edRock.net

Green Eyed Goodbye - The Remnant Kings: Track-By-Track

2012-01-21T09:14:00.000-08:00

Lead singer of rock-blues outfit The Remnant Kings, Rich Paxton, goes track-by-track through the band's debut EP, Green Eyed Goodbye, after performing an acoustic set with his band at their monthly live music club 'Sink or Swim' at The Caley Sample Room.

To download from your browser click the down arrow on the right of the player

Track list:

Green Eyed Monster Blues
Take the Money and Run
Scapa Flow
Pictures of Miles

Donna Maciocia | FreshAir.org.uk Session

2011-12-07T17:21:00.001-08:00

To download from your browser click the down arrow on the right of the player

Dark romantic pianist and former Amplifico singer Donna Maciocia joins Myke and Stew of edRock.net in the FreshAir.org.uk studio for a track-by-track discussion of her new EP Fists at the Sky. Also, chat about her Mashup Session with Mike Kearny Ka-Tet, and then gives a live exclusive ukelele performance.

Long Time Coming - Precious & Grace

2011-10-26T11:35:00.000-07:00

Precious & Grace are something of an oddity amongst Edinburgh's younger bands. Their approach to pop-infused rock music with big choruses doesn't subscribe to "the current sound" in the way similarly aged Scottish guitar bands do, with a distinctly American slant that has been more or less constant since their inception years ago, despite this EP being their first major release.

Curiously, with Long Time Coming the band are drawing from their newest material, despite having amassed a considerable repertoire over time. It weighs in at a lean 12 minutes, and of its three tracks, two are brand new ones that few had heard prior to their release, certainly a bold creative decision.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://preciousandgrace.bandcamp.com/track/all-america-long"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;All America Long by Precious &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; Grace&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;
Opener All America Long more or less summarizes the record- a big chorus with big echoing guitars, well-placed harmonies and twinkles of piano. It's an interestingly meticulous pop song, with various melodic and rhythmic twists that work really well. The band's songwriting is the most prevalent strong point of the EP- it's refreshing when young musicians punch above their weight, and unashamedly aim for the classic rock highs a lot of their peers would be too nervous to even dream of. And for the most part, it works well.

Generally speaking, this EP is a commendably mature and self-confident work that stands on its own two feet, regardless of the age of the musicians that crafted it. The hallmarks of a young band still trying to find their feet are visible throughout, however, with all manner of devices being experimented with underneath the unifying musical palette. From shameless wah guitar solos to gang chants, it feels as though Precious & Grace still aren't 100% sure exactly what they want to be. However, the musical output speaks for itself, and as a solid release and indicator of future potential, Long Time Coming is a successful debut.

Stewart McLachlan

High Five: Roberta Banana (Red Dog Music / The Banana Sessions / Unpeeled)

2011-10-19T07:19:00.000-07:00

High Five is a brand new feature where edRock.net gives a "high five" to people we think are doing an awesome job at promoting great Edinburgh music, by asking them to share their top five tunes by local artists, and why they love them.

Smashing the proverbial bottle on the proverbial bow of this feature's maiden voyage is Roberta Pia (aka Roberta Banana). Roberta (pictured) is frontwoman and co-songwriter of "Acid Skiffle" quintet The Banana Sessions, and is the organiser and promoter of musical showcases Unpeeled at The Jazz Bar. In her role as in-house "Dog Evangelist" (marketing?) for musical instrument shop Red Dog Music, she's launched and now edits The Dog magazine, The Red Dog Blog, and has organised regular live events including Hair of the Dog Sundays and The Dog Show. Most recently, Roberta has joined three-part harmony vocal outfit The Bevvy Sisters. Here she gives us her High Five:

1. William Douglas and the Wheel – Sunshine

Sunshine is one of these tunes that can bring a whole room together. What I like most about it is its simplicity; one verse, one bridge and one chorus. And repeat. And repeat again, if you feel like it. To hear a recording of this song doesn’t really do it justice; it needs to be heard live and with a bunch of people singing along with it. The lyrics are perfect because they encapsulate a moment that everybody can relate to - that moment where you take a look around you and realise that everything is ace and you’re exactly where you want to be. Maybe you’re stoned. Maybe you’re not. Take it literally, take it metaphorically, take it whatever way you like; it’s a tune that, by the last chorus, everyone will be singing along with a massive grin on their face. And I mean everyone.

