Posts Tagged ‘Scotland’

Image may contain: 6 people, people on stage

The new album from the Close Lobsters has been 6 years in the making. Including the brand new single “All Compasses Go Wild” The album will be released on Transparent Orange Vinyl and Grey Vinyl, it will also be available on CD.

The Scottish indie band Close Lobsters, who originally appeared on NME’s famed C-86 cassette, have just released their first album in 32 years. Post Neo Anti picks right up where they left off,
full of jangly guitars and big melodies.

http://

Jangling guitars the Paisley-based Scots Close Lobsters return to the fray with enough fervor and dash to make one wonder if even a single one of the last thirty-four years of calendar pages has in fact been torn from its place on the great rock wall. Rising from a growing feedback drone, the chiming dual strum of two electric guitars timed to the gallop of a rhythm section surely fueled by a transfusion of pure teenage energy, what’s perhaps most surprising given all that is that the true triumph in “Johnnie” (released ahead of new album Post Neo Anti…) is how utterly moving and elegiac it is.

http://

At once full of kinship, yearning, and the joy inherent in this mysterious arc of existence we all share, it is truly inconceivable to imagine a finer tribute. It’s a claim made all the more viscerally true by the fact that, by song’s end, soaked in one of ‘those’ melodies redolent of that mid-80’s golden age of which Close Lobsters were such an integral part (think the Minks the Junies the Mighty Lemon Drops et al, The power of song, it’s real and by the evidence submitted here, no one knows that better than Close Lobsters.

Officially released on February 28th, 2020.

Fickle tastes and trends aside, the Peter Wolf-produced Peace in Our Time (“King of Emotion”) was a slick, topical tour de force to mark the end of the ‘80s, and No Place Like Home (“We’re Not in Kansas”) and Buffalo Skinners (“Alone”) were all a series of terrific, hard-rocking album releases to greet the ‘90s.

But Big Country had lost its foothold on the pop charts: No Place and Skinners weren’t even released stateside, which raised the stakes for “Long Face” and tested the group’s mettle with minders, marketers, and bean-counters at Transatlantic, Castle, and Pure Records.

Formed in Dunfermline, Scotland in 1981 by the band’s guitarists and founder members Stuart Adamson and Bruce Watson, Big Country quickly broke worldwide with their initial album “The Crossing”, selling over 2 million copies and receiving 3 Grammy nominations in the US. Success continued, and the band went on to put out another 5 highly regarded albums before the release of “Why The Long Face” in 1995.

With original singer Stuart Adamson at the helm, Big Country scored 17 top 30 singles in the UK, and achieved 5 gold and platinum albums during the period.

This release includes not only the full length album “Why The Long Face”, but also their live 1996 album “Eclectic”, plus a huge array of bonus tracks and band demos, including alternative and acoustic versions of classic tracks such as ‘In A Big Country’ and ‘You Dreamer’, plus a whole load of rarities including Big Country’s cover versions of Alice Cooper’s ‘Teenage Lament’, Creedence Clearwater Revival’s ‘Down On The Corner’ and Neil Young’s ‘Hey Hey My My’.

All material contained within has been freshly remastered especially for this release. It Comes packaged in a clam shell box set, with booklet containing full sleeve-notes documenting the band’s activities throughout the release of the album.

Suffice to say, ...Long Face didn’t broaden Big Country’s audience as intended. Following a similar fate as The Seer seven years prior, the disc—packed with muscular, melodic guitars and bold, book-smart verses—sated core fans but didn’t yield any radio hits or MTV mainstays like “In a Big Country” and “Fields of Fire.”

The album’s under-performance on the charts never really warranted it being overlooked by listeners (who by now had latched on to Nirvana, Dave Matthews, and Pearl Jam) or its dismissal in the annals of rock history.

That injustice is precisely what makes Cherry Red’s reassessment so crucial.

Handsomely packed in a sturdy yellow case (instead of original powder blue) with another photogenic Doberman on front, the 4CD set  “Why the Long Face” 2018 includes not only the remastered ’95 album, but three extra CD’s worth of bonus Big Country tracks, demos, covers, and in-concert cuts from that era (1994-1996).

