable. The height of the madness was when Simon from Biffy Clyro ran on-stage to do an impromptu duet with the wounded singer.
The highlight of the evening was undoubtedly the lone Scottish act on the programme, Biffy Clyro. The Ayrshire trio blasted through their set with ease, performing various favourites from their previous albums as well as new material from their forthcoming release ‘Puzzle’. Singer and guitarist Simon Neil dazzled an adoring crowd with a selection of spot-on melodies over a delightful ruckus of spontaneous riffs and time changes. The threesome appeared welded together in a truly tight performance only achievable through the passage of time and sheer dedication. They entertained the crowd beautifully, and overshadowed every other band in the Barras.

Fiona Reid

Recliner

2007-01-04T23:10:00.000Z

Classic Grand

Frantically hurdling through the back end of a wet Glasgow in search of the Classic Grand on Jamaica Street, where Recliner were due on in five minutes, I was relieved to spot the flamboyant lights of the venue, shimmering over what looked to be the rougher end of Glasgow. With absolutely no preconceptions of where I was I entered the club with an open mind and was once again dazzled by the luminous lights inside blaring onto a well polished dance floor. I was greeted by a half empty room of scenesters wearing fancy clothes. Finding an open spot right in the center of the dance floor, I began to feel slightly conscious of being extremely under dressed. I waited there a few brief moments for Recliner to make their entrance.
Right from the off start you could see that these four clean cut 20 something years olds have no pre-discussed style. They all have different dress sense and it’s easy to tell that they’re definitely no one man band. Kicking out their first tune they blew the whole audience away, my self included. Fast guitar and heavy drums rapidly thrashing reminded me of early Strokes and I began to feel like this gig could turn into something special. The response from the audience at the front was a clear indication that Recliner have a few die hard fans, whilst the equally positive response from the back of the room suggested that they can easily win new ones over.
After the initial boom of their first song faded away Recliner produced a series of well written, slightly softer indie ballads that show off their individual technical talents and ability to perform tightly as a group. By combining a few nifty guitar solos, a drummer who likes to bang, an amazingly agile dancing bassist and a singer who can pull more shapes than play dough, Recliner successfully managed to keep their audience in a constant state of awe and wonder.
I left the Classic Grand with a feeling of satisfaction. The thought that I may have actually witnessed something worth while pressed on my mind as I strolled through some dark lanes back to central station. In a genre of bands that work mostly to formulas and generally sound the same, Recliner have enough of that little difference that makes them at least worth a listen. Hats off to you lads.

>Michael Tod

Tennents Versa Acoustic Launch

2006-12-12T23:11:00.000Z

>> The Goat
>> James Yorkston, Popup, Yellow Bentines
>> 6th December 2006

The small but perfectly formed Goat pub (posh end of Argyle Street) is the venue for the launch of the Tennents Versa Acoustic tour, which promises to spoil us with exclusive performances from some of Scotland’s top indie types in equally cosy settings across the country in 2007.

Predictably, tonight’s event is also a chance for the aforementioned sponsors to ply us with free samples of their new ‘continental’ style lager, with the biggest surprise of the evening being that it doesn’t taste of poo water.

The Brass Eye referencing Yellow Bentines kick off proceedings with the kind of multi instrumental, at once wistfully romantic and vaguely bitter pop that draws instant comparisons with Belle and Sebastian, or maybe a pared down Delgados.

The keyboard led, trumpet featuring tunes are a jaunty enough start to the evening but lyrically speaking the Bentines lack the irony and deadpan delivery of their better known peers.

The perky Popup jolly things along a bit, serving up Libertines-like riffs with nicely tongue in cheek lyrical observations and some endearingly skewed harmonies. It’s particularly heartening to be reminded that a Scottish band can sing in their native accent and not sound like The Proclaimers.

The biggest welcome of the night is reserved for Fife-born James Yorkston, a well kent face amongst folk-pop aficionados in these parts and beyond.

An unassuming Yorkston takes to the miniscule Goat stage without introduction, launching straight into a haunting acapella number that sees a reverential hush quickly descend on the packed pub.

Accompanying himself on guitar and harmonica, Yorkston continues to woo the rapt Goat crowd, his reflective, lilting melodies and folk balladry offset perfectly by wry and self-deprecating lyrics.

The only slightly hairy moment comes when the wonderfully affable James invites an enthusiastic fan up to sing backing vocals on one song and the entire bar holds its breath lest we be treated to a nightmare of X Factor auditions proportions. To everyone’s relief, said fan can actually hold a tune.

The audience participation theme continues with another chancer inviting himself on stage for a well intentioned but hilariously tuneless harmonica duel, before the main man takes control once more and closes the set to rapturous applause.

The Versa Acoustic tour proper has similarly eclectic lineups planned in intimate venues across the country throughout next year. If all the headliners are of James Yorkston’s calibre, it looks like one not to be missed. And that’s not just the beer talking.

>> Annie McLaughlin

Y'all is Fantasy Island

2006-12-09T21:47:00.000Z

The Changing Rooms, Stirling. Friday Dec 1st 2006

Y’all is Fantasy Island’s latest enigmatic visit to Stirling finds us tastefully lit and slightly confused within the fully whitewashed walls of “The Changing Room”, an art space situated above the Crawford shopping arcade in the city centre. It’s certainly an unconventional choice of venue. The occasion is the opening of a new exhibition at the gallery featuring the work of a number of artists based in and around the local area.

Curiosity piqued by this unusual crossing of artistic paths, the show presented an uncharacteristically convenient opportunity to chart the course of this ever-evolving musical ensemble.

Y’all is Fantasy Island has been shifting shape for three years now since its arrival as a moody gust of foreboding from amidst Falkirk’s less than sunny suburbs. Initially the music was largely centred round singer and lead songwriter Adam Stafford’s intimate husky sermons, occasionally giving way to passages of Constellation-esque experimentalism. Yet over the course of their time together, these more subdued sets have acquired the protruding edges of skewed indie, in the vein of such underground luminaries as Sebadoh and Papa M.

Tonight, however, it appears they have further metamorphosed into a fully electric creature, still thickly layering atmospherics, only this time from a heavier base of operations. Indeed this evening’s set closes with a sustained wall of shrill feedback looped through the heavily stomped and thoroughly tweaked circuitry of Stafford’s delay and distortion pedals. It’s a loud and occasionally abrasive performance, but carefully laced with melody and clever instrumentation. The bleached and pleasant surroundings ultimately seem ill-suited to containing such volatile works of art.
Their debut album, the well-received “In Faceless Towns Forever”, was an excellent document of Y’all is Fantasy Island’s quieter upbringing. The highlights of tonight’s set, such as the infectious “With Handclaps”, seem to denote a more raucous adolescence and, if captured properly, will no-doubt make for an equally rewarding listen.

> Chris Cusack

The Magic Numbers

2006-12-09T12:15:00.000Z

> Glasgow Barrowlands
> Sunday December 3rd 2006

On a sodden and blustery Sunday evening, the first of two consecutive nights at the Barrowlands, its with an effervescent and synchronised self-assurance that The Magic Numbers throw themselves into “This is a song”, first track from their new album “Those the brokes”. It’s a song that takes more musical chances than much of their material and serves as a suitably attention-grabbing introduction.
The Magic Numbers were obviously paying attention in class during that lesson about the Holy Grail of live performance: “start strong, end strong”. They cram two of the singles from “Those the Brokes” and two favourites from their eponymous Mercury-nominated debut album into the first twenty minutes and, predictably, the crowd are buoyant.

These are the jingles that have resonated down the cones of both daytime and evening radio for nearly 18 months. After all, not just anyone is allowed to hang a twenty-foot high banner of their faces across a stage these days.
However, The Magic Numbers are very much kept afloat by their singles. Six songs into tonight’s set, they venture into album-track territory and, though it’s not hostile terrain, it’s certainly more barren. Ugly comparisons to The Beautiful South begin to suggest themselves. The crowd’s enthusiasm wanes. Raised hands drop and many an opportunity is taken to visit the toilet/bar/merchandise stand. It’s only some time later, with set-closer and hit-single “Love me like you”, that they shrewdly reel everyone back in, once again securing the waving arms and en masse backing vocals of the grinning Glaswegian assembly.

Given their current favour in the media, it should only take another couple of albums before The Magic Numbers can fill such testing gaps with more singles and I’m sure their Greatest Hits tour will prove to be very good value for money when it eventually and inevitably arrives.

> Chris Cusack

Auto Rock

2006-12-05T17:06:00.000Z

>> Capitol
>> 28th November 2006
>> Julie Agnew, Mike Play, North Foundation, Sneaky Pete

It’s no mean feat to lure me out onto the wet and windy streets of Glesga on a school night in November, but anyone promising cheap drink and quality talent (of the musical variety) is usually in with a shout.

Such wily tricks have seen Auto Rock (Tuesdays at Capitol) carve out quite a niche for itself on the city’s live music scene over the past months, offering punters the pick of the local indie rock landscape washed down with drinks for a quid.

First up tonight is Mike Play, with a heartfelt acoustic set that even succeeds in making a song about pigeons seem strangely moving. The duo combines some nice guitar interplay with Mike’s silky smooth vocals, creating the kind of soporific effect that banishes thoughts of the shitty Scottish winter while conjuring up altogether more pleasant images of lazy, beery summer days in the park.

As twosomes go, they’re definitely more Turin Brakes than MacDonald Brothers (thank the Lord), with standout song ‘Ride the Wave’ best encapsulating their laid back sound and style.

North Foundation are from Edinburger, but let’s not hold that against them as they seem quite nice, really. The spirit of Teenage Fanclub clearly inhabits this quintet, and it’s hard not to feel cheered by the effortless harmonies and jangly guitar pop. There are shades of Snow Patrol too, but the Foundation inject enough individuality to keep things interesting. They don’t have a song about pigeons though. Something to think about.

Young scallywags Sneaky Pete offer up some fast and fuzzy pop rock numbers in a nu-punk, Blink 182 stylee. Low-slung, pants flaunting jeans? Check. Dyed black, excessively long fringe? Check. Slightly whiny vocals? Check. It’s all well and good, and their drummer in particular is a real find, but I can’t quite shake the feeling that I’m watching some entrants in a high school battle of the bands.

If it was, though, then Julie Agnew would kick their collective arse. With a voice that goosebumps were invented for, words that truly resonate and a knack for mixing insistent, soulful rhythm and beautiful melodies, Ms Agnew easily wipes the floor with the opposition.

Opener ‘Bless Me Doctor’ gets right down to business with a blues inspired riff that has the Auto Rock audience’s heads bobbing like nodding dogs before the intro’s done. The song offers ample opportunity for Julie to showcase the sheer power and clarity of her vocals, ensuring the incisive and insightful lyrics hit their target.

In an age where Sandi Thom wittering on about flowers in her hair passes as social commentary, it’s positively life affirming to witness an artist who can be arsed making a point with their music.

A haunting acoustic cover of The Buzzcocks ‘Ever Fallen In Love (With Someone You Shouldn’t’ve?)’ goes down a storm while new song ‘On Your Way’, a kick up the jacksie to George Bush, is a sure sign that Julie will continue to eschew the easy route of lovelorn soft-rock ballads in favour of frying the bigger fish.

The dark edged, thumping soul rhythm of ‘Deep Down’, a lament to the eternal frustrations of communication failure in human relationships, gives way to the set’s closer, a soaring cover of Maria McKee’s ‘If Love Is A Red Dress’.

And then it’s back out to face the elements, the cockles of my heart fairly warmed and faith in new music duly restored. School nights rule, ok.

>> Annie McGlaughlin

We are the Physics

2006-12-04T18:17:00.000Z

>> Oran Mor
>> Sunday 4th December 2006

Of all the acts taking part in nuts and seeds' festive holiday shindig this year, none stand out more in terms of stage presence than We Are The Physics. Like demented apocalyptic robots, these guys angularly strut around stage, hastily reinventing the very concept of choreography whilst silmutaneously whipping up a mutant-punk storm. Contrary to the image portrayed by their matching shirts and metronomically accurate movements, each member of the band somehow manages to contribute in a drastically individual way. The band finish their short set in around half an hour, leaving a fractured stage and a ridiculously enthralled but vaguely intoxicated Oran Mor crowd in their wake.

>> Vicki Cole

Photo: John Sacky

The Fratellis

2006-11-03T16:51:00.000Z

>> Glasgow Barrowlands
>> 9th November 2006

What a year eh? The Glasgow 3-piece have lived the dream over the past 11 months with a limited EP release through Nomadic records, a fabulous set with big Zane at SXSW, chin wagging with new-best-pal Pete Townsend at T in the Park, a live show on Jools Holland, and releasing 3 of the best singles this year from anyone. Tonight, the Fratellis return home.

