Posts Tagged ‘Glasgow’

Glaswegian outfit Tuff Love raised a few eyebrows when they were announced as the main support act on Creation Records stalwarts Ride’s comeback tour in May. However, anyone that witnessed their dynamic opening slots were left in little doubt at their ability to shine on the biggest of stages. Which is no mean feat for a band who only put out their first record just over a year ago. Essentially the baby of core members Julie Eisenstein and Suse Bear, their sun drenched harmonies and simplistic melodies tied together by a lo-fi hail of fuzz and distortion remind us of Teenage Fanclub or The Shop Assistants at their most effervescent.

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First track from the forthcoming Dregs EP  released 6th November 2015

It’s one thing to have your profile raised by a Mercury Music Prize nomination, it’s another thing entirely to be able to present an album with the subtle complexity of Architect, and the undoubted quality of Chris Duncan’s music will also last longer than any industry accolade. The strength is found in its depth, the layers of vocal harmonies and instrumentation create an entirely unique sound out of recognisable parts, something we can relate to and enjoy like it’s the first time every time.”

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Musician born and raised in Glasgow, On his breathtaking debut album Architect, The 26-year-old Glaswegian composer Christopher Duncan sings, “I’ll take you everywhere I go… I’ll take you everywhere I know. It’s all so wonderful.” That’s exactly what the Mercury Prize-nominated multi-instrumentalist does over the course of 49 minutes, and it’s anything but hyperbole to declare that “wonderful” is quite the understatement. From delicate, pastoral dream pop to intimate, electronic-tinged folk, Duncan’s luxuriant vocal harmonies and intricate compositions dazzle with ingenuity. For over a year the singer-songwriter isolated himself within his bedroom studio as he crafted the album’s 12 songs. Unencumbered by time constraints or the influence of outside producers, Duncan painstakingly layers guitars, synths, handclaps, found objects and vocal lines on top one another. The resulting product is astonishing, not simply because of how disarmingly beautiful it all is, but more that the record is the result of one man’s labor of love, not the work of an entire studio full of musicians. These songs breathe with life. Timeless, genre-defiant, and endlessly inventive, Architect is as accomplished a debut as any.

Over about nine years now the Hermit Crabs have released some great EPs and now two great albums. They may sound like a band, but it’s essentially Melanie Whittle of Glasgow, Scotland, and whoever is making music with her at the time. For this eight-song album, that “whoever” lives in Boise, Idaho: Jeremy Jensen and Jake Hite of the Very Most. Their diverse contributions do give this a different feeling than past Hermit Crabs records, but at the center of it all is Melanie Whittle’s singing and songs. Here there’s one letter to a loudmouth and then seven songs to get to the real heart of the matter: heartbreak’s aftermath. Feeling like a fool, feeling like a sculpture who’s alone at home doing nothing in particular, feeling confused and regretful and sad and like you have more time on hand than you want to. All of that is articulated cleverly and sweetly, within great little bouncy, fun and bittersweet indie-pop songs.

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Halo Tora have always had a polished sound, even playing their very first gig to a crowd who couldn’t believe it. Their album Omni\One – their debut, nonetheless – is also incredibly polished. Their blend of post-rock has a certain easy charm and effortless cool; Halo Tora have proved time and again that they’re one of the most exciting Scottish bands to emerge in recent years.

Halo Tora are a five piece union of progressive rock burgeoning from Glasgow, Scotland. A bond formed through years of writing and live shows supporting the likes of Jamie Lenman (Reuben) and My Vitriol as well as recently embarking on their own UK tour. The band repress nothing, by concentrating and coalescing their individual creative forces the band are able to subjugate generalised stylistic boundaries contrastively sitting somewhere between prog-rock, alt-rock and post rock. The result is a raw yet emotional album which is as dynamic as it is powerful.