Disc One contains the album proper—fourteen tracks of sparkling guitar (clean and crunchily distorted), robust rhythms, and intelligent lyrics (about love, regret, and hope), all anointed by another serving of the same hardy, anthem-like refrains that made Big Country famous.

Opener “You Dreamer” rides high on a bagpipe-esque guitar riff and rugged, dirty power chords (courtesy Adamson and Bruce Watson) before introducing Stuart’s vignette of forgotten souls in pizza shops (where “prescription junkies” “watch the window fill with flies”). It’s an electrifying ode to shattered dreams that ponders a plethora of what-ifs and what-might-have-been…yet—in true Big Country form—keeps positive rather than give up the ghost to adversity.

“Is this the way that you believed your life was gonna turn out?” muses Adamson (quite possibly about himself). “Is this the better world that you were making all those plans for?”

Then there’s the typical (but effective) valentines to both imagined paramours (“One in a Million,” “Send You”) and humanity at large (“Message of Love”), reflections on personal triumphs and private travails (“I’m Not Ashamed,” “Wildland in My Heart”), and sundry entries (“Sail Into Nothing,” “”God’s Great Mistake,” “Post Nuclear Talking Blues”) that couple the Dunfermline four-piece’s penchant for outdoor themes (nature, freedom, adventure) and affinity for its signature Scottish sound into upbeat, zeitgeist-sensitive zingers.

Disc Two is jam-packed with bonus tracks including single edits of “Dreamer” and “Ashamed,” early / alternate takes of “One in a Million,” and acoustic versions of old standbys “In a Big Country” and “All Go Together.” There’s also a bunch of extra songs that didn’t make the album (but might’ve popped up on the band’s Rarities series later), like “Crazy Times,” “Ice Cream Smile,” and “Bianca.” This is also where fans will find working versions recorded by Adamson, Butler, and company at House in the Woods studio in Surrey (“Hardly a Mountain,” “Can You Feel the Winter”).

Disc Three is a digitally-retouched edition of the in-concert Eclectic album released by Castle Communications in the year following …Long Face. Recorded live at Dingwalls in London in late March of ’96 (and long since out-of-print), the album shines with a mix of old and then-new Big Country classics (“River of Hope,” “Where the Rose is Sown”), all rendered before an elated audience. Also on the menu here is an assortment of choice cover songs that speak to the band’s early influences (The Beatles’ “Eleanor Rigby,” Bruce Springsteen’s “I’m On Fire,” Neil Young’s “Hey Hey My My,” CCR’s “Down on the Corner.” The smoldering set (with bassist Tony Butler and drummer Mark Brzezicki underpinning the guitar hysteria with glorious grooves) also features guest spots by British vocalist/actor Bobby Valentino, rocker Steve Harley (of Cockney Rebel), and American soul singer Kym Mazelle.

The Long Face prototype is represented by Disc Four: This is where collectors and curators will discover working versions of the tunes that would be polished up later for the final version of the album. Workshopped at various locations in Scotland and England (Audiocraft, Riverside, Chapel, HITW), this missing-link record presents some of Adamson’s best ideas in a stripped-down format. But most the program is dominated by near-finished “jam” versions of “Dreamer,” “Message,” “Ashamed” and other stand-outs that sound—unlike most demos or garage versions—almost as concise (in performance) and as crystalline (in production) as the finished Long Face LP.

So if you know Stuart Adamson and Big Country only by their earliest “essential” hits, now’s as good a time as any to revisit the well and get acclimated with the group’s strong, inspirational, and sorely-overlooked middle catalog. And there’s never been a better opportunity to take those first steps than with this respectfully-rendered Long Face deluxe box.

Bold, weird, wild, wired, sonically luxurious yet never losing touch with its DIY-‘til-I-die roots, Thumb World is a voyage to the outer rings of Pictish Trail’s mind at its darkest, funniest and most inventive – a plugged-in, fuzzed-out, fucked-up contemplation on, as he puts it, “life repeating and gradually degrading, the inevitable cyclical nature of things, and the sense of their ultimately being no escape.”

Expect alien abductions, thumping beats, Trump-haired pigs, paternal panic, astronaut sex, bad acid trips, worse hangovers, lashings of distortion and a lot of anthropomorphic thumbs. “Our opposable thumbs are the things that separate us from most other animals on Earth,” Pictish explains, of the fat digit symbolism, “they are also the things that we use to swipe on screens, to separate ourselves from our normal lives, but which in turn trap us within an artificial reality.”