To describe the crowd as enthusiastic would be the understatement of the year - as mayhem, is probably the most appropriate word. After some solid sets from Lick favourites the 44s and the Figure 5 (of which the Fratellis share management) the pints are full, and the nails are being chewed as the boys stroll on in triumph.

30 seconds later, the set is finished. Well, is seems that way as maybe a touch of the John Peel's have kicked in with every song played at twice the speed it's supposed too! This only sets the crowd off even more and as dance-a-long hit follows beer-throwing tune.

To round off the evening, the boys even squeeze in a cover of Goldfrapp's Ooh La La and finish a frantic, yet spectacular night. It seems that Jon, Barry and Mince just can't put a foot wrong. Guys, we salute you!

>> Joe Sach

PHOTO: Matthew Sillars - msillars@hotmail.com

www.thefratellis.com

Duke Special

2006-11-02T15:49:00.000Z

>> ABC
>> 27th October 2006

I suspect I’m not alone in having developed a chronic fear of the term ‘singer songwriter’ in recent years. Although I’d like to blame James Blunt (for most things, actually) it’s the sheer volume of earnest, polite young men bombarding the airwaves with songs of ‘lost/found/oops lost it again’ love that makes it almost impossible to pick out any true gems from the mire.

Step forward Duke Special, with a genre-busting combination of pop, music hall pomp and lyrical honesty that has had critics clutching at straws for comparisons. With shades of everything from Tom Waits, Badly Drawn Boy and ‘Cabaret’ in his repertoire, the Belfast boy stands out like a welcome sore thumb in the current glut of posh minstrels.

If The Cure’s Robert Smith and Linda Perry from Four Non Blondes had had a baby (it could still happen!), he might have looked more than a little bit like the Duke. All smudged eyeliner, fabulous dreads and cord flares, Mr. Special, or Peter Wilson to his maw, pitches his style as ‘hobo chic’, coining a phrase which neatly sums up both his under-styled image and chaotic, beautiful live show.

With a stage act that includes piano, a gramophone and a percussionist who has a cheese grater and is not afraid to use it, Duke is acutely aware of the power of performance, and humour, as a vehicle for his music.

“Maybe I don’t look or sound like the coolest indie band that’s around at the minute but maybe what I have to say is still valid and there will be people who like that,” he ventures.

“I’ve always enjoyed music and film and theatre that bring you on a kind of rollercoaster, where one minute you’re really laughing and the next something really poignant happens.

“I wanted to have that same kind of approach to the concert. When I started as a solo act, I had this bunch of songs that I’d recorded in this really old sounding way and I thought ‘how am I going to do these live, just on a piano?’

“I’d been watching a film about Andy Kaufman, Man on the Moon, and there’s a bit where he uses a record player in his act and I thought what a great idea that was, so I had a gramophone onstage. I became really aware of how people perceive the sound by what they see. It does half the battle for you, in the same way as artwork on an album can do.”

Despite receiving piano lessons from a young age and honing his vocal skills in church choirs back home in Ireland, it’s plain from his approach that Duke is no purist when it comes to performance.

“I’ve never been able to play jazz or classical music to any great level of expertise. Somebody described the way I play piano like the way your granny would do it, you know, kind of like a jaunty, singalong kind of thing. That’s what I grew up doing, everyone would stand around the piano, especially at Christmas time at my aunt’s house, and everyone had to do party pieces.”

A typical headlining gig these days sees Duke accompanied on stage by anything up to 10 musicians, but for his slot supporting the Divine Comedy at the ABC, the act is pared down to the main man himself and trusty one man percussion section Chip Bailey.

The duo do a fine job of confounding, amusing and moving the ABC crowd right from the off, starting with ‘Brixton Leaves’ from new album Songs From the Deep Forest. With atmospheric ivory tinkling that wouldn’t be out of place in a 1920s silent movie and a swelling, cymbal crashing, bass drum thumping climax, the stage is set for a genuinely original musical experience.

The jaunty ‘Portrait’ sees Chip take centre stage, clattering a home made instrument which consists of various items attached to a broomstick handle, including a bell and battered old pan, but it’s past single ‘Last Night I Nearly Died’ that’s the stand out song of the set, mixing motown rhythm and soaring singing to maximum effect.

‘Freeway’ showcases an impressive vocal range, with Duke effortlessly hitting the high notes of the chorus while battering the feck out of his long suffering piano keys, a refreshing lack of deference for the instrument underlined by his half hearted attempt to pick it up and throw it at the close of the set.

‘Songs From the Deep Forest’ is out now, but catching the live show is a must for anyone looking to inject something of the theatrical into their gig going experience. Fear not if you’ve missed the Scottish Dates, trusty old Jools Holland welcomes Duke Special to his humble abode this Friday. Worth staying in for.

>> Annie McLaughlin

www.dukespecial.com

Classic Grand

2006-10-19T14:36:00.000Z

>> Opening night
>> Featuring My Latest Novel & the Grim Northern Social

Opening nights and launch parties are all well and good when done properly. There’s doing it properly, and there’s doing it in style. The Classic Grand – as the name suggests, do the latter.

500 capacity room upstairs, a 240 room downstairs, Guns R Roses pinball machines, palm trees, two of Scotland’s best bands and a glass of champagne – what more could you ask for?

On tonight’s showing, the Classic Grand won’t take long to establish itself as one of the best venues in the country, as it has been made for, and by music lovers, with the attention to detail second to none.

It’s unfair to judge the Grim Northern Social and My Latest Novel on tonight’s performances, as everyone is here just to have a mingle and admire the new venue. Location is ideal, the equipment and backstage areas are fantastic and the place has a certain class about it prompting me to think that after show parties will be just as frequent in the Classic Grand as live events.

Welcome to the Glasgow music scene Mr. Grand.

>> Joe Sach

www.classic-grand.com

Mogwai

2006-09-25T18:38:00.000Z

>> Barrowlands
>> 23rd September 2006

Part two of my in-depth report on f***ing brilliant gigs that still happen at the Barras features rock gods Mogwai. To my shame this was my first experience of a Mogwai show, but as a climax to what must be seven or eight years worth of listening to their music it was an epiphany: a near-religious event.

The legend of Mogwai live lives on in the shouted sentiments of half-deaf fans the world over. Stories of the band playing louder and louder until eventually the crowd starts to leave have been going round for years and it was these Chinese whispers that intimidated me into not going out to see them. But in the search for the truth, and through my devotion to maintaining Lick as the cultural pulse it has surely become, I strapped on a pair and got into the venue.

With the recent release of Mr Beast I expected this show to be heavy on new material, not the case. An early airing of ‘Summer’ set the tone for a gig rich in Mogwai’s expansive back catalogue. Settled alongside the truly mesmerising ‘Friend of the Night’ and ‘Helicon 1’ the set list was a tapestry of post-melody, brutal noise and heavenly resonance. At each turn the band can literally leave you open mouthed at the complexity and beauty of the music it makes. ‘Glasgow Mega Snake’ in particular stands out as a near-perfect slice of heavy, heavy noise – the number of layers and ideas present in what essentially is three minutes of rock music is just astonishing. And when the band turn up the volume during the songs climatic colossal riff it literally sent a wave of unbalance through my head.

Toward the end of the impressive 1½ hour set the ability of this beast of a band was made clear. Finishing the main set with a feedback drenched ‘We’re no here’ the band returned to play an extended blend of ‘Hunted by a freak’ and ‘Mogwai fear satan’. As ‘…fear satan’ started to relax into a gentle thrum of Braithwaite guitar tremolo, he subtly reached down for his plectrum and, with perfect timing, the band just demolished the crowd with a wall of noise; and, frankly, I am worried to find out what the decibel level might have been – needless to say it was the loudest thing I have ever heard in my life.

And with that they were gone, leaving the crowd with a weeklong tinnitus and a bloody big grin.

>> Russell Moore

www.mogwai.co.uk

Bert Jansch

2006-08-31T09:45:00.000Z

>> ABC
>> 26th August 2006

The first thought that strikes me on arriving at the ABC to see Bert Jansch is how much it has changed since I was last here. Admittedly, that was only around16 hours before the doors opened for tonight’s gig, but the transformation is startling. Gone are the hordes of cooler than thou indie rock types throwing crazy shapes beneath the main hall’s legendary monster disco ball, replaced by a much more serene clientele, wearing much less eyeliner. The early birds have bagged seats at white clothed tables adorned with candlesticks and are gazing at the stage expectantly in reverential semi-silence, giving the distinct impression that I have either chanced upon an awards ceremony for the clergy or Santa is coming.

Anyone unfamiliar with Jansch’s status as a folk legend need only look at the long list of musicians who have dropped his name as a major influence on their work, with everyone from Neil Young and Jimmy Page to Johnny Marr and Bernard Butler paying homage to the 40 plus years he has spent crafting his distinctive blend of folk, blues and jazz and building a reputation as one of the most influential and respected figures in modern music.

Taking this into account, it’s a bit like the scene in The Wizard of Oz where the real wizard is revealed when a rather diminutive and bespectacled Jansch ambles on to the stage – you expect someone much bigger and scarier. Without much ado, he launches into first number ‘It Don’t Bother Me’ – introduced simply as “one from my psychedelic days” – and it’s soon plain to see that the deference shown to him is well deserved. The haunting and plaintive vocals are complemented beautifully by the intricate yet seemingly effortless fingerwork and repetitive rhythms of his acoustic guitar playing, which musos have termed ‘folk baroque’ but I prefer to label ‘a bit spooky sounding’.

Nick Drake fans will find much to comfort them in Bert’s mix of doleful singing style and folky melodies, as did Drake himself, another Jansch devotee. However, it’s surely the way in which he bends and blends folk with elements of blues, jazz and rock which has brought him such wide acclaim and recognition. ‘Hey Pretty Girl’ is introduced as “an updated version of one of the oldest folk songs there is”, with Jansch adopting an Americanised Bob Dylanish drawl, while ‘Carnival’ is reminiscent of a more sedate version of the Stones ‘Paint it Black’, albeit without the thumping drums and skinny rock god posturing.

It’s testament to the spell he casts that most of the crowd are too enraptured to notice the bass and drums which occasionally penetrate the set’s quieter moments, courtesy of some young rock upstarts taking to the stage in the ABC2. It’s nearing the end of play before Jansch registers this himself, somewhat bemusedly and sweetly mumbling “some of these noises aren’t coming from me…” Never taking the audience’s adoration for granted, however, he winds things up by thanking everyone for their rapt attention, jokingly yet appreciatively exclaiming “I’ve never known a Glasgow audience to be so quiet!”

True to form, the ABC lot promptly and noisily demand an encore, the highlight of which is “Let Them Sing”, written for Chilean folk and protest singer Victor Jara who was murdered by Pinochet’s men in 1973.

Then Bert is shuffling offstage as quietly as he shuffled on, leaving us with the helpful information that the new album Black Swan, featuring collaborations with trendy folk indie luminaries such as Beth Orton and Devendra Banhart, is out on the “15th of September, no…16th….17th?”

It’s the 18th according to his website, but then maybe he wrote that, so who knows. Best just to stake out Fopp if you’re already an aficionado or fancy finding out what the folk all the fuss is about.

>> AMP

www.bertjansch.com

Spinto Band

2006-08-21T17:34:00.000Z

>> Underworld
>> 17th August 2006

The Spinto Band are a group of immature, stupid, hyperactive young men who are seemingly in competition to sing to grab the most attention.

And for some reason, it works perfectly.

Having only seen this band on a much bigger stage in front of many more people at T in the park, it was interesting to see how this energetic sextet would cope in what is effectively a pub.

In their hour long set, they proved that no venue is a challenge, using this small crowd to their advantage by making them almost as big apart of their show as themselves by telling them jokes and stories and even joining them to start a conga line, that appeared travel the distance of the venue several times over.

Songs such as “So Kind, Stacy” and “Did I Tell You?” highlighted their pop songwriting talents while “Oh Mandy” was by far the crowd favourite.

Definitely a live band to check out in future.

Dananananaykroyd & Errors

2006-08-17T11:57:00.000Z

>> Art School
>> 16th August 2006

As well as having the best band name since K*nt and the Gang, Dananananaykroyd are the most exciting band in Glasgow and with support from local favourites Errors the night shaped up to be a good one.

The Errors EP was one of my favourite releases of the year, and *hangs head in shame* this was my first experience of the live show. As shows go, I've seen better - but that's not what Errors are about. They pride themselves on making music their own way with some breathtaking results. 'That was one of our songs' explains singer Steev, 'This is another one of our songs'. Not the most crowd-warming on-stage chat you might think, but the music does the talking and a fine set is finished with the outrageously good Mr Milk.