2. Super Adventure Club – Tommy Sheridan

I love everything about Super Adventure Club, and I think this song says everything that you need to know about them, especially when you see then perform it live. I’ve no idea what most of the lyrics are, but when I do happen to catch them, they come and give me a proverbial punch in the chop. I think what’s amazing about SAC is that they’re mental, and their music is mental, and when you watch people’s faces as they watch SAC live, they almost have a look of wild bewilderment; widened eyes infused with a crazed smile. This tune is hilarious and manic and totally rockin’ and I’m pretty sure, this one time, I saw somebody’s face melt off somewhere around the 1 minute 50 second mark.

3. Austen George – On My Way

I watched two grown heterosexual men fall in love with Austen George once during one of his live shows. Funnily enough, it happened while he was singing this song. On My Way is probably the most heart-melting song I’ve ever heard. It’s a combination of a fantastic chord structure, a hypnotizing melody, a beautiful voice and lyrics that will tug at even the thickest of heart-strings. Honestly, I could say the same thing about every single one of Austen’s songs. You can hear bits of The Beatles in all of them (right up my cuppa tea) but with the magical Austen George touch deeply embedded. I said it once, I’ll say it again, and I’d even say it again after that - he’s magic. Go see him live and I challenge your legs not to turn to jelly. In fact, I dare you.

4. Donna Maciocia - The Nothing & The Numb

The first time I heard this song, it totally floored me. I must have listened to it hundreds of times now and it still has exactly the same effect. I've watched rooms of people go completely silent to this song. I even saw a standing ovation for it once; it's THAT good. I've never heard another piece of music like it before and to see it live is pure mind-blowing. It's the vulnerability of the lyrics that draws you in at first and then, once its lured you in, it begins to soak you in really beautiful harmonies and it layers and layers and it layers and suddenly you'll find yourself completely overwhelmed by how powerful it is. It's pretty loop pedal reliant so you really have to see it in action to "feel the full effect of this" Moochacha classic but I can almost promise you that by the end, you'll be totally speechless and probably in need of a big cuddle. What a tune.

5. Stanley Odd – Broken Has Morning

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://stanleyodd.bandcamp.com/track/broken-has-morning"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Broken Has Morning by Stanley Odd&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Stanley Odd’s newest EP The Day I Went Deaf is probably the best record I’ve heard this year. The beats seem to be getting heavier as time goes by, which, in my book, is nothing but a good thing (what can I say, I was raised musically on The Fugees and The Prodigy). My personal stand-out track on this EP is Broken Has Morning - the moment I heard this tune, I fell head over heels in love with it. It’s beautiful and pure filth in equal measures (and by pure filth, I mean pure bangin’). It makes me want to throw shapes on the dancefloor at the same time as sit back, relax and get high, so high. It’s the last 52 seconds that get me the most... I find the mix of the thumping, crackly beats and the ascending, heavenly chords a little overwhelming. One word: goosebumps.

Upcoming Events:

21 Oct 2011: The Banana Sessions supporting Stanley Odd
28 Oct 2011: The Banana Sessions 'Jukebox' Music Video Launch
3 Nov 2011: Red Dog Music Presents... The Dog's 1st Birthday Party

People - Trashcan Sinatras

2011-10-01T15:42:00.000-07:00

The very warm and bright studio sound puts an oil lamp glow over Trashcan Sinatras’ single People, the third single off of their 2009 album In The Music. A melancholy synth-glum Echo and the Bunnyman-influenced verse is followed by a major key love song response with a rich vocal harmony for the chorus refrain “People, people will fall in love”. It’s the sort of chorus where people join hands and sway. There’s a heart-warming understatedness to the single, which makes it easy to listen to but at the same time somewhat mundane and hollow in sentiment. However, the song progresses nicely and the instrumentation is expertly arranged; it’s a tough song to dislike.