Produced and mixed by Rob Jones, featuring string arrangements from Kim Moore and drumming from Alex Thomas (Squarepusher, Anna Calvi, Air), Thumb World is Pictish Trail’s most collaborative album to date.

An audio-visual dialogue with Swatpaz, AKA Scottish artist Davey Ferguson – the man behind the Turbo Fantasy series and an entire episode of cult TV phenomenon Adventure Time – furnished Johnny with not just a graphic aesthetic for the album, but even helped him to shape the sound of the finished record. “I sent Davey a work-inprogress mix of the album,” Johnny says, “he came back with sketches in which he had reimagined Thumb World as an 80’s arcade game. Some of the songs are centered around specific visual images, inspired by Davey’s sketches.”

http://

Due for release on Fire Records on February 21, 2020. Four years in the making, Thumb World is the much-anticipated follow-up to his critically acclaimed Scottish Album of the Year Award public vote winner Future Echoes.

Releases December 20th, 2019

Image may contain: 1 person, text that says 'DAYS OF THE BAGNOLD SUMMER BELLE AND SEBASTIAN susiecaveofficial'

It was announced last year that Scotland’s Belle and Sebastian would be providing the score for the indie film Days of the Bagnold Summer. Last week the band shared its first single, “Sister Buddha,” . The soundtrack to Days of the Bagnold Summeris due out September 13th via Matador.

The film is the directorial debut of Simon Bird, an actor and comedian known for his role as Will McKenzie in The InbetweenersTV and movie series. The movie is based on a 2012 graphic novel of the same name by Joff Winterhart and is due out in 2020.

A press release describes the plot of Days of the Bagnold Summer as such: “It’s a tender, touching and acutely observed coming-of-age story, which tells of a heavy-metal-loving teenager’s holiday plans falling through at the last minute, leading to him having to spend the summer with the person who annoys him most in the world: his mum.”

Nick Cave’s teenage son, Earl Cave stars as the teenager in the film. Monica Dolan (Eye in the Sky) plays the mum (who’s a librarian) and the film also stars Rob Brydon (The Trip), Tamsin Greig (Second Best Marigold Hotel), Alice Lowe (Prevenge), and Elliot Speller-Gillot (Uncle).

In a press release Murdoch admits that he wasn’t aware of the original graphic novel before Bird approached the band to soundtrack the movie version. “But its style and its atmosphere set me off straight away,” he says. “I read it on a Friday, and by Monday I pretty much had all my ideas lined up. What was great was that Simon hadn’t shot anything then. You want to get in early, because that way you can start having late night conversations with the director about The Graduate, or whatever. We all have fantasies about those great movies of the ’60s and the ’70s. If you going to get involved with a project like this, you want to do it right.”

The soundtrack features re-recorded versions of two previous Belle and Sebastian songs: “Get Me Away From Here I’m Dying” (from 1996’s sophomore album If You’re Feeling Sinister) and “I Know Where The Summer Goes” (from the 1998 EP This is Just a Modern Rock Song). “Simon was adamant he wanted to use it. He’s a proper fan of the group,” says Murdoch about “Get Me Away From Here I’m Dying.”

The origins of one of the tracks, “Safety Valve,” date back even further. “That one’s ancient,” says Murdoch. “It predates the band; it’s maybe 25 years old. The only time I can remember ever playing it was in a coffee shop with a friend of mine, and people scratching their heads. There was only a verse and a chorus, so I went back to it, and revised the words. It’s a simple song about being over-reliant on a particular person – probably my girlfriend at the time. But it seems to work okay here, too.”

In terms of releasing a soundtrack vs. a regular album, Murdoch comments: “Everything we do that becomes an album is a big deal for us. We’re quietly pleased with how the collaboration went, but the truth is that you don’t know what’s going to happen when it goes out into the world, and people hear it.”

The band’s Sarah Martin adds: “It’s more consistent, probably, than most of our albums. Soundtracks are a deeper cut. They’re not a big pop statement.”