Dananananaykroyd simply blow me away, simple as that. Not the sort of music that will be appearing on the next NOW CD by a long shot, but just fantastic to watch. Great energy and enthusiasm gets the crowd going, and the 2 drummers (yes, 2) are tighter than a duck's.

This was definitely one of the local gigs of the year. Go and see them!!!

>> Joe Sach

www.myspace.com/dananananaykroyd
www.myspace.com/weareerrors

Demolition at the Hold

2006-08-15T20:53:00.000Z

>> Dirty Hepburns, The Pedestrains, The Rock Hurricane & The Genics
>> 10th August 2006

My ‘old man pub’ radar combined with an irrational fear of Captain Birdseye has always prevented me from venturing into the nautically themed Admiral Bar, so it’s a pleasant surprise to find its newly spruced up basement venue The Hold to be entirely free of sticky carpets and vaguely lecherous old sea dogs.

The Admiral’s more stylish spin off regularly plays host to bands from the Glasgow music scene and beyond and tonight’s lineup of some usual, and some decidedly unusual, suspects is as good an excuse as any for exploring below decks.

First up are The Dirty Hepburns, one lass and three lads from sunny Ayr who wear their pop punk influences very much on their sleeves. No bad thing, with definite shades of Orange Juice and The Clash nestling alongside some distinctly Kings Of Leonish riffs and a smattering of Hives-like jerky energy. This is no paint by numbers copycat act though and The Hepburns (or The Dirties?!) are a band clearly comfortable in their own skin, content to give the odd nod to their musical ancestors while maintaining a polite and respectful distance. Audrey would be proud.

Regular Glasgow pub gig goers will be familiar with next band The Pedestrians, who have been touting their musical wares in and around the city in various incarnations for quite some time. (Veering slightly off topic, isn’t it asking for trouble to use the word ‘pedestrian’ in your band’s name, seeing as it’s often bandied about as an adjective to describe things that are…well…dull? Not that this band is dull. I’m just saying. It might invite cruel jibes and unfair comparisons. Like wearing one of those godawful t-shirts with ‘sexy’ written across the chest when you’ve popped out to the shop with greasy hair, egg stained joggie bottoms and the world’s biggest spot on your chin. Just a thought….)

Anyway…lovers of traditional light rock melodies in the style of The Beatles, U2, Travis etc would have found plenty to tickle their fancy here. (Speaking of fancies being tickled, the band has…ahem…’handily’ added an ‘adult oriented’ site link as one of their MySpace friends, for all those Peds fans who really should get out more. Hey, go see the band! There’ll be real live women there and everything!)

The set’s best bits sound like The Coral, the not as good bits sound like Del Amitri. But Del Amitri urnae that bad. Stand out song seems to be obvious crowd pleaser ‘All My Money’, which moves some ladies down the front to point energetically at the band in time to the lyrics. But it’s rude to point so I don’t join in.

The Rock Hurricane. I hated the name until I saw them in action, now nothing else would make sense. Maybe it was the one too many pints on a school night, but myself and my gig going companion couldn’t stop smiling. Fronted by a chap who mugged the man from Del Monte for his suit and boasting the biggest and downright jolliest lineup of the night, the comedy value is high. Nevertheless, this lot manage to steer well clear of novelty act territory with their fresh and tight punk rock pop. Straightforward comparisons are hard to draw, with hints of everything from Zeppelin and Motorhead to Bon Jovi (if Bon Jovi had a soul and were any good). The boys and girl even show off their soft underbelly on a mid set ballad with opening bars slightly reminiscent of The Shirelles ‘Will You Still Love Me Tomorrow’.

The evening’s entertainment draws to a close with the decidedly more moody Aberdeen based foursome The Genics, whose picture is probably under ‘swagger’ in the dictionary. While it would be easy to dismiss them at first sight as another Stone Roses-a-like Kasabian spin off, this lot at least have the songs to back up the style. The singer’s vocals owe more to The Doors, Depeche Mode and The Killers, giving their sweeping psychedelia a darker edge and elevating them to more than the sum of their influences. Catch them glowering at a venue near you soon.

>> APM

Odeon Beat Club

2006-07-31T12:55:00.000Z

>> Nice N Sleazys
>> No.1 Son & Popup
>> 30th July 2006

Odeon Beat Club finally have a full album under their belt set for release later in the year, and tonight in nice n sleazys they launch debut single Last Gasp with some delightful support from two of the other hot Glasgow bands around just now.

No.1 Son kick off the evening in style with Paul McGlaughlin's wonderful voice just managing to climb over the popping from the right hand speaker and settle nicely in the warm comfort of the audience’s ears. His appreciation for being included in tonight’s line-up apparent as he and the band cover Odeon Beat Club’s Being Realistic with their own personal touch. Popup follow, with their usual tightness, energy and attitude that has led them to be one of the most talked about bands in Glasgow, and with songs like Lucy What You Trying to Say? and Poison Apple, it’s hard not to understand why.

And so to the main event. Odeon Beat Club might not be you’re classic NME cloned guitar band, but man can they write a tune. Blasting off with their single Last Gasp, the band roar through the set with a passion and pride – showing that the years of hard work have not phased them one bit. Burn the Flag is one of many highlights, and Sleazys shows it’s appreciation for the band’s tight set.

So the future for Odeon Beat Club looks bright as they head off to the big smoke after this for a couple of shows, only time will tell if the rest of the UK can fall in love with this band as much as Scotland has.

Last Gasp is out NOW!

>> Joe Sach

www.myspace.com/odeonbeatclub
www.odeonbeatclub.com

Futuro

2006-07-31T12:49:00.000Z

>> ABC
>> 26th July 2006

If any local or unsigned band are reading this and/or seeking advice on how to promote their band then please contact Futuro. The hard-working, We Are Scientists-like 3-piece showed how to put on a show last night in textbook fashion. Free cookies, a free CD and wonderful stage display with projected images onto the back-drop made the ABC the perfect venue for Futuro to launch their second EP of the year, Keep It Short and Keep It Simple.

So often with bands that work their arses off and put bands sticker on every corner of Glasgow, its all style over substance – not in Futuro’s case. Already making waves from their first EP, they’ been winning XFM competitions in Manchester and playing T in the Park and it’s landmarks like these that can only be achieved by excellent songs and not glorified self-promotion.

The crowd tonight are in full voice, and a full stomach it seems as the Futuro cookies have been demolished by the time support band Q Without U step off stage after an interesting set to say the least. They’re own brand of alternative and plain weird rock takes influences from the Mars Volta and the like and goes down well with the crowd, even if they still have a while to go before they reach the creative heights they are reaching for.

Futuro are again on top form tonight, with singer Jon showing off his tight guitar playing and stunning vocals. Potential hit follows potential hit through punchy set that the crowd goes wild for, even if everyone is sweating buckets!

The CD it’s self captures the tightness, and passion that pours out the band when they play live. Its title even explains that these guys know what they’re doing, with 3-minute pop/rock beauties. Criticism may come from the fact the songs are very much in the same bracket and very one paced, allowing a few to believe that the band are a one trick pony – but what a trick it is. If other Glasgow bands could some dancy, melodic rock like Futuro I’d eat my ‘See you Jimmy’ hat.

>> Joe Sach

www.myspace.com/wearefuturo

Dykeenies Single Launch

2006-06-30T14:06:00.000Z

>> King Tuts
>> 30th June 2006

It’s a very historic evening tonight in King Tuts. Probably the most famous and most respected venue in Scotland launches it’s very own record label, with the first band on board the fantastic pop/rock 5 piece the Dykeenies.

A bit miffed that I have to leave the Italy game (I’ve got a fiver on them to win the world cup) I feel very patriotic and proud all of a sudden as I arrive at the venue. Scottish band, Scottish label, Scottish venue, and there’s no chance of these Dykeenies going home after the group stages and never heard of again. This is one of these ‘invite only’ affairs, and a load of record company folk as well as the XFM crew are among the crowd, and the Dykeenies look quite nervous as they first appear on stage.

Opening up with The Panic, the boys blaze through the set playing potential hit after potential hit – they even through in a wee drum solo for good measure. Lead singer Brian Henderson is a star in the making, and since I first saw the band 5 months ago he has developed into a confident and stage-hogging front man with a fabulous voice.

Sharp shoes and ties aside, it’s the songs that lifts the Dykeenies up above the rest. One Plus One, New Ideas and Death to the Dancefloor are my highlights, but I could have picked all the tracks on view tonight.

It’s just great pop – plain and simple.

You can catch the Dykeenies in the T Break tent at T in the Park on Sunday afternoon and the single goes on download sale on the 10th July and in the shops on the 17th.

>> Joe Sach

www.myspace.com/gofindthedykeenies
www.thedykeenies.com
www.kingtutsrecordings.com

INTERVIEW TO FOLLOW!

Larrikin Love

2006-06-26T13:35:00.000Z

>> King Tuts
>> 27th June 2006

The new cheeky chappy of the UK rock/indie scene may just have arrived. Front-man Ed Larrikin could well develop into a major star, and yes I’m afraid to say it – the next Pete Docherty. Don’t get me wrong here, I’m not talking about the drug addicted, troubled and general muppet Pete Docherty that most people know, I mean the highly intelligent and lyrically brilliant working class boy that so many people love.

Larrikin Love’s sound and style may have taken a wee influence from the aforementioned rock and/or roll star, and are definitely spawned from the same Libertines generation, but the Love has spread further as some country and reggae influences have slipped into the songwriting engine room. Latest single Downing Street Kindling is only a snippet of what the band are capable of, as Happy As Annie and Edwould give you a better idea of this young, lively and highly catchy band.

King Tuts is jumping for these local lads tonight, with Ed being the perfect ringmaster for the boozed up maniacs going mental down the front. The set is almost flawless, bursting with life and imagination with the odd cowbell thrown in for good measure. The rest of the band are also on their game, with the bass and drums being as tight as a nuns’ allowing the crazy guitars to shine, but it’s Ed who’s the star and with lyrics like ‘When you sit down and order a pint, do you want a friend or do you want a fight, I can see the tears behind your fists though’ who can argue with the boy.

Keep one eye on this lot, as Ed the artful dodger and co. may well be picking your pocket when the album’s out later in the year.

>> Joe Sach

www.larrikinlove.co.uk
www.myspace.com/larrikinlove

No. 1 Son & Colette McKendrick

2006-06-21T18:11:00.002Z

>> ABC
>> 24th June 2006

It's about as lovely a Saturday evening as is possible on Glasgow's Sauchiehall street (boozed up w*nkers and tramp-looking Jumpin Jack go-ers aside), as the sun goes down and the Argentina game kicks off. This may explain the smallish turnout then, as two of the best local songwriters grace the ABC's stage.

What more can the Lick say about Colette? Another storming show from the Queen of the Glaswegian piano and a new song or two thrown in as well for good measure. As I'm now familiar with almost every song from her brilliant debut album Etheria, it occurs to me the weirdness of the line up that she has with her (no offence guys...). Drummer Mark 'Itch' Aitcheson and bass player Dangerous Dave Milne play like their in a metal band at times, beating the bejesus out of their instruments and adding an extra bit of beef to the live sound. Guitarist Arthur Izat on the other side of the stage looks like Gandalf on crack (that's a good thing by the way) and the Manga that is Laura Healy also backs up brilliantly with some adorable harmonies.

Anyway, enough about Colette and Co. No.1 Son are the headline band this evening and are definitely potential stars in the making. Having released a one-off single at the start of the year, the band are fresh off recording their debut album which I'm sure you'll be hearing much more in the coming months.

Kicking off with a couple of heart crumbling emotion-filled songs, No.1 Son immediately grab everyone's ears and singer and songwriter Paul McGlaughlin has a voice that could melt even George W's heart.

Some simple and well-written songs are the theme of the band's sound, but it's the slightly left-of-centre instrumentation (glockenspiels and Banjo's for example) and simply beautiful voice that lifts No.1 Son above most singer/songwriter style acts around.

The night may have been spoiled slightly by the time over-run, leading to the band only getting 5 songs or so, but I'm sure everyone has seen enough to realise that this a band with a big future.

So I give you another word of warning before both these acts say goodbye to these smallish gigs and head up the stairs to the ABC1 in a year's time.

>> Joe Sach

www.myspace.com/no1sontheband
www.myspace.com/colettemckendrick

Paul Napier

2006-06-21T18:11:00.000Z

>> King Tuts
>> 26th June 2006

Every boy dreams of a day like this. The day that you beat you're old man at tennis, or you finally grow a beard that makes you look like the yetti-type guy on you're fake I.D, or when you develop into a fantastic, confident and complete performer as 19 year-old Paul Napier does tonight at Tuts.