Myke Hall

Ever/Girly - Dead Boy Robotics / The Machine Room

2011-09-22T15:09:00.000-07:00

Edinburgh's Tape Studio have worked with acts like Amanda Palmer and have two Studer tape machines to make your inner audiophile's mouth water. They've also recently unveiled their new Singles Club. The concept for the Club is simply intermittent releases of split 7" vinyl singles featuring two local artists that Tape have worked with previously. The idea itself had enough potential to attract our attention, but the pairing of Dead Boy Robotics and The Machine Room is a match made in heaven for lovers of electronica-tinged indie.

DEAD BOY ROBOTICS - 'EVER'

Dead Boy Robotics are first up with Ever, taken from their upcoming debut album (which was recorded at Edinburgh's other great treasure trove of analogue equipment, Chamber Studios, then mixed at Tape). DBR have been plugging away for quite some time, with a slot at T in the Park in 2009, a well-received debut EP in 2010, and the album to be delivered later this year, their dark synthesis of electronic loops and guitars becoming more and more defined over time. 'Ever' is a promising glimpse at the upcoming record, strongly evoking Pure Reason Revolution's most recent material with its overlapping vocals and deep synth textures enveloping the solid core of gritty bass and percussion. The song benefits from a fairly unusual structure that stops and starts where lesser songwriters would just keep powering away. 'Ever' is a dense piece of work, at 5 minutes in length and with a deliciously dark character that makes it an unusual choice for a single in some ways, but a great song in its own right. The album it serves as a preview for can only be just as good, and we look forward to hearing it.

THE MACHINE ROOM - 'GIRLY'

The Machine Room, unlike DBR, are newcomers to the Edinburgh scene. They seem to have done pretty well so far in garnering some buzz, and attracted enough attention whilst recording their debut EP at Tape to be included in the Singles Club. Their track, Girly, certainly comes from the brighter, more "indie" shade of the spectrum, especially when compared to 'Ever'. Glittery electronics twinkle over a fairly catchy, delicate vocal line, and the whole thing is quite... well, girly. It definitely feels like more of a "single" than its counterpart, but does a lot less to grab you by the head. That's not to say it is a bad song, however; the production is punchy and the vocals sit at a perfect, inoffensive level, letting the sound fill up during the choruses for an admittedly quite powerful effect, particularly towards the end of the track. The Machine Room do sound like they would be great fun to watch live, and fair play to them to at least hold their own when back to back against Dead Boy Robotics, a unit that has been together longer and been able to really hone a sound of its own. Ultimately, 'Ever' stands out considerably as the better song of the two.

Stewart McLachlan

The Council Wedding Band - Tam's railways

2011-09-09T08:41:00.000-07:00

Nine months ago, edRock.net wrote about Tam’s railways official return to the stage as a three-piece, with all new tunes and a tight look. The audience and the band had a very special time together that hot, passionate night. In a way, their debut release The Council Wedding Band was conceived that evening, as now, nine months and one day later, the seeds they planted have grown into a well-developed little body of work with five healthy, pink tracks.

The EP opens with the softly delivered, new wave mid-tempo Let’s Go To Town, which sounds like it’s been recorded by a band in their 40s, and this mildness is a little at odds with the theme of revolution. In spite of this, the track actually sets the tone well for a developed and considered grouping of tunes, it's just surprising for a band who can rock out onstage like CBGB punks.