In late 2017 and early 2018 Belle and Sebastian released three interconnected EPs via Matador, all titledHow to Solve Your Human Problems. How to Solve Your Human Problems Part 1 came out in December 2017, Part 2 came out in January 2018, and Part 3 came out in February 2018. Then all three EPs were collected in a vinyl box set and CD compilation that also came out in February 2018. Then in May 2018 the band announced The Boaty Weekender, a floating festival to set sale from Barcelona to Sardinia and back again on August 8th-12th, 2019. Its initial lineup was announced in September 2018 and includes Camera Obscura, Tracyanne & Danny, Mogwai, Honeyblood, and Django Django. Also setting sail are Alvvays, The Buzzcocks, Japanese Breakfast, HINDS, Kelly Lee Owens, Nilüfer Yanya, and Whyte Horses.

Glasgow based indie-pop duo release their vibrant new album Run Around The Sun. The follow-up to Strike A Match their SAY Award winning debut, is released via Rock Action. The album is joyous, charming and effortless with bounce and pop elements that hark back to the glory days of late 70’s DIY singles from the likes of the Chefs, Dolly Mixture and Girls at Our Best mixed with an African edge.

Sacred Paws have a natural inclination not to take things too seriously. You can hear it all the way through a conversation with its two members, guitarist Rachel Aggs and drummer Eilidh Rodgers, punctuated by rolls of giggles and thoughtful pauses, and you can hear it in the light touch they bring to their music, a jangly blend of indie-pop full of fizzing world rhythms and bright horns.”

Run Around The Sun Out 31st May on Rock Action Records (Merge in North America)

Image may contain: 1 person, playing a musical instrument and guitar

Aztec Camera  a Scottish Indie/pop/new wave band was formed by Roddy Frame, the group’s singer, songwriter, and only consistent member. Formed in 1980, Aztec Camera released a total of six albums: “High Land, Hard Rain” (1983), “Knife” (1984), “Love” (1987),“Stray” (1990), “Dreamland”(1993) and “Frestonia”(1995).The band garnered popular success for the songs “Oblivious”, “Somewhere in My Heart” and “Good Morning Britain” (a duet with former Clash guitarist Mick Jones).

The band’s first UK single release was sold in a 7″ vinyl format by Postcard Records a Glasgow-based independent record label co-founded by Edwyn Collins and Alan Horne—in 1981. The single featured the song “Just Like Gold” and a B-side entitled “We Could Send Letters”; an acoustic version of the latter song appeared on a collectable compilation album, entitled C81, that was released on cassette in 1981 through a partnership between NME magazine and Rough Trade Records. Frame, was just aged 16 years, He met Collins for the first time during the Postcard period when the latter was 21 years old.

A second single, also released in 1981, featured the songs “Mattress Of Wire” and “Lost Outside The Tunnel”. Following the two 7″ vinyl releases with Postcard, the group signed with Rough Trade Records in the UK and Sire Records in the United States for their debut album. At this point, the band was officially a quartet: Roddy Frame (vocals, guitar, harmonica), Bernie Clark (piano, organ), Campbell Owens (bass) and Dave Ruffy (drums, percussion).

Aztec,Camera:,High,Land,,Hard,Rain.,Gatefold,LP,and,7,EP,High Land, Hard Rain; Aztec Camera

High Land, Hard Rain (1983)

When it appeared in the spring of 1983, Aztec Camera’s debut album, High Land, Hard Rain, was an acoustic-driven breath of fresh air. Led by teenaged singer/songwriter/guitarist Roddy Frame, the Scottish band offered a batch of memorable songs that deserved a broader audience than they reached at the time, from the infectious “Oblivious” and “Pillar to Post” to the introspective “The Bugle Sounds Again.” Frame went on to release another five Aztec Camera albums before recording under his own name.

Aztec Camera’s debut album, “High Land, Hard Rain” was produced by John Brand and Bernie Clarke for the Rough Trade record label. The album was released in April 1983 and was distributed in different formats on Domino Recording Co. The album was successful, garnering significant critical acclaim, Frame later revealed that the song “Oblivious” was consciously written as a Top of the Pops type pop song and received a corresponding degree of popularity.