You Lick regulars may well be familiar with Paul's work when he played at the LickMag.com's launch aftershow back in April, and the man is again in fine form tonight blowing away an enthusiastic crowd with some wonderful songs. His style is a strange mixture of Jack White, Johnny Cash and Jeff Buckley after downing a bottle of whisky and it sounds bloody brilliant.

The voice, the songs and the performance near perfection this evening, and after seeing Paul explode a few months ago when a gig wasn't quite happening for him, he seems totally oblivious to the 2 or 3 folk chatting at the back, and goes from strenght to strength as he moves through the half-hour set. Drinking to Remember may be my personal favourite, with lyrics that even Mr Dylan may be jealous of, but Ode To the Ocean and the haunting Lost At Sea could all fit the bill for a debut single.

This is the most creative and original singer/songwriter in Glasgow - you heard it here first.

>> Joe Sach

Myspace

2006-06-12T13:44:00.001Z

>> King Tuts
>> Cord, Hazey Janes & Invisibles

Every Emo-boys favourite friend Mr. Myspace has launched the UK version of the website with some corking live shows all over the country. There's a sister Glasgow show down at the Barfly with Lick favourites the Cinematics heading the bill, but tonight I'm in King Tuts for Cord, the Hazey Janes and the Invisibles.

Maybe it's the weather, but Tuts is dead tonight. Invisibles seem to have brought some loyal fans along, nodding their heads to every pounding song and there is a real belief from them that this could well be a band with a big future. Songs like Catapult and the anthem-like Problems With Drugs will surely propel this band to great heights over the next 6 months.

Dundee's the Hazey Janes deliver their usual friendly power pop performance to an every decreasing crowd, and just simply allow the songs to speak for themselves. There's nothing spectacular in terms of the show - except the spin tingling harmonies and superb song writing, with Toulouse being by far the strongest track.

Norwich boys Cord finish off the night with what at first sounds like a slightly mellow Queens of the Stone Age style of guitar based rock, but as the set moves on other influences like Radiohead and Coldplay definitely take a front seat. Front-man James Leeds is a like-able character, strutting around the small stage with a forced, Tony Blair-ish smile on his face - knowing that the 12 people in the crowd can't be disappointed. Still, the songs are strong with forthcoming single Winter a definite hit.

So myspace.co.uk is off the ground (as if it wasn't before). Lets have some more great live shows from you please - but this time with a larger crowd.

>> Joe Sach

www.myspace.com/invisiblesuk
www.myspace.com/thehazeyjanes
www.myspace.com/cordonline

Deftones

2006-06-12T13:43:00.000Z

>> Carling Academy
>> 8th June 2006

Walking through the doors of The Carling Academy tonight I was immediately struck by the wide variety of music fans. Its not often that you see large hairy men stand shoulder to shoulder with small teenage girls with 15mm holes in their ears and an abundance of colourful clothes but tonight is different. Only Deftones could pull such a crowd and this being their first Glasgow gig in almost 3 years, anticipation was running high.

Given the mammoth task of opening the night were local 4 piece Shutter, with a lively set of very tight Pelincan-esque instrumental post-rock. Quiet/loud dynamics are the basis for the bands songs with clean picking from the guitars and solid bass lines decorating each other, building up into a slight crescendo then the distortion kicks in and the band kick into HUGE riff after huge riff. An enjoyable set and a great start to the night.

Second band of the night are Glasgow boys You Already Know. They deal in mid paced heavy rock reminiscent at times of Placebo and it may be my louder-the-better musically mentality but unfortunately, YAK didnt seem to grab my attention. Still, the band are great at what they do and on lighter night of metal, I'm sure they'd go down a storm.

Finally it was time for Deftones. The lights came on to reveal Chino Moreno standing on a podium at the front of the stage. With so many throw away artists, it is great to see a real icon in todays musical climate. The rest of the band then appeared and kicked straight into a roaring rendition of Feticeira. The set then continued with great pace leading to a new song (Beware of the water) showing a more atmospheric side with gutiarist Stephen Carpenter taking synth duties whilst Chino played guitar. More hits followed including Hexagram, Be Quiet And Drive and Minerva, all of which sending the crowd (myself included) into a frenzy. Unfortunately, a couple of covers (The Cure and Sade) then took away the energy of the band but this was quickly regained with older material. The night was finished off with a medley from their first album (Adrenaline) with 7 words being the finally of a terrific set. The band left the stage to rapturous applause leaving a packed out Carling Academy with a feeling of extreme satisfaction. Rawk on little ones.

>> Gareth Payne

www.deftones.com
www.myspace.com/youak
www.myspace.com/shutterscotland

You Already Know

2006-06-04T23:34:00.000Z

>> Oran Mor
>> 4th June 2006

It’s been a busy year for You Already Know. Since forming in Summer 2005 the boys have been slavishly working on a monumental number of songs, touting their wares round Scotland and creating awe-inspiring levels of epic rock that occasionally register as aftershocks in recently earthquake-ravaged cities the world over.

Tonight’s show is a teaser for YAK’s biggest gig yet – supporting Deftones at Glasgow’s Carling Academy later this month. As a vindication of a band’s determination to generate interesting and thought provoking music there can be no greater reward. And, going by tonight’s performance, YAK is fired up and ready to show the Carling what it’s made of. The set is peppered with golden moments; the heady crunch of ‘Dead Inside’ still packs a punch but it’s the shimmering ‘Crystal Clear’ that steals the limelight. Released in July as the debut single it looks certain to become a staple of Scotland’s rock radio play-lists.

Proving that there is still a place for invention within the four-piece rock template it was only a matter of time before people started taking notice and it looks likely that 2006 could be the year that this new band breaks through the glass ceiling of Glasgow’s music scene and checks to see just how green the grass is on the other side.

You Already Know support Deftones on June 7th 2006.
The single ‘Crystal Clear’ is released through HiJacked Records on July 10th.

>> Russell Moore

www.youalreadyknow.net
www.myspace.com/youak

Get Cape, Wear Cape, Fly!

2006-06-01T16:59:00.000Z

>> King Tuts
>> 1st June 2006

Entering King Tuts for the umpteenth time, I wondered what was in store for me. With a name like Get Cape. Wear Cape. Fly, I was half expecting an overzealous, teenage “rock” band with meaningless lyrics and crazy hairstyles. Boy was I in for a shock!

Sam Duckworth took to the stage quietly, guitar in one hand, microphone in front, and introduced the voice that will, no doubt, soon be taking the music world by storm. Not just the voice, but the melodies instantly caught the audience’s attraction; there was a stunned silence as every head in the room focused on the small, simian like singer.

Following his quiet opener, came “I Spy”, a song that is now becoming more familiar with radio listeners across the country. With a melody that would rival even Damien Rice’s music, I began to wonder why I hadn’t heard more about this little piece of magic.

Further compliments include the confident way Sam addressed the audience; he introduced his songs with anecdotes, some witty, some more controversial, but all in keeping with the overall relaxed tone of the night. He also managed to include political statements; “Glass Houses” was written after an encounter with the BNP.

Highlights of the night included “The Lighthouse Keeper”, a gem of a song which showed off his understated yet powerful voice, and the toe tapping “Call me Ishmael”, which is released on the 10th July.

I left Tuts desperate to hear more, and my advice to everyone is Go. Download. Now!

>> Jill Harkin

www.getcapewearcapefly.com

Guillemots

2006-05-26T20:16:00.000Z

>> QMU
>> 27th May 2006

This exciting new band make me think of dancing on a summer night. New, very unique and uplifting band on the indie scene (from London) hit Glasgow last night. The band grab your attention through a blistering set.

Lead man, Fyfe Dangerfield, commands the stage and your respect, with an unusual, strong and expressive voice. On one song Fyfe holds onto a small keyboard to his chest, singing without amplification, and holds the silent audience in the palm of his hand. Fyfe has the most wide ranging voice, he uses it like an instrument.

Words to describe this band innovative, surprising, unexpected, melodic. There are shades of the Kinks. Soft yet furious at times, this band enjoy making music, with free abandon, slashing sax, and many more effects. Over this put creative, imaginative lyrics. A classy blend of the best of pop. Stand out is the beautiful even folky song, Made Up Love Song, and also the touching , Over the Stairs.

The guitarist MC Lord Magrao, does his own thing, as does the Scottish drummer Greig Stewart, and their quiet lady double bass player, Aristazabal Hawkes, are all top musicians. This is a band about to hit the big time, they are touring Europe and London.

>> Pauline Keighley
www.myspace.com/paulinekeighley

www.myspace.com/guillemotsmusic
www.guillemots.com

Hanoi Rocks Launch Party

2006-05-26T20:10:00.000Z

>> Firewater
>> Popup & the Hedrons
>> 25th May 2006

Firewater on Sauchiehall street has quite a strong reputation in the town for being an indie-kids dream with the Libertines on repeat and cheap ale a-flowing, and tonight it sees the launch of the Hanoi Rocks night, with a little help from XFM Scotland.

Popup and the Hedrons are tonight’s live acts, trying to give everyone a taste of things to come and at first it seems a bit weird that they are crammed a way back in an almost cage-like section of the pub. However the two ‘buzz bands’ of the Glasgow music scene don’t let anything get in the way of the show and produce two strong (if a little short) sets.

Firewater have certainly launched things in style tonight, with free champagne doing the rounds, every other drink being a pound (I still feel ripped off since I’m drinking Irn-Bru mind…) and the place being packed to the rafters with every Scottish music scenester I can name.

They also have some great bands lined up for the next coming months and this looks set to be a very successful night of live music. I just hope that when the honeymoon period is over that they don’t just start booking bands just because they can bring hundreds of their mates along, but I’m sure with XFM’s backing, and a fantastically well-run launch night that that will never happen.

So the Hanoi rocks night is set to be added to the list of regular nights of quality live music, so get your skinny jeans and converse trainers on now!

>> Joe Sach

www.myspace.com/firewaterglasgow

Morning After Girls

2006-05-25T14:43:00.000Z

>> Barfly
>> 22nd May 2006

Tonight, the Barfly plays host to Kerrang’s Most Wanted Tour. And the band I came to see is The Morning After Girls. And already I’m confused. Last time I picked up Kerrang (after shouldering my way past half a dozen 13 year old, depressed yet foul mouthed emo girls to get to the magazine shelf) all the featured bands had very nice trendy haircuts and everyone of them seemed to claim the title of “most dangerous band in the world” or something. I’m fairly certain that Smash Hits magazine went out of business because Kerrang snapped up all their writers. The Morning After Girls don’t seem to fit in with bands like Trivium, Fightstar, Fall Out Boy, Lost Prophets (and so on, and so on, and so on….) but this tour sees them team up with electro-grind-metal-instrumentalists 65 Days Of Static; WTF???

So, with the huge Kerrang banner dominating the stage behind them, the Morning After Girls take to the stage and do their thing. Laid back but not lazy, their sound is very Dandy Warholes-esque, with perhaps a stone roses edge thrown in every now and again. Harmonies are tight and definitely grab your attention when three or four voices are used at any one time, and the amount of reverb being used tonight, it actually sounds like a choir singing from the bottom of a valley. Beautiful.

However, the songs are rather samey; the Girls know what they do well but they seem unwilling to stray too far away from that sound. The standout song of the night was Hidden Spaces as it changed the pace of the set quite suddenly and grabbed the attention once again. Soon to be released single, Run For Our Lives is well worth a listen too, with an almost Oasis-y swaggering rhythm throughout it makes for a real, feel good toe tapper. I wasn’t blown away tonight, but The Morning After Girls sound good on record.

So perhaps it was because the venue really seemed devoid of any kind of atmosphere tonight (as is often the case with the eclectic magazine sponsored tours trying to provide something for everyone) but I’d wait to see the Girls play one of their own shows before I really make my mind up. Those with tickets to T in the Park (you lucky, lucky bastards) can check them out there.

>> Dave O'Neill

www.themorningaftergirls.com
www.myspace.com/themorningaftergirls

Yeah Yeah Yeah's

2006-05-23T14:24:00.000Z

>> Barrowlands
>> 19th May 2006

The anticipation in the Barrowlands tonight is electric. Not because the mighty Yeah Yeah Yeahs will be frolicking on stage in a few short minutes, but because this is a proper band, playing exciting music and it’s happening in the Barras! Seriously, it’s been about two years since I was last here. The lager-whore club across the water (you know the one) has been sucking up all the quality bands since it opened and the poor old Barras has been left playing second fiddle. So it’s time to readdress the balance and there is no band better suited to give the old gal a shot of serotonin than the YYYs.

Openers ‘Services’ from New York City are two gentlemen playing the most blistering of dance music. Two synths/samplers, a cymbal and a microphone and they’re off! Bubbling the sparkly paint on the roof with their bass booster. If the Mighty Boosh made Junior Senior songs they’d sound like this. ‘Alive’ and ‘Killer Bees’ were absolutely top notch. I reckon that, come the summer, dance floors around the country will be getting sweaty to this band.