Barrel of Irony is a bouncy wee rock and roll tune that owes a lot to fellow Leith residents The Proclaimers. The lyrics have a cheeky politically-left facetiousness that, through vocalist/guitarist Leigh’s charismatic delivery comes across as charming and agreeable, especially when the kazoo solo kicks in.

With its sliding bass lines, low frequency oscillating processed guitar that sounds like a synthesiser, and dancey hi-hat beat drums, Man Up the Stairs is a groovy little ditty with an air of introspection and a faint whiff of 80s dance revival.

Cream of the Crop is a clever song, as the structure is reflected in the lyrical theme. As the song describes growing up and your life changing, the song develops through a variety of different musical styles. Careful listeners will hear The Beatles and The Beach Boys in the intro harmonies, Primal Scream-adelica in the bridge, followed by a little a bit of funk in the first verse, and it goes on. When the song gets going, it proves to be the standout track from the album.

Pregnancy jokes aside, this EP certainly represents the culmination of a deliberate relaunch for Tam’s railways, and if they proceed in this direction, these three skilled musicians will achieve the success that they have the potential to achieve. The EP is out today and the band are celebrating with a gig at Sneaky Pete's, including face painting, yes, face painting, and an aftershow party at The Store which will host the debut screening of the band’s brand new music video for Let’s Go To Town. Support is provided by The 10:04s and The Remnant Kings.

Myke Hall

Bootleg: Franz Nicolay - PJ Molloys, Dunfermline 11 May 2011

2011-08-31T06:41:00.000-07:00

Franz Nicolay (photo by Last Year's Girl) playing between Ben Marwood and Frank Turner, recorded live at PJ Molloys, Dunfermline on 11 May 2011.

Interviews:

Ben Marwood on FreshAir.org.uk
Franz Nicolay on Last Year's Girl
Frank Turner on FreshAir.org.uk

Plastic Animals @ 'A Dark Spring' EP Launch - Wee Red Bar Edinburgh 8 July 2011

2011-08-07T08:50:00.000-07:00

It’s a muggy July evening, and the audience are overheating in the Wee Red Bar in the bowels of Edinburgh Art College, but hey, the beer’s cheap! What else do you need on a night out to see some local bands?

A table of plastic toy animals greets you on entry; it’s quirky, giving the impression that something is going to be different about this band. Waiting for the band to set up, with the rumblings of Primus and other alternative bands from the 90s coming through the PA, the crowd gets in the mood for what promises to be a great set.

A promising board of guitar effects are employed and about to be used by a left-handed guitarist sporting a Status-Quo t-shirt?! What the heck is going on? The crowd are beckoned to come closer, come closer.... and we’re off! Straight into 'Fridge Buzz', a straightforward, no-messin’ early 90s punk/grunge assault reminiscent of Nirvana’s Insecticide/Bleach era with a bit of The Vaselines thrown in. Then we’re immediately into 'Shotgun', with its driving drums, and the audience clearly loves it.

Things slow down a touch for 'Grey Blood' from the band’s EP A Dark Spring (pictured), released on 1st July 2011. Images of speeding around city centres adorn the back of the stage, adding to the effect. This is a track you can lose yourself in, and the lead singer of Plastic Animals clearly enjoys the instrumental parts of this song; at times it’s clear he’s happily in his own special place with his guitar. Kudos also goes to the drummer and bass player who add some great groove-styled atmospherics. The singer combines vocals with the bass player towards the end, bringing the crowd further into that special place with them.

'Green Light', also from the band’s new EP, continues the chilled-out theme with a slightly progressive feel about it. The build-up to the bridge provides swelling harmonies before repeating “hours, hours and hours”. It would be nice to sit in a spot for hours being transported to the world of the Plastic Animals, it’s a shiny place. Green Light builds towards the end with a driving instrumental supported by an excellent bass line.