During the recording process for the album, Frame used a different guitar for every song. For the song “Orchid Girl”, Frame explained in 2013—during the 30th anniversary tour that he was attempting to merge the influences of his favorite guitarist at the time,  jazz player Wes Montgomery, and punk rock icon Joe Strummer. In a late 1990s television interview, Frame explained that a “boy” image was associated with him during this era, and that he was annoyed by it at the time, as he was taking his music very seriously—”you don’t want to be called ‘boy’; especially when you’re listening to Joy Division” but he eventually stopped caring about it.

After “High Land Hard Rain”, Bernie Clarke left the band, and was replaced by Malcolm Ross on second guitar and backing vocals. Aztec Camera changed record labels once again for the release of their second album, “Knife”, which was released through Warner Music .

Frame revealed in a May 2014 BBC radio interview that he was not informed of the ownership arrangements of the record deal, stating that he was unaware as an 18-year-old that the record company would own the rights to all of his corresponding recordings.  After “High Land, Hard Rain”, Frame spent a significant amount of time living in New Orleans, listening to Bob Dylan’s album “Infidels”. Upon reading that Dire Straits’ guitarist and singer Mark Knopfler produced the album, Frame began writing songs based on a sound that he thought Knopfler could work with.

Knife (Expanded)

Knife (1984)

Frame signed the band to the WEA record label—at the time his manager was Rob Johnson  and he secured Knopfler as the producer for Aztec Camera’s second album,“Knife”, which was released in 1984; Frame explained in 1988 that Knopfler was very “professional” and efficient during the recording process. Frame’s experimental mindset in relation to music emerged on “Knife”, as the duration of the titular song is nearly nine minutes and synthesizers appear throughout the album. Prior to the album’s release, the band previewed a selection of songs as part of a performance for the BBC television show Rock Around The Clock and the song “All I Need is Everything” received radio airplay subsequent to release. In a 2007 interview alongside Collins, Frame explained further:
He’s [Knopfler] a great guitarist. recording techniques were great—you [Collins] would have liked him, ‘cos that was then, it was quite a thing. ‘Cos everyone was going digital, and going MIDI and all that, and his thing was all about using the right microphone. If you use the right microphone, then you don’t have to use too much EQ and all that stuff, and it was all about that. Yeah, I kinda liked that—the right mic[rophone], the right amp[lifier], the right kind of board and stuff.

Love“Love” (1987)

At the time that the band’s third album “Love”(1987) was created, Frame was the only original member of the band involved with the project; Love and future Aztec Camera albums were written and recorded by Frame under the “Aztec Camera” moniker, and session musicians recorded with Frame on a track-by-track basis.

Frame explained in August 2014 that he contemplated the conception of “Love” during a three-year hiatus following the release of “Knife”. Frame said that he moved even further away from the British “indie ethic” and was listening to the “pop end of hip hop”, Frame wanted to make a record based on such influences and “Working In A Goldmine” the first song to achieve this aspiration.

Frame relocated to the US to record the album—”pretty much against the wishes of Warner Brothers“, who were unsure of his decision-making at the time—and was primarily based in Boston, Massachusetts, and New York. Frame recorded with American session musicians, like Marcus Miller and David Franke, and explained that his audience was “mystified” by the transformation of the band, but he was “too far gone” to care and just wanted to do his “own thing” by that stage. Due to the significant change of musical direction, the album’s first three singles did not make a strong impression in the marketplace.

The “Love” album produced the popular song “Somewhere In My Heart”, recorded by Frame with dance, R&B and pop producer Michael Jonzun in Boston. Frame said in 2014 that the song has been “great” for him, but at the time of creating the album, the song was not “in keeping” with the rest of “Love”, Frame revealed in a radio interview with the “Soho Social” program, presented by Dan Gray, that he considered “Somewhere In My Heart” an odd song and initially thought it would be best as a B-side.

“Somewhere in My Heart” is the twelfth single and biggest hit by the Scottish band. It was released as the third single from their 1987 studio album “Love”.

Frame was asked during a television interview, following the release of “Love”, about the new sound of the album, and he referenced artists like Anita Baker and Luther Vandross. When asked if the album could be labelled “Middle of the road (MOR)”, Frame replied: “Call it what you like. I don’t really mind.”