But tonight is all about one person – Karen O. From the front row look-a-likes with their pin stripes, polka dots, oversized plastic jewellery and chunky bowl cuts to the quiet indie boys she would chew up and spit out without breaking a sweat, everyone is here for this whirling dervish. I pretty sure Nick Zinner and Brian Chase would agree on this too! The adoration is apparent before first song ‘Gold Lion’ is even one bar in and it continues as such all night. During the many, many technical glitches that hold up the set it is Karen’s sultry/giggly crowd interaction that keeps things afloat.

The set was very heavy on second album material making it lack the spark and vitriol of the early shows. It feels like the band are still finding out where all the songs should go and as such the atmosphere is like a rollercoaster – one minute you’re united by the squall of ‘Y Control’, the next you’re intently waiting through rat-a-tat of ‘Mysteries’. Tonight the crowd were fully charged by six songs: Black Tongue, Gold Lion, Y Control, Pin, Phenomenon and Maps. The second album seems to have some ground to make up.

However, as the constant grin on Brian’s face shows, tonight was a triumph – despite the guitar f*ck ups and obviously fluctuating set list – the fans were never gonna let this gig go without giving the sprung floorboards a damn good hiding.

>> Russell Moore

www.yeahyeahyeahs.com

Invisibles

2006-05-18T22:15:00.000Z

>> MacSorleys
>> 19th May 2006

Tonight I was summoned to the sh*theap that is MacSorleys on Jamaica street to SEE Invisibles (Ba-doom Peeesh!!).

First off, this band should not be playing MacSoleys Pub. Ok, it's a good watering hole but nothing more, and the sound quality is awful. Still, Invisibles impressed the middle aged crowd, with some stonking tunes and pounding bass lines that sound disjointed but mesh into a frenetic coherence that’s definitely friendly on the ear.

The yet untitled track 2 is definitely single material with a chorus that’s more infectious than bird flu. They then launched into ‘Catapult’, a fantastically feverish number that’s chock-a-block with banter.

The annoyingly short set was rounded off with ‘Problems with drugs’ which galvanised there quirky and distinct sound and sent everyone packing with a smile, a spring in their step and a jaunty beat lodged in their craniums.

>> Joe Sach

www.myspace.com/invisiblesuk

Hazey Janes

2006-05-15T14:35:00.000Z

>> ABC
>> 14th May 2006

The Hazey Janes are not one to follow the crowd, so it’s hardly surprising that as the rest of Scotland headed north for Radio 1’s ‘One Big Weekend’, they bucked the trend and headed south for a night in the ABC in Glasgow.

Bursting open with a song which sounded remarkably like Snow Patrol’s newest hit, and the following tune not that different, I began to wonder if the Hazey Janes would prove to be one trick ponies. Thankfully, I was proved wrong. Lead singers Andrew and Alice belted out some extremely catchy melodies, and all eyes remained on them throughout the set.

The Hazey’s manage to combine snippets of the White Stripes, the Magic Numbers and the above mentioned Snow Patrol. However, they still have further to go if they want to prove they have that something ‘special’. If fault can be found within the band, it would be the lack of audience interaction – surprising as when asked where they prefer to play, smaller venues came up trumps, owing to their more intimate atmosphere. Perhaps they ought to charm the audience between songs, include the crowds more, and their fan base will expand.

The evening was rounded off with a slow, melodlodic number, which proved unusual but effective. Far from leaving the audience downbeat, they managed to finish off the evening with a relaxed atmosphere. Perhaps this fitted in with the bands plan to “have an early night after the gig” – rock on!

These guys have shown they do have the potential to make it; they just have to find their audience, target – and strike!

Debut Album, Hotel Radio is out now.

>> Jill Harkins

www.thehazeyjanes.co.uk

T Break

2006-05-12T15:38:00.000Z

>> T Break Showcases
>> King Tuts
>> 11th - 14th May 2006

Glasgow was again host to 4 of the showcase gigs for the fantastic T Break competition which decides what lucky 12 acts get through to grace the stage at T in the Park.

LickMag.com was there for all 4 gruelling nights of stiff competition, and the wide range of musical styles once again proves that T Break and Scottish music is getting bigger and better every year.

Thursday the 11th kicked things off, and a packed King Tuts is the just the best place to see live music – and tonight is no exception. The night has a very heavy theme to it, with Civilised, Magdalena, NLD and For Your Sins aiming for the ‘metal’ section of HMV but for me Endor are the highlight of the evening. Having released their debut single Hold On this month (reviewed in the demos section), their vocals and songwriting lift them up above the rest.

Friday night’s event was by far the strongest line-up of the 4 days, kicking off with a solid performance from electronic heroes Ives. On another night they might have been better received but it’s the sort of music that isn’t best suited for a live gig unless you afford some fancy lasers and some class A drugs…

Edinburgh-based Hip Hop dudes 3 style, take the night up a notch with some fantastic beats and clever lyrics. Some mic problems and some edgy comments to the crowd don’t prevent from 3 Style going down an absolute storm, and with a fantastic sample of Jimi’s Crosstown Traffic they leave the stage triumphant. Edinburgh’s other favourite sons The Acute follow, and even if the singer’s attitude doesn’t sit well with everyone, they have some stonking riffs and the man with the sticks is simply fabulous.

OBE’s funky-ass beats may well send them through to the T tent, but they also win the prize for best haircut from the amazing bass player and the much-anticipated Yellow Bentines provide an entertaining show – even if the music lacked a little substance. Indie 4-piece Bwana Devil finish the night off in style with some well-written songs and beautiful harmonies.

Saturday provided a slight surprise with opening band Futuro. Having had such a great night previously it was a tough ask to begin proceedings, but Futuro powered their way through a fantastic set with some We Are Scientists-like rock and are definitely fighting for a place in the tent. Joy Division – No, sorry - Kings Die Kings disappoint with a ridiculously un-original set and Reograd also fail to grab the ears.

Injuns from the Isle of Skye lighten the mood with some jazz influenced, trumpet solo’s and a great live performance, whilst Tinrokit have one-or-two strong tunes with brilliantly Scottish lyrics - ‘The club is always, always heaving, with every kind of sexual deviant’ - that may well take the Edinburgh 3-piece through to T.

And so to the final evening of the T Break showcase gigs for another year, and local favourites How to Swim open up with their own Glasgow based brand of the Polyphonic Spree. A great live show and it’s just a bit disappointing that Tuts hasn’t quite filled for their lively carnival set. Exit Pilot drive the night forward with some pounding rock and/or roll, but the Liam wannabe singer lets the side down a little from an otherwise powerful set. The possibly clinically insane Some Young Pedro don’t really add anything spectacular to the evening who’s music can’t really be described in words, but never-the-less put on an entertaining show and a few heads may start to bob if you’re into that sort thing.

Singer/songwriter had the enviable task of trying to hush a lively crowd with his Jeff Buckley style vocals and acoustic wizard-ry, but did so with style. The intelligent Emo rock of Think:Fire also adds to the interesting night and along with a good front-man have some very inventive guitar work going on. Solarlise finish up the evening with a steady set but don’t really show signs of the spark needed from a kick-ass band, although they seem to be trying their best with tight tunes and matching outfits.

So, after the dust had settled, here’s my top five from the Glasgow nights (in no order).

1- Futuro - www.myspace.com/wearefuturo
2- 3 Style - www.myspace.com/3styleuk
3- Bwana Devil - www.myspace.com/bwanadevilmusic
4- The Acute - www.myspace.com/acute
5- Endor - www.myspace.com/endor

It was another fantastic T Break event, and time will only tell who gets the opportunity to play at T in the Park. Rawk on.

>> Joe Sach

www.tbreak.co.uk

Colette McKendrick

2006-05-12T15:37:00.000Z

>> 'Etheria' Album Launch Party
>> Oran Mor
>> 12th May 2006

It’s a strange wee venue, the Oran Mor. Located as it is in the basement of a recently refurbished, once-derelict church; it has the ambience of a medieval dungeon crossed with the romantically flamboyant air of a Phantom of the Opera-esque theatre…

and as such it’s the perfect place for vibrant young misfit Colette McKendrick to unveil her marvellously eclectic debut album.

Following an eye-opening show at a certain Glasgow magazine’s own launch night back in April it is obvious that Colette et al have hit the ground running and are continually picking up the pace. The ‘Mor is packed out, the walls are beautifully decorated with Gaelic art and the band is hotting up with what has effectively become a ‘best of’ set already! But not just one, oh no, for it is the liberal decadence of two sets that the crowd are treated to tonight. In poker terms it’s ‘ALL IN!’ So how’s the hand?

Well, you’d be forgiven for thinking that two sets would lead to an inevitable drag in proceedings, but not one to run out of steam it seems that Colette has been in marathon training for tonight. The lively mix of musical styles keep the crowd buoyant and the band is clearly in its element when locking into a groove.

By now the songs speak for themselves. Anyone with even a passing knowledge of the myspace site has probably been entranced by the snippets of ‘Voyerism’, ‘Colour’ and ‘Peter Pan’s Biggest Fan’ already – but tonight there is a defining energy in the band’s performance that transcends the limitations of any recording. The delicate touch of ‘Dark Horse’ or the misty funk of ‘Kangaroo’ is something to be witnessed live. The nifty addition of some well-chosen covers, including Rick Astley’s ‘Never Gonna Give You Up’, also add to the glittery vaudeville performance.

Tonight’s highlights are ‘This Girl’ (for Arthur Izat’s wizardly guitar powers) and the song that other bands will probably beat down Colette’s door and hit her with a stick for, ‘Find Me’. The latter is a song of such completely realised brilliance that the songwriters she is arguably rubbing shoulders with – Tori Amos, Imogen Heap, Dresden Dolls, et cetera – would whimper and scurry off into a cave should they hear it. The sooner the world gets to hear this song the better!

I have no doubt that tonight’s show will be the start of bigger things for this band. At the next available opportunity get out and see Colette McKendrick in an intimate venue – because you won’t have the chance for long. Calling Jools!

>> Russell Moore

www.colettemckendrick.co.uk

Star 69

2006-05-08T12:39:00.000Z

>> ABC 1
>> 5th May 2006

Who? They're playing where? How? Don't worry, I asked myself these very same questions when driving into Glasgow on Friday night.

Maybe one of the reasons that the Star 69 are relatively unknown is that their website doesn’t work. Or maybe that they are trapped in 1994 and don’t look like they want to get out – so much so that there is no myspace page to be found either. So like diseased ridden sea captain – I walk the plank into the ABC, blind on what I’m about to experience.

Support on the night comes from local lads Laker. A massive following awaits them as they appear on stage and I’m guessing that most of the crowd is actually here to see them rather than the 69ers. 40 minutes of cheesy rock/pop follows, and ok it may not be very credible rock, or very ‘art school pop’ but Laker are good at what they do. They obviously work very hard, writing and rehearsing all the time to get the stage performance to be as tight as it is, but they lack a spark that is needed to push them to the next level. Still, the radio 2-friendly tunes might not float my boat, but I’m sure a less demanding ear would raise a smile.

The Star 69 strut on stage with a degree of arrogance that is needed to be able to fill the ABC 1. Well, let’s face facts – they haven’t filled the ABC. Laker have.

Liam Gallagher – sorry, singer Peter McLeod (it’s impossible to tell the difference) swaggers on stage with his Bono-like shades and annoying tambourine like he’s just written Live Forever and the Ian Brown/Oasis-isms don’t let up for the whole set.

The music it’s self is heavier than Oasis, but definitely cut from the same cloth. Boring, bland and another word from the B-section of dictionary that I’m not allowed to type would be the words I’d use to describe this band. I’m sure they are a good, hardworking people – but the onstage persona leaves a lot to be desired.

The night belongs to Laker and promoters Flat2m who have yet again exceeded all expectations to bring together a fantastic, profitable evening of live music.

>> Joe Sach

www.myspace.com/lakermusic
www.flat2m.co.uk

The Streets

2006-04-28T10:43:00.000Z

>> Academy
>> 28th April 2006

Mad Mike Skinner eh. What else can be said? The Academy is jumping tonight and he knows it.

The Streets are out promoting not-quite-as-good-as-the-last album, The Hardest Way to Make an Easy Living, but I get the impression from the hit-filled set that this new album is just an excuse to get back on the road. The emotional It's Too Late, old classic Let's Push Things Forward and the stand-out of the night Blinded By The Lights are all given space on the set list despite the new album, and Mr Skinner & Co. make the Academy their own.