Halo Tora have worked relentlessly and meticulously, carefully cultivating and refining the material which can be heard in their forthcoming debut album ‘Omni\One’. Throughout the album melodic dual vocals intertwine and coalesce with equally complimentary dark and atmospheric guitar exchanges, whilst chilling classical piano sections float underneath a frenetic back-bone of driving bass and thunderous beats, fills and crashing cymbals.

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A wide range of influences can be heard throughout the album from tracks such as ‘Age of Terror’ and ‘Bones That Rock The Cradle’ which call to mind the post-rock meets progressive instrumentation and soft yet visceral vocals of artists such as Karnivool and Dredg, whereas other tracks such as ‘Permanent Revolution’ and ‘Ruins’ which blend structured atmospherics and power vocals conjure up memories of Oceansize. However, these influences never instigate notions of plagiarism, Halo Tora are able to take these moments and mould them in their own vision, which makes these compositions all the more

‘Omni\One’ is as diverse as it is accomplished and there is an invigorating confidence and honesty to it which has come through there perseverance and patience in ensuring that everything is crafted to perfection, as guitarist and lead vocalist Chris Alexander says, “This record really is a coming together of all our experiences and personalities and with that a license to explore places musically that we had never been as individuals. It was great to be able to throw ourselves at it and watch it take shape.”

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Viva Stereo formed from the ashes of a guitar band in 2001 with the view to making music that would encompass a full weekends ebbs and flows.

Saturday nights are important to Viva Stereo but with it comes the Sunday morning soul searching and the combination of these are what give the ‘stereo’ sound its dark edges.

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Glasgow foursome Holy Esque have announced their eagerly anticipated debut record At Hope’s Ravine, and are sharing new single “Hexx” Lead vocalist Pat Hynes says of the record: “These are songs about belonging, fear, love, self-doubt, dreams, religion, release, darkness versus light and escape – especially escape.” At Hope’s Ravine is produced by Grammy Award-winning producer Jon Schumann (Mew, Kashmir), and follows a spate of acclaimed singles and EPs.

“Hexx” sees Hynes’ idiosyncratic howl quiver and shake through post-punk layers, with melodic guitars at the forefront and brutally raw percussion keeping the hooks in check – with the track, Holy Esque reveal their plans to lurch towards greatness.

At Hope’s Ravine is released via the band’s own label Beyond The Frequency on 26th February 2016. “Hexx” is set to be released as a AA-side with the track “Silences” on 7 December.

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“Dr. Cosmo’s Tape Lab “Coconut Summer Drop-In 432”

The Coconut Summer Drop-In 432 is brilliant parody-homage of The Beach Boys Party!, Smiley Smile, and Surf’s Up albums with ukuleles, bongos, casiotone keyboards, and gorgeous harmonies. Studio chatter and party atmosphere on the opener “Ready Steady Beach!” ring with authenticity.

Next the brilliant “Too Hot To Sleep” is a slow stoner theme with Spanish verses, and lovely Smiley weirdness. More gems include “She’s Crazy” and “Andiamo” which are catchy and fun. “High Inside (The Lost Frontier)” channels the song “Surf’s Up” perfectly. The album is peppered with atmospheric filler, but for Beach Boys fan this is a special treat. Highly Recommended.”

Having garnered many plaudits from fans and critics alike, the psychedelic sonic adventurers, Doctor Cosmo’s Tape Lab have wasted no time in recording a fresh batch of home baked audio goodies with their second release of 2015 – Coconut Summer Drop-In 432.

Pop music is once again the order of the day. With an attempt to keep the summer alive, there are twelve brand new sun drenched songs (written & recorded over three weeks in July 2015) that has them reaching for the ukuleles, bongos, and casiotone keyboards creating exotica flavoured fun times from the confines of their home studios in a rain soaked Glasgow.

 

Steve Albini is known for a certain sound, a particular production style. So when WOMPS flew out to Chicago to work with the American producer, they knew exactly what they were getting.

The Glasgow two piece – augmented by numerous friends on bass duties – are indebted to early 90s indie rock, alongside the traditions and flavours of their native Glasgow. Hence you can expect the fuzzed up glory of Mudhoney seated next to Teenage Fanclub’s crisp melancholia, Pixies’ bite nestling against the innocence of The Vaselines.