Stray [Deluxe Edition]

Stray (1990)

For the band’s fourth album, “Stray”, Frame collaborated with the Clash’s Mick Jones on the song “Good Morning Britain”, He and Jones also toured with the band following the album’s release. Jones performed as Aztec Camera at the Glasgow Barrowlands and the Ibiza Festival in 1990.

In a 1990 interview, Frame explained that he wrote “Good Morning Britain” in 45 minutes after a two- to three-hour conversation with Jones in the canteen of a London rehearsal studio that both Big Audio Dynamite and Aztec Camera were using.  In an August 2014 radio interview, Frame elaborated further, stating that at the time he wrote the song, Jones lived near his London home; Frame had visited Jones after recording the song and said to the Clash guitarist, “You’ll either sing on it, or you’ll want to sue me”, as Frame believed the song was so similar to Jones’ previous work.

Dreamland

“Dreamland” (1993)

Frame then recorded the next Aztec Camera album,”Dreamland”, with Japanese composer Ryuichi Sakamoto. Released in 1993, While mixing the album at Hook End Manor, an 18th-century red-brick building that had been converted into a studio in the Berkshire countryside of England, UK, Frame explained that he waited for a lengthy period of time to work with Sakamoto, due to the latter’s busy schedule. Frame finally met with Sakamoto in Ibiza and both eventually recorded the album in New York City, US over a four-week period. Frame’s interest in Sakamoto was elaborated upon in a latter interview.
I liked what he did when he was in the Yellow Magic Orchestra, and I also liked that album where he plays the music from Merry Christmas Mr Lawrence on piano. That’s where you realise that the atmosphere around his compositions is actually in the writing. Frame’s routine consisted of: working in the studio from the early afternoon until around 2. a turkey sandwich at a deli off Times Square (“because it was possible to get one at two in the morning, and for no other reason”); a cab-ride back to the Mayflower Hotel, where he was staying; an hour of listening to Shabba Ranks; and then bed.

“Frestonia” (1995)

For Frame’s final album under the Aztec Camera moniker, and the last original studio recording for the WEA label, Frame worked with renowned production team Langer-Winstanley, who had previously worked with Madness and Elvis Costello. “Frestonia” was released in 1995 and the Reprise Records label issued it in the US. “Sun” (1996) was the only one song from the album that was released as a single. After the release of “Frestonia”, Frame finally decided to record under his own name in the future and was no longer a Warner artist.

There has been three Aztec Camera “Best of” compilations released: “The Best Of Aztec Camera” was released in 1999 by Warner ESP. that specialised in compilations; in 2005,Deep and Wide and Tall was released by the Warner Platinum series; and “Walk Out To Winter: The Best Of Aztec Camera” , a two-disc collection that was released by the Music Club Deluxe label in 2011.

Since the Stray Tour in 1990, Frame has merged a segment of the Bob Dylan song “It’s Alright Ma (I’m Only Bleeding)” into “Down The Dip”, from “High Land, Hard Rain”, and this version of the song was played by Frame at subsequent live shows, Around 2012, Frame included a segment of the Curtis Mayfield song “People Get Ready” in live solo versions of the song “How Men Are”, from the “Love” album. In October 2013, a book entitled The Lyrics: Roddy Frame containing the entirety of Frame’s lyrical work with Aztec Camera.

bundle website image.jpg

Teenage Fanclub are putting out five new vinyl reissues. These reissues cover the Creation era,  the first pressings of these will each come with a special seven-inch single that offers two tracks from a selection of rarities, picked by the band. These are all new to vinyl with one track previously unreleased.

For fans of cult Scottish band will be able to get their hands on new pressings of 1991’s Bandwagonesque, 1993’s Thirteen, 1995’s Grand Prix, 1997’s Songs From Northern Britain, and 2000’s Howdy!. They will be packaged in faithful reproductions of the original vinyl artwork and available on heavyweight 180g single vinyl, released on 10th August by Sony Music.

According to a press release, each album will come with a bonus 7″ single containing rarities, B-sides, and previously unreleased tracks selected by the band.

Each album has been remastered from the original tapes at Abbey Road Studios, London under the guidance of the band, and will be packaged in a faithful re-production of the original vinyl artwork. Each LP will be pressed on 180gsm black vinyl.