I remember Mike Skinner at T in the Park last year banging on about how he wants to write a number one anthem (as well as avoiding flying Irn Bru bottles from the crowd), and he can't seem to get over this hump as he tries to fit almost every number one I he could think of over his band's beats. I Bet You Look Good on the Dancefloor, Don't Cha and Gnarls Barkley's Crazy to name a few.

However, The Streets are set to release another crackin' balled of their own, and who knows - a number one may not be too far away. Never Went to Church is arguably the standout of the latest album, as Mike pours out his feelings towards his late father. Tonight he looks visibly moved as the track comes to a close and Leo the Lion ad-libs the last few bars. But his mood changes to one of defience as opening track on his debut album Turn The Page kicks in, and out bounces Leo again (this time dressed in a boxer’s robe) as the atmosphere builds.

I’d also like to give a mention to the men behind the man. Side-kick Leo has a fantastic voice and really came out of shell tonight while the band (especially the drummer) are absolutely spot-on. When the drums speed was doubled towards the end of Blinded by the Lights, the whole place erupts and I get a flashback to a 1990 rave and for some reason have a strange urge to take Ecstasy…

Another great Streets performance comes to a close in Glasgow, and it’s only the piss-poor sound in the Academy that let’s the evening down. This new album may be lacking something, but he still remains the best observational lyricist out there. Fittingly, he makes the weak feel like heroes.

>> Joe Sach

www.the-streets.co.uk
www.myspace.com/thestreets

Field Music & The SCCC

2006-04-28T10:30:00.000Z

>> King Tuts
>> 27th April 2006

Last night I was in an unenviable position. A text message invite was sitting on the old mobile phone assuring me my place at Thursday evening’s Field Music gig. Somewhat cruelly, on my table there was a pile of four essays needing urgent attention. And, finally, there’s myself, with a big metaphorical blitzkreig raging between the opposing factions of my conscience. So what do you do? You say ‘F**k it’ and sit down with your laptop to finish the essays. And then half an hour later you say ‘F**k it’ again while strapping on your cycle helmet and heading to St Vincent St.

I suppose the point is this – essays are shitter than gigs…

… especially so in tonight’s case. The mighty Seal Cub Clubbing Club from Liverpool stepped up early to deliver the best support slot I’ve seen in bloody ages. With a mere two eps available to the generally general public you’d be forgiven for not expecting too much, but, like me, you’d have been blown away.

I’ve not seen a front man so engrossed in sound since, well since ever. The songs are frisky little blighters too – rarely settling on one time signature and always with bigger and brighter ideas just on the horizon waiting to snag you. I’ll give it to you that the band name is gonna be enough to put a lot of people off (although they said that about Arctic Monkeys) but if you’re open enough to give them a try, the SCCC will drop your jaw.

And then! Playing its first Scottish headline date: Field Music. Shamefully Tut’s was only half full for this occasion. That’s right, I said shamefully! Hang your heads and think about what you’ve done! Or not done. Anyway, the boys didn’t seem terribly fazed and, going by the strength of the set, were out to deliver a good night.

Airing ‘If Only the Moon Were Up’ fairly early in the set they were on top form from the off. The set whisked around at a fair old rate but the sound maintained the crystal edginess of the album and singles. ‘Tell Me Keep Me’ is just an awesome tune while ‘You Can Decide’ airs and cements their Beatles/Beach Boys harmonic drive and genuinely imaginative arrangement skills.

There was even time for two new tunes and a b-side during the encore-less set and it really is a challenge to remember that this is a part-time band. The guys all have jobs; they write and record in their spare time and rarely tour. All this and they still piss from a great height on the many, many full-time booze, crack and glitz poseurs on the scene. There was no dry ice, light show or hangers on: the only thing spectacular was the music and the grounded attitudes with which it was delivered.

Seriously, if I’d missed tonight I would’ve been kicking myself for months. Next time an essay tries to guilt trip you into not living your life you can tell it to piss off from me.

>> Russell Moore

www.field-music.co.uk
www.thesealcubclubbingclub.com

Field Music INTERVIEW:

Lick: Hello! How are you?
Peter Brewis: I’m fine, I’m fine.

Lick: For anyone who doesn’t know Field Music can you tell us a bit about yourself?
PB: Well Me, Andy and Dave are Field Music. Me and Dave are brothers and we all went to the same school so that’s how we met. I think the first time we ever played together was for Andy’s GCSE music performance about 12 years ago. I think it was blues in F or something like that and we’ve just played together on and off ever since. I mean these guys were the first people I ever played with and will probably be the last people I ever play with!

Lick: Do you ever feel like expanding the band at all?
PB: Yeah well we think about expanding the band all the time. We audition people and they’re not very good! Usually I want to expand the band and add people that are already in other bands unfortunately. I think Barry Hyde [of the Futureheads] is probably quite busy at the moment and I think Tom English from Maximo Park is probably quite busy as well.

Lick: Yeah they’re doing not bad for themselves at the moment!

[Pete's Brother Dave Brewis joins us at the table]

Lick: I know you did the Barrowlands show with Maximo Park just before Christmas, but have you played in Glasgow other than that?
DB: Yeah we’ve played a few times before, not as Field Music though but in another band that we were all in, in the early days. The Barrowlands gig was great, a really good gig actually. It’s just a shame that we had to drive home straight afterwards that night. Oh, and we also played with British Sea Power at the University.

Lick: Have the all been good gigs then? Good crowd and stuff?
PB: Yeah well they weren’t there to see us but they seemed to enjoy it.
DB: The British Sea Power one was weird because they actually did two sets. They did a b-sides set before us and then their normal set after us and the crowd reacted to their first set as if they were a support band which was strange but in general the gigs have been really good up here. I’m really looking forward to finally playing in King Tuts cos everyone I’ve spoken to has told me how good a venue it is. It sounds nice you know? And the shape of the room is really nice.

Lick: Are then any plans for a second album then? I know the first album was out last year.
PB: Yeah we’re nearly finished the second one and that should be out in September hopefully.

Lick: You mentioned the Maximo Park guys and the Futurehead guys before, are you quite friendly with them then?
PB: Yeah I would say so! It’s a small town [Sunderland] you know so everyone really knows everyone. Well, that’s not really true I suppose…
DB: We were friends with the Futureheads before there was even a thing called the Futureheads or Field Music. Yeah we’ve know Barry and Dave for a really long time.
PB: And we’ll know them long after Field Music I’m sure.
DB: We’ll still know them when we’ve all retired and are just sitting around mowing our lawns. Dave’s a very committed gardener you see.
PB: And he’s learning to drive.
DB: He’s not a very committed driver though. Still hasn’t passed his test and his cars broken! As for the Maximo Park guys we actually met them through just gigging in Newcastle. Peter goes out and gets lashed with Paul Smith all the time and he seems to be sleeping in our house all the time!

Lick: do you have any plans for the summer at all? Any festival appearances?
DB: We’re doing a few dates with the Futureheads that ends about June and then we’ll be planning another tour to promote the second album I think.

Lick: Well thank you very much guys. Here’s your Lickmag.com quick fire questions!

Scotland or England?
PB: England
DB: Scotland!
Glasgow or Edinburgh?
DB: Glasgow
Celtic or Rangers?
PB: Sunderland
Ghostbusters 1 or Ghostbusters 2?
PB: Ghostbusters 1
DB: Actually Ghostbusters 2 because it’s got Jackie Wilson in it. I’m not as fond of the film but just to see the statue of liberty dancing about to *sings – Your Love is Taking Me Higher* - it’s a classic.
Kylie or Danni?
PB: Kylie
DB: Kylie
Mars or Snickers?
PB: Snickers
DB: Yep, Snickers
Beatles or the Stones?
PB: Beatles
DB: Beatles
Futureheads of Maximo Park?
PB: It’ll have to be the Futureheads.
DP: Yeah musically they float my boat.
PB: Plus they're from Sunderland and Maximo Park are a bunch of filthy mags!
Beard or Moustache?
PB: Well the Beard signifies Indie, while the moustache just signifies Reynolds. Pure Burt Reynolds.
DB: Yeah whatever the Reynolds has that’s my answer. Beard of Moustache? – Reynolds!

www.field-music.co.uk
www.thesealcubclubbingclub.com

Panic! At The Disco

2006-04-28T10:29:00.000Z

>> Carling Academy
>> 12st April 2006

In 2005, few people had heard of young Las Vegas outfit “Panic! At The Disco”. In 2006, however, the band have been accelerating to super stardom at immeasurable pace, leaving many 14 year old girls (and guys…) hot under the collar. Tonight’s gig is proof of this as it had been first scheduled for the cathouse, before selling out phenomenally quickly, forcing it to be upsized to the majestic Carling Academy.

After an excruciatingly painful couple of opening acts (keep away from Forgive Durden and definitely keep the hell away from Men, Women And Children), Panic! At The Disco take to the stage to an eerie backing track and near deafening applause before launching into fan favourite “The Only Difference Between Suicide And Martyrdom Is Press Coverage”.

The sound at first is a little muffled with barely any guitar or bass to be heard over the vocals, drums and the all important backing track, and it does take the band a couple of songs to get into top gear but the crowd don’t seem to care: there’s not a still body or mouth that isn’t singing in the venue. Stand out songs from the set, which included every track from their debut album “A Fever You Can’t Sweat Out” as well as a Counting Crows and Third Eye Blind cover, included “Time To Dance” and “I Write Sins Not Tragedies”, with the latter allowing singer Brendon Urie to step back from the microphone handing over the vocal duties to the crowd.

However, despite proving themselves as one of the bands of 2006 on cd, they failed to do the same with their live performance. They seem a one trick band, playing an almost identical set to that from their Cathouse house gig earlier in the year including the same musical interludes between songs, while their backing track kept the live element of their show minimal, leaving me wondering whether the grandiose amount of production on the album was half of their success story.

>> Roy Chester

www.panicatthedisco.com

Test Icicles

2006-04-18T21:45:00.000Z

>> Garage
>> 18th April 2006

Test Icicles. We hardly knew ye. *Sob Sob*

The Garage tonight hosts the final Scottish show for these young lads, having decided to call it a day after only one album, For Screening Purposes Only on Domino Records.

The band stroll on stage With their usual care-free attitude to the drum intro of hit single Circle.Square.Triangle, and pulses start racing. However, the young and enthusiastic crowd are brought back down to earth with the disappointment of the lead vocal mic not working. Being one of the best singles of last year it's still a great opener, and the boys make up for the lack of vocals with some great on-stage antics. God knows how they are still in one piece.

Even if the music is a little too violent for my liking, it is still very entertaining to watch as the stumble around that stage in a chaotic fashion and I feel sorry for the over-worked roadie, having to pick up the mic stand every two seconds. Towels over their heads, swearing at the crowd, kicking everything that moves, big fluffy bunny rabbits dancing away - Test Icicles manage to squeeze everything into they're hour long set, leaving the crowd begging for more.

The band do look very tired at times though, as if they have simply just ran out of steam. So maybe it is fitting that they leave us with the one album. They finish up their encore with Boa vs Python - the other stand-out track from the album and leave with the phrase 'We better go now before we get arrested'. Proof if proof needed that these punks are not everyone's cup of tea.

Test Icicles, we will miss you. The myspace success story ends too soon. May you rest in peace.

>> Joe Sach

The View

2006-04-13T15:37:00.000Z

>> King Tuts
>> 13th April 2006

Do we really need a Scottish Babyshambles? Because Dundee's The View are cut from the same cloth. Recently signed to James Endeacott's new label 1965 records the View have since bagged support slots with Primal Scream, Proud Mary and the already mentioned Babyshambles, picking up some 'street-cred' by doing what Pete Doherty does best - getting arrested.

Tuts is jumping tonight, and the View play their little hearts out to the over-enthusiastic crowd with their own brand of toe-tapping indie/rock. The Libertines influence is very apparent, but if you throw in a bit of the Kooks and tighten the whole thing up, you'll arrive at the View and never look back. Tracks like Same Jeans and Comin' Down stand up above the rest, as the baby-faced boys race through their set with that 'we-don't-give-a-F*ck' look about them.

The View certainly have the fan-base and the songs, and with this performance they seem to be able to cut it live on any stage. I have a feeling they might just be massive. Anything Londoner's can do, the Scots can do better.

>> Joe Sach

www.myspace.com/dryburgh

The Bishops

2006-04-10T12:45:00.000Z

>> Art School
>> 8th April 2006

London’s The Bishops most be one of the hardest working bands around, having gigged here, there and everywhere over the last few years, and tonight they play Glasgow’s school of Art as part of the Club NME tour.

As the band kick off their 40 minute set, it’s as if the 60’s are back! As these time-travelling, toe-tapping heroes play their bootleg ties off to a quiet but lively Art School. Twin brothers Mike and Pete Bishop, along with Scottish drummer Chris McConville make up the band, who race through the set with some classic tracks, and all of a sudden I have a sudden urge to go out and buy a beehive wig.