New double A-side single ‘Live A Little Less’ / ‘Dreams On Demand’ neatly encapsulates WOMPS‘ illicit charms. Two slices of impactful songwriting, it’s reminiscent of Cloud Nothings or even Yuck.

HOLY ESQUE – ” Strange “

Posted: August 4, 2015 in MUSIC
Tags: , ,

Holy Esque have shared details of their first ever physical release with the EP entitled “Submission”, out now on limited 10” vinyl.

From that EP, the Glaswegian four-piece have led with the single ‘Strange’ and as the follow up to last year’s single ‘Sovereign’. Its Mesmeric, rhythmic guitar work ebbs ‘Strange’ into life; which veers between the chaotic dark feel of 80’s British post-punk and modern electro-pop – a fitting backdrop for frontman Pat Hynes’ ever-distinctive, angst-driven vocal work.

Part recorded in Copenhagen’s STC Studios, as well as Green Door studio in Glasgow – and mixed by double-Grammy award producer Jon Schumann, here is ‘Strange’:

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In the first in a series of brand new PostMap collectable postcard singles, it gives Lost Map Records great pleasure to introduce Martha Ffion, with her double-shot of infectious surf-grunge guitars and ethereal girl-group vocals ‘No Applause’ / ‘Lead Balloon’. Recorded and produced by Tuff Love’s Suse Bear, who also plays bass on the tracks, and featuring The Phantom Band’s Ian Stewart on drums and Poor Things’ Craig Angus on lead guitar, the single marks a major step forward for the Glasgow-based Irish singer-songwriter, AKA Claire Martha Ffion McKay, who has been making a head-turning name for herself on the local scene, sharing stages with the likes of Jessica Pratt and C Duncan.

‘No Applause’ / ‘Lead Balloon’ follows on from the success of Martha’s 2014 debut EP ‘Go’, and marks a major development in her sound. Performing with a full band for the past year has transformed Martha’s songwriting process, and the new material has adopted a punchier edge with echoes of Sharon Van Etten, Angel Olsen and Courtney Barnett. But her core influences remain consistent and tangible: 60s icons like The Beatles, the Shangri-Las and Nancy Sinatra. There’s a hint of Blondie too, especially in the wry delivery of ‘Lead Balloon’s’ vocals, and a lyric which, with the deceptive bounciness of The Go-Gos, deals bluntly with familial breakdown and oppressive gender roles. The tracks are a taster for Martha’s forthcoming second EP, which will be recorded this summer at Glasgow’s Green Door Studios as part of their Super Groups project.

Martha Ffion’s new single comes as part of a collectable set of three PostMap releases (snail-mailed printed postcards stamped with a message from the artist and a unique download code), which will also include the Lost Map Sampler #2 (PostMap 01°01) and Randolph’s Leap’s ‘Isle Of Love’ EP (PostMap 01°02). The postcards will be priced £1 each, or can be bought as a set of 3 for £2. They will be made available exclusively from lostmap.com on May 26, 2015.

The Glasgow based singer songwriter with a hazy, surf-grunge step; Martha Ffion strolls onto the 2015 scene with two must-hear follow ups to her Go EP of 2014.

Never locked lobes around Ffion? Sounding like Courtney Barnett blended with a wooly, psychedelic twinge; Martha Ffion is a must listen for fans of folk-inspired music, but her music is given a firm edge thanks to drifting guitars and informal yet upfront singing. Derisive with dainty appeal, there is clearly a ‘get up, get yourself a drink and get out’ message to her lyrics that’s hard to miss, and hard not to enjoy.

Following gigs alongside local scene stealer Jessica Pratt, with upcoming dates the likes of Wickerman Festival, and a Honeyblood support slot to boot, Martha Ffion looks to continue to caress the stage with unvarnished pep and collected lyrics this year.


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