 

All records are out via the band’s official website on August 10th.

TFC 2018 Poster.jpg

Teenage Fanclub have confirmed a series of live shows where the set list will linger on songs from their Creation era. The ‘Songs From Teenage Fanclub’ tour will see them play songs from 91-93 on ‘Night 1’, from 94-97 on ‘Night 2’ and from 98-00 on ‘Night 3’.

November
5 / 6 / 7 Manchester Academy 3
9 / 10 / 11 Birmingham Institute
13 / 14 / 15 London Electric Ballroom

Image may contain: ocean, sky, twilight, text and water

Hailing from northern Scottish town of John o’ Groats, Neon Waltz deftly infuses their music with the atmospheric beauty of the Scottish coastline. This six-piece’s distinct sound comprises grand, echoing percussion; majestic, glistening keyboards; warm, harmonious lead vocals, and melodic guitars with entrancing tones that feel both familiar and original. Though the band hasn’t made the trip to America yet, they released their shimmering debut album, Strange Hymns, via Ignition Records last year, and they’re currently working on a new EP.

Neon Waltz – ‘Perfect Frame’ (Official Video) Listen to ‘Perfect Frame’: Debut album ‘Strange Hymns’ out now

Band Members
Jordan Shearer, Jamie Swanson,
Kevin Swanson, Calvin Wilson,
Liam Whittles, Darren Coghill.

Formed in 1976 in Edinburgh, Scotland, John Peel favourites The Rezillos were viewed as a punk act simply because they emerged at a specific time in the history of rock. But there was so much more to The Rezillos and their music. Branding themselves a “new wave beat group”, The Rezillos’ music lacked the nihilism and social commentary of many of their counterparts, replacing this with an irreverent glam rock image and a love of science fiction, B-movie, comic book and campy girl group iconography that set them apart from their musical peers.

Initially performing mainly ‘50s and ‘60s rock ‘n’ roll covers at their live shows, Rezillos guitarist and future Human League band member – Jo Callis – began penning their own original songs, and soon after came the release of their highly acclaimed debut LP, Can’t Stand The Rezillos, contained here.

This classic album is now available in this collectable 2CD digipack release, together with their famous live recording from the Glasgow Apollo on 23rd December 1978 – released at the time under the name of “Mission Accomplished… But The Beat Goes On”.

Not only does Flying Saucer Attack contain these two great recordings, but the package also includes all the B-sides and rarities from the band’s first stint as The Rezillos between 1977 and 1979.

Includes the hits ‘(My Baby Does) Good Sculptures’, ‘I Can’t Stand My Baby’, ‘I Wanna Be Your Man’, ‘Destination Venus’, ‘Top of the Pops’, plus many rarities not included on the band’s initial two albums, such as live versions of ‘Flying Saucer Attack’, ‘Twist and Shout’, and alternative versions of ‘(My Baby Does) Good Sculptures’ and ‘Getting Me Down’.

Everything contained has been freshly re-mastered especially for this release.

Image may contain: 3 people, people smiling

Frux Tapes has been a consistently great label for EP’s, and this year was no different. “Lucky”, the four track offering from dreamy Glaswegians Life Model. Produced by Susan Bear from Tuff Love alongside the band’s own Christopher T Smith, it is a significant sonic leap forward for the band, fusing their natural flair for a gorgeous melody with layer upon layer of aggressively beautiful noise.

At the centre of Lucky’s appeal is the stunning vocal performance of Sophie Evans; crystal clear melodies, a wonderfully playful inflexion and an effortless flair for carrying nonchalance and emotion in one single swooping refrain. All of which would count for little without the tracks to accompany the voice, and thankfully Life Model had them in spades; Skin & Bone with its propulsive bass and clattering distant drum beats, the almost nostalgic shoegaze of 4Ever, and perhaps best of all the paired back, and utterly beautiful, Together. In a year where many clamoured for the return of some shoe-gazing legends, Life Model’s updated version of the genre arguably sounds better than any of them.

http://

Life Model are:
Sophie Evans
Chris Smith
Joanne McCafferty
Michael McDonald

From Life Model’s EP, ‘Lucky’. Released 21st July 2017 on Frux Tapes.