Songs like Menace About Town and debut single the Only Place I Can Look is Down begin to the crowd’s heads nodding and the energy from the band as they bounce around on stage puts a smile on everyone’s face. There are some nice individual touches too, with some smart guitar solos and wicked bass lines, and the only thing tighter than the superb vocal harmonies, are the twins’ straight-from-the-sixties trousers.

Not the busiest nights at Club NME, but the small crowd has warmed to these fun lads from down south. Look out for the single on May the 8th.

>> The Lick had a wee chat with the boys with the suits:

Lick: Hello! Welcome to Glasgow. Although this isn’t your first time I believe?
Mike Bishop: Yeah we played once before which was in Rockers club beside the station which was pretty cool.

Lick: How was the smell of piss on your way in?
Pete Bishop: Haha! It wasn’t too bad. Pretty similar to the one in London actually.
Chris McConville: There’s a pretty cool club up in Motherwell that way played once before.
PB: Yeah that was a really good gig. It’s always nice to get up to Scotland and other parts of the country. People are very friendly up here and there are always good gigs.

Lick: Thank You! An album deal on Monday I understand?
MB: Yeah a good way to start the week!

Lick: Can you give me any details?
MB: It’s with 1,2,3,4 records, who are a London based independent and we’re going to doing and album and a single with them. We’ve already recorded the single (The Only Place I Can Look Is Down) with producer Liam which will be out on the 8th of May and he’s going to do the album as well. The sessions were really really fun and we’re really pleased that we can come together with Liam to do more material because we feel he’s the right producer for what we do.

Lick: Looking forward to it! For anyone who doesn’t know the Bishops, how long have you been together and how does the song writing work and how did you meet your mad Scottish drummer? (Their words, not mine)
MB: Well we’ve been together about two and a half years and we formed in London and basically me and Pete were staying in a youth hostel because we were studying and stuff and Chris was working in a pub nearby and we used to meet a lot and got chatting about music and basically just decided to form the band. We used to rehearse in the basement of the YMCA and just went from there really. In terms of the song writing me and Pete will come up with a song together or a riff and then take it to the rehearsal with Chris and it kinda of develops from there.
PB: There are times when we can just be jamming and we’ll come up with something. We find that’s a really effective way because it happens quite quickly and there’s definitely quite a good partnership between us.

Lick: And are there any particular bands/artists that influence the song writing?
MB: Yeah there’s always people we’ve admired and have definitely influenced us like Arthur Lee and Love, a lot of stuff from the late sixties. The Jam, the La’s and people like that.

Lick: And what about yourself Chris?
CM: Me? Well when I was first learning drums it was people like Stuart Copland and Jon Bonham. It’s nice to hear wee bits and pieces coming through in my playing because I was never taught, I just used to play along with records.

Lick: And is there a date for the album?
MB: No not yet. The single will be out on May the 8th, on Cd and Vinyl and we’ll be working on the album throughout the year so it will probably be the start of 2007.
PB: There will probably be another single in the summer and a few more tours. We’re playing a few shows in Germany and Austria at the end of May, and some tour supports and a few festivals.

Lick: And to finish up. What’s your favourite thing about Glasgow?
CM: For me it’s always thriving. Good music, good bands and the places like the Art School are great venues and clubs to go to. Plus there’s loads of women. Scottish women wearing next to nothing even if it’s freezing outside!

Quick Fire Questions for Pete:

Black or White? Black
Kylie or Danni? Kylie
Up or Down? Up
Scotland or England? England
Glasgow or Edinburgh? Glasgow
Acoustic or Electric? Electric
Ghostbusters 1 or Ghostbusters 2? Eh, 2.
Bush or Blair? Haha! Eh, Blair I suppose.
On Top or on Bottom? On Top
Mars or Snickers? Snickers
Indian food or Chinese food? Indian
Drunk or Sober? Drunk
A Ben Affleck film or killing yourself? Killing Myself!
Phoenix Nights of the Office? The Office – Definitely!

>> Joe Sach

www.thebishopsband.com
www.myspace.com/thebishopsuk

We Are Scientists

2006-04-10T12:44:00.000Z

>> Barrowlands
>> 8th April 2006

“We never thought we’d say this but the English crowds were way better movers than you guys.”

Seriously, Forward Russia’s guitarist said this to the capacity crowd tonight. He’s a brave man, but a smart man too. Once this gauntlet was thrown down, the crowd decided that dancing to the support act was not only a good idea but also a matter of national pride. Hats off to Forward Russia for utilising in the ingrained Scottish jingoistic attitude to ensure a memorable performance. However, even without the usually unnecessary goading of the assembled weegies, Forward Russia put on a frantic show with flailing front man Tom showing the initially inert audience how it should be done. Good tunes too and worth checking out. (www.myspace.com/forwardrussia)

We Are Scientists have had an eventful 12 months; this is the fourth outing to Glasgow within a year for the American trio and they have managed to stuff as many of their burgeoning Scottish fan base as possible into the Barrowlands tonight. However, those who have seen the band before tonight, (in King Tuts a few months ago for example,) will recognise the order of songs as being exactly the same as last time. It doesn’t really matter though; WAS are a damn fine live band, complete with witty on-stage banter that in no way reeks of scripted and rehearsed sucking up. Singles ‘It’s a Hit’, ‘Nobody Moves, Nobody Gets Hurt’ are definite highlights alongside the imaginatively quirky and greatly entertaining choice of cover ‘Be My Baby’, with crowd favourite and instant toe tapping single ‘The Great Escape’ closing tonight’s carnival of sorts. Their debut album, ‘With Love and Squalor’, is fast paced and catchy whilst the artwork exploits the power of the fluffy kitten perfectly, a definite recipe for success. Consider it recommended.

www.wearescientists.com

A.J Hazlie

Vic Galloway Show

2006-04-06T16:56:00.000Z

>> The Hazey Janes, King Creosote & the Cinematics
>> Acoustic Show
>> Glasgow's City Halls
>> 3rd April 2006

Man of the people Vic Galloway re-launched his Air show tonight as….. (Drum roll)….The Vic Galloway show! Fab!

Ok the name could have been more inventive, but this small show at Glasgow’s city halls is a fabulous way to start a fresh, with live acoustic sets, and the usual cracking tunes from the best that Scottish music has to offer.

First up are Lickmag favourites the Cinematics, who strip down to just a couple of acoustic guitars and Scott Rinning’s blessed vocal-chords. And what a set they deliver, with unplugged versions of The Fall and b-side to their second single, Human almost blow away this bizarrely small audience. But it’s the final song that wow’s the room – an almost perfect cover version of the late Jeff Buckley’s So Real. ‘I don’t know if you know the history of our band but I used to be a busker’ explains singer Scott, and I’m sure everyone would be reaching for their pockets if he still was.

Step up King Creosote, who has the enviable task of following the Cinematics, and to be honest fail to do so. Singer Kenny is obviously a fine musician, and very talented on the Accordion but the songs fail to grab the listener, and seem to almost run into each other. The are some nice moments, especially when Kenny and side-kick James whip up some vocal harmonies, but after the Cinematics, the mustard remains uncut.

The fantastic Hazey Janes finish up the evening with a fine performance, and lift the whole mood of the night with some fabulous 3-part harmonies and wonderfully crafted songs. Glockenspiel’s and ¾ sized guitars make the set that more interesting, as the originality from the Pop/Rock/County gang from Dundee shines through with magnificent effect.

An encore and standing ovation brings the night/show to a close, and a sign of things to come from Mr. Galloway and the Radio Scotland team as more live shows are currently being penned. Watch this web space!

>> Joe Sach

Vic’s show is on Radio Scotland every Monday night from 8.05pm.

Acoustic Affair CD Launch

2006-04-06T16:49:00.000Z

>> ABC 1
>> 31st March 2006

Local promoter Peter MacCalman has been promoting some of the best local talent around Glasgow since 1999, and has run the very successful Acoustic Affair throughout venues such as the Tron, the Royal Concert Hall and the ABC. Tonight the ABC 1 hosts the launch night of the Acoustic Affair Compilation Album, released through Vertical Records.

Established in 2002, the Acoustic Affair has seen more that 130 artists play over 75 shows in venues throughout Glasgow. Its line-up has included many musicians in the early stages of their career, such as Aberfeldy, Crash My Model Car, Jo Mango, the Hazey Janes and the Cosmic Rough Riders.

The ABC is a fantastic location for a night like this. Tables and candles make the night a very intimate affair; even though the venue holds over 1200 people, and sets a wonderful scene for first act Sporting Hero. Looping voices and guitar parts with his fancy wee effects box, Sporting Hero starts the night as it means to go on, with some well-crafted songs and a beautiful voice.

The Superb No.1 Son follows, stripping his songs down to just a single acoustic and his angel-touched voice and Rick Webster from Unkle Bob and Kieran Docherty also contribute with delightful short and snappy sets.

Carol Laula and the River Detectives have longer time on stage, and show the strength of the artists to have been involved with the Acoustic affair. Carol Laula delivers a wonderful selection of songs, with some soaring vocals and fabulous harmonies and Sam Corry and Dan O’Neill cap off the evening with a mixture of toe-tapping blues rock, and some delicate, emotional tunes.

As the fans mingle and the VIP’s head towards the Polar Bar, it’s another hugely successful and well-organised night from PM Music, and if there’s anyone wanting to hear what Scotland’s best songwriters have to offer. Serve them up this treat. A must have album.

>> Mark Wilson

www.acousticaffair.co.uk
www.petermaccalman.co.uk

Hope Of The States

2006-04-06T15:55:00.000Z

>> King Tuts
>> 30th March 2006

Promoting an album that isn’t due out til June is always going to be a tough gig. But why is it that Hope of the States can sell out two UK tours in two months doing so? Lead man Sam sums it up after the band open the show with new song Bonfires…’it’s been a long time’.

Bonfires is a solid opener but nothing on classic instrumental The Black Amnesias that in past has always been a powerful opener. The set is full of new tracks intertwined with classics from previous album The Lost Riots (Enemies/Friends, Nehemiah, the Red the White the Black the Blue, Black Dollar Bills). The band looks like they are finally having fun on stage, smiling at each other after songs, something that has always been lacking in the past. And flowing banter between the crowd in a packed Tuts is something that hasn’t always been evident. ‘Play It’s Chico Time!’ particularly tickles the band. All new tracks are well received by the crowd, outstanding tracks include new EP title track ‘Blood Meridian’ and ‘Church Choir’ before the band really shine in the encore.

The encore opens with what is to be the new albums Black Amnesias track. A powerful Instrumental track driven by lead guitars and violin that is every bit as epic as the Black Amnesias. Next is my personal highlight of the night a track called Under the Wild which is from the Blood Meridian EP. Sam announces that this is the first time the song has ever been performed to an audience and sees him return to the piano for the final time of the night and bassist Paul take over his guitar. The song opens softly with keys and violin supporting Sam’s vocals before the band kick in with what is to be a solid live song for the future. The set is finished off with a busy new track Static in the City.

Live HOTS are as good as any band you are likely to see. Although not everyone’s cup of tea they are destined to be one of Britain’s most challenging bands. All new tracks sound impressive live so if the live performance transfers onto the album the band are onto a winner, and with Sigur Ros producer Ken Thomas still on board there is no reason it shouldn’t.

>> Chris Knox

Blood Meridian EP is out now on limited edition vinyl
New album Left is due for release in June.

www.hopeofthestates.com

Jo Mango

2006-04-01T19:15:00.000Z

>> King Tuts
>> 29th March 2006

With the recent release of the masterful ‘Paperclips and Sand’ album the Mango star is certainly in ascent, and it is an anticipatory crowd gathering here on a nippy March evening to catch a glimpse of its skyward trajectory.

But before all that there’s the support. With folk music it tends to be a case of ‘banter over matter’ and tonight’s first support act seem to stick to this template. But unfortunately, due to the Gaelic-y spelling, I’ve even forgotten what the first band was called! I remember it sounding like Robbie Williams does folk – a kind of ‘Angels’ of the pipe-smoke circuit but that’s it. Oh well.

Second on the bill was the truly wonderful Strike the Colours. Heart felt songs delivered with modesty and skill; the opposite of the solo mourn-a-long I was expecting. In fact, I bought the cd! Keep an eye out for them.

In contrast to the minimal solo sound of StC, Jo Mango came on stage sporting her full band. And they kicked off in style with an uplifting and (unintentionally) feedback drenched ‘Portuguese Skies’. It seems that Jo is as charismatic on stage as her music is on record. She has as brilliant an ability to dust off any technical blips as any front person I have seen. Perhaps because of this, the band comes off as being a genuinely solid unit rather than the one-woman show it could have been. Actually, it is fascinating to see the multi-layered craft that went into the album in a small-scale environment: but this is something to enjoy while we can because it probably won’t be long until Jo and Co are playing places big enough to have the space to dance along to the vibrant ‘Waltz with Me’, one of tonight’s highlights and hopefully one the few ¾ tunes that could divert the masses from their pop cud.

Tearing along at an alarming rate, and proving that laurels are not to be rested on, the band is soon showcasing a new song in the form of ‘Electricity’. A vamped up funk rocker, it really stands out from the crowd. It sounds a bit ‘jagged little pill’ but without all the bullshit. If the band is starting to evolve even at this early stage then it will be captivating to follow what they come up with next. (It seems to me that Jo Mango has an eye for the groove!)

As a gig to celebrate the launch of the album tonight couldn’t have gone any better. The crowd were right behind the performance, the star quality onstage was self-evident, the venue was perfect and the music captured the hypnotic quality of the record. What’s next? Who knows; but if there is a band that deserves to make it in the nü-folk/mainstream crossover, it is Jo Mango.

>> Russell Moore

www.jomango.co.uk

Fratellis

2006-03-28T14:12:00.000Z

>> Cabaret Voltaire
>> Edinburgh
>> Monday 27th March

Ok, Ok. Its not a Glasgow gig, but as it is the misses’ birthday on Thursday when the fantastic Fratellis play Nice N Sleazys on this wee tour, so I have decided to stalk them all the way over to the nations capital, and the Cabaret Voltaire.

I’ve been sitting here trying to think of a poetic way of reviewing the band tonight for almost half an hour, but I feel this review should speak from the heart. So here goes…

The Fratellis are f*cking amazing.

There. I said it. Sorry to all under 18’s who had to read that, but I feel it’s the only way to describe this quite incredible band.

It seems to me that this is Scotland’s (in particular Glasgow’s) time. The Franz boys came, saw and conquered. KT Tunstall managed to do not so bad for herself last year and Belle & Sebastian have spat out another gem with their latest release. And the Fratellis look set to follow as the next big thing from Glasgow. Having recently done shows at South By South West in Texas with a certain Mr. Zane Lowe, and had a nice support slot with Black Rebel Motorcycle Club on their Uk tour last year, the fanbase is sky-rocketing.

The Edinburgh crowd didn’t really get as rowdy as some of the Fratellis Glasgow shows I’ve been to, but everyone is impressed by some of the best toe-tapping songs around and even had a laugh as singer John joked around on his acoustic mid-set.

Give it a few months and it will be very hard to avoid the Fratellis. World domination may be just around the corner.

>> Joe Sach

The Fratellis debut EP is out on the 3rd of April through Nomadic records.

www.thefratellis.com

Oceansize

2006-03-24T11:27:00.000Z

>> King Tuts
>> 21st March 2006

There is a mighty buzz in Tut’s tonight. Still Glasgow’s best room for live music, it really is at its greatest when there is a full and rowdy crowd squeezing in to get an up-close view of great new bands.

Tonight is fired up by openers Sucioperro. Boasting a solid set of jagged rock anthems they come across like Feeder living vicariously through Rival Schools. The band has a real camaraderie with the crowd and, despite occasionally delving into some matey in-jokes, they generally keep the place up and in high spirits. On the night they have cds and t-shirts aplenty at the stall, which upon their set’s end was packed with impressed punters. On tonight’s evidence Sucioperro should go from strength to strength.

Next up is the incredible Pure Reason Revolution. I’d heard a rumble about the quality of this band in the days leading up to the gig but I had no idea how great they would be. Boasting an epic and feverishly progressive view of rock they genuinely create music of as yet untold scope. ‘The Bright Ambassadors’ is one of the best songs I’ve heard this year; but apart from the music I was impressed by the use of a projector in Tut’s to make the place feel like some sort of space port or underwater cavern! Unbelievable. Their latest ep ‘Cautionary Tales for the Brave’ is out now. Buy it and buy tickets to see the Revolution.

Oceansize are continuing to carve their very distinct niche in modern rock. They are natural Godfathers to bands like Pure Reason Revolution and People in Planes who are taking their time to readdress rock music and make it fit into a 21st century frame. Playing tonight to a crowd on the verge of hysteria created by the wise use of support acts, the band kick out with a literal ‘Best of’ set covering their debut album Efflorence; their seminal ep Music for Nurses and their latest album Everyone Into Position.

The weight of brilliance they pour into the first half hour is enough to bury most bands currently hacking their way around venues two and three times the size of Tut’s. Charm Offensive is still a tune decades ahead of even Radiohead’s thoroughly futuristic sound (without the overblown synth tinkles); really something that should be taken more notice of by the music press and music fan alike. One Out of None couldn’t possible sound any better than in Tut’s tonight and the way it leads into the gentle wash of Music for a Nurse from Everyone into Position just makes you realise what a sham it is for a band of this quality and ability to have been playing the same venues for the last five years.

Do yourself a massive favour; get into position and support music that matters.

>> Russell Moore

www.oceansize.co.uk
www.purereasonrevolution.com
www.myspace.com/sucioperro

Adriana

2006-03-23T15:26:00.000Z

>> 13th Note
>> 21st March 2006

Adriana is one of many singer/songwriters doing the rounds just now around Glasgow and the rest of Scotland, and with her first album, A Thousand Lives, in the bag, she shows signs of making the next step. A gorgeous voice and a fine backing band behind her, Adriana has even had a few stabs at the American market, playing recently to the fine people of New York.

The music is definitely suited to the small, intimate coffee shops of the big apple, and the mood tonight doesn't really do her justice with the usual arse-holes shouting at their mates when standing 2 centimetres away. However, Adriana gives it her all, with title track from the album being the stand-out track.

Catch Adriana live, warming hearts near you throughout April and May.

>> Joe Sach

www.adriana-music.com

Struck Dum Promotions Night

2006-03-21T20:54:00.000Z

>> with City, The Low Miffs & Kays Lavelle
>> Stereo
>> 20th March 2006

I feel a bit out of place in Stereo tonight without my wooly jumper or scarf as it seems to be an un-written rule to dress like a grandpa if your from the West End. Struck Dum promotions are the bright sparks behind tonight's line up, and first up are the Kays Lavelle.

Sounding and looking remarkably like Athlete, the influences are obvious, as the band could fit nicely in between Coldplay and Morning Runner on a Sunday afternoon compilation album. However, the band do have some lovely songs and are so incredibly humble and appreciative of the listening audience that they are a pleasure to watch.

And so to the Low Miffs, who up the tempo with some cracking tunes and bags of energy. Dressed in suits and smart shoes, the Low Miffs bound around the stage like Franz on speed, and lead singer Leo Condie owns the stage with some fabulous, over-the-top, dramatic dancing. The tunes are catchy and tight as hell, and as they leave the stage, everyone in the room seems to be curious as to why they weren't headlining.

Final rockin' 4-piece City certainly look the part, but the opening few songs fail to keep the crowd on the high left by the previous strummers, and some folk even look slightly.... (wait for it)... Miffed. (See what I did there?).

A grand night however, and Struck Dum seem to have a knack of creating smashing nights like this with some great bands. If your in a band, get your Cd to 'em now!

>> Joe Sach

www.myspace.com/struckdumrecords
www.myspace.com/thelowmiffs

88's & Drive By Argument

2006-03-11T15:27:00.000Z

>> CCA - Student Network Night
>> 10th March 2006

People seem to have a love/hate relationship with students. To one man they can be a pain in the ass who seem to get everything cheaper than everybody else, but tonight this is a showcase networking event that actually show students who work hard and are the future of the music business.

The fine people at Electric Honey Records (Stow College's label) are in attendance, as well as Flat2M music management, Zisys live sound and lighting and former Bluebells front-man Ken McCluskey to name but a few. But I'm here for the bands tonight. A potentially great line-up which also includes DJ Amanda Brown spinning some funky-ass tunes before the bands strut their stuff.

The 88's arrive on stage later than Pete Doherty in a court appearance and kick-off with a degree of arrogance that even Jose Mourinho would be proud of. The thing is, Mourinho has evidence to back up his arrogance, winning over crowds with some great play. The 88's on the other hand, only seem to impress the hideously drunk girl falling into everyone at the front of the stage.

Song after song of out-dated 90's/Manchester-esque indie rock to be honest bores the pants off me, and I'm being more entertained by the drunk girl trying to keep her trousers up and her body vertical with extreme difficulty.

After some delay, Drive By Argument step on stage. There's not a lot more I can say about this band apart from the fact that they are getting better and better with every gig. Another fine, energetic performance is bursting with originality and once the sound man has sorted out all the crazy synths and weird noise making devices on stage the band make the night there own. Dragon, Most Guys Can't Dance and the soul-touching Lower Your Pieces are the stand outs, but this is now a band built for a bigger stage.

The congratulations go to student Gary Sharp who has put together this very worth-while evening, and even if stage times were a little delayed. So if the NME, EMI or DF Concerts are reading this, beware - the students are coming!!

>> Joe Sach

www.student-network.co.uk
www.myspace.com/the88suk
www.drivebyargument.com
www.myspace.com/magicboxmistress

No. 1 Son

2006-02-25T12:55:00.000Z

>> The Arches
>> Thursday 23rd February

Its really hard for singer/songwriters to get anywhere these days. There seems to be so many of them kicking around that unless you write a Babylon or a Cannonball its very hard to make anyone pay attention. Although No. 1 Son are a band, the music sits in the same bracket as the Finn Brothers and Damien Rice.

However, No. 1 Son are definitely a step up from your average soothing acoustic pop/rock act. Lead singer Paul McLaughlin has a fabulous voice and a friendly smile, making it impossible not to like them, and debut single 27 is cracking wee snippet of what this band are capable of.

The sound doesn't do them justice tonight though, especially for songs more suited to theatres or small intimate coffee shops, but its a great performance anyway and the lively crowd don't care.

One of Glasgow's most promising bands will be making small waves over the next few months I'm sure.

>> Joe Sach

www.myspace.com/no1sontheband

The Dykeenies

2006-02-13T10:39:00.000Z

>> Idioteque at Barfly
>> Saturday 11th February
>> Photo: Bridgette Jamieson

On the grand scale of things, The Dykeenies are babies of the music biz. Actually they're more like a twinkle in a gorgeous 18 year-olds eye to be honest, with only 3 gigs under their belt and a handful of songs to their name. However, the Dykennies are proving themselves to be something special.

Gigs upstairs in the Barfly are usually quite weird, but tonight is even stranger as the place is packed to the walls. The Dykeenies don't disappoint though, and seem to be clearing every hurdle thrown at them with a swagger. Opening track Will It Happen Tonight? sets the tone of the evening, with the screaming girls in the front row almost fainting, and the A&R contingent at the back nodding their heads in appreciation.

The half hour set is full of potential hits from the art/pop/rock youngsters. One plus One, New Ideas and Waiting For Go are just a glimpse of things to come from this band, and along with their tidy image and star of a front-man Brian Henderson, the Dykeenies have the potential to be the best new band in Britain.

As the last tune begins, the crowd invade the make-shift stage and most of the band are lost among the screaming and slightly pissed fans. After a slightly nervous start to the night the band are now in full swing, and the only let-down of the night is that it didn't last longer. A bidding war from record companies will soon start I'm sure, so go catch them live before ticketmaster are charging you 25 quid for a Barrowlands show in a years time.

>> Joe Sach

www.thedykeenies.com
www.myspace.com/gofinfthedykeenies

SBC Sunshine

2006-02-01T01:59:00.000Z

>> Rufus T Firefly
>> 31st January 2006

The SBC are fairly new to this gigging lark, and it is so refreshing to see a band not taking themselves too seriously and having a good old fasion laugh.

This is my first experience of Rufus T's as a venue, and can't have too many complaints after the free entry and indie boys SBC rocking and popping their way to a great night, with some tight harmonies, bouncy wee tunes and guitar breakage all thrown in to the mix. Ok they may not be the next Franz Ferdinand (just yet) but they are great entertainment value.

As a booze-influenced, half hour set comes to a close, chants of 'ONE MORE TUNE!' start to ring out - proof if proof was needed, that all of Rufus' punters tonight are loving every minute of the happiest band in Glasgow.

Smashing!

>> Joe Sach

Fratellis

2006-01-28T12:14:00.000Z

>> Liquid Rooms
>> 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

T In The Ark

2006-01-28T12:11:00.000Z

>> 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

Capturie

2006-01-28T12:09:00.000Z

>> 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/

Drive By Argument / Flying Matchstick Men

2006-01-28T12:01:00.000Z

>> 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/

East vs West

2006-01-28T11:56:00.000Z

>> 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

Mandrakes

2006-01-28T11:46:00.000Z

>> 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