Next up is 'Gold Medallists', which sees the introduction of a llama head for one audience member. Picture this: an epic sounding melodic trip with someone dancing in a llama head – no drugs required! This is one heck of a melody-based track and definitely a highlight of the set. Plastic Animals are certainly in a league of their own with this track. Superb harmonies inform the crowd, “we keep on falling in the same way.” However, this is a local band in ascendance in Edinburgh and you can’t help but wonder what’s up next for these three not-remotely-plastic animals. Next up is the final track from the EP, 'It Fell Apart'. Again, it’s a slow burner which results in some fantastic use of the guitar board, to end things on a high.

Penultimate track 'Maybe Tomorrow' has a build-up reminiscent of 90s Swedish band Kent and their track '747'. 'Maybe Tomorrow' is one of those tracks that will remind you of how you can daydream about your life. It gives the listener hope that something better will come along tomorrow.

Final track 'Pirate DVDs' brings with it a treat of guitar effects that are never overused. It can be tricky (and tempting) when you’re a guitarist to go too far with your use of effects. Just because they’re there doesn’t mean you should use them all at once. 'Pirate DVDs' includes a well-balanced use of guitar tomfoolery. This is a track that slows the pace right down and then assaults you with a punk- infused firestorm. Superb atmospheric vocals start to loop towards the end and that llama head is seen swinging continuously. It’s almost like a pagan ritual with a llama in charge and the band providing the ultimate audio sacrifice, but hey, if this is how you’ve got to lose your soul then it’s a pretty awesome way to go!

This band are highly recommended, yet another gem in Edinburgh’s music crown. The EP A Dark Spring is available on Bandcamp at a mere £5 for a hard copy, but for that price you also get the digital download so you don’t have to wait for it to hit your letterbox. Their next gig is in Glasgow at Bar Bloc on 10th August. If you’re in Glasgow, get down there and check these guys out.

Now, where’s that llama head...

Amy

In Debt - Black International

2011-07-20T05:57:00.000-07:00

Two thirds of Black International are Edinburgh College Of Art graduates, and that's a good place to start when describing their sound. Their debut album In Debt has a stripped-back sound that displays heavy post-punk and art rock influences.

Opener A Million Mouths sets the tone for the rest of the album, with an extended build-up that ushers in 3 minutes of unrelenting, jaggy chords. This is followed by the pounding Destruct, which offers a satisfyingly cohesive extension of the same ideas, but with a different dynamic. It works better than A Million Mouths, sounding very reminiscent of a recent The Fall track at points, with a perfect instrumental section that comes together with a darkly catchy vocal hook from frontman Stewart Allen. This darker tone continues into Dread, which ebbs and flows and creates a real feeling of tension, before releasing into a passage that actually sounds quite like Arctic Monkeys, but in a good way.

These three strong tracks highlight one of In Debt's key strengths- rather than doing as Franz Ferdinand et al have done, and fashioning these influences into a more pop-orientated shade of post-punk, the record feels more akin to the gloomier, grittier sounds of Joy Division and Wire. The former's classic album 'Unknown Pleasures' in particular can be heard throughout, particularly in drummer Craig Peebles' frantic, hook-based approach to drumming. The album is produced in a pleasingly lo-fi fashion that suits the stripped-back instrumentation and songwriting.

However, this approach to writing music doesn't always translate terribly well into the format of an 11-track album. Indeed, at points In Debt feels like it is retreading the same ground, and would very probably have benefited from a more concise tracklisting. That said, one of the band's understated strong points, Stewart Allan's guitar work, helps add longevity to the record. His cyclic riffs and chords display some real musical depth at points, for instance on Know You Exist, which echoes Joy Division's 'Disorder', and Idle Worship, which is a late highlight.

Overall, In Debt is a satisfying debut album. Whilst it arguably gets tired midway when viewed as an overall piece of work, the individual tracks themselves are concisely written and energetic, and give the impression that Black International are well worth checking out as a live band.

Stewart McLachlan

Hagana and The Fire & I - A Night of Astounding Revelations - Cabaret Voltaire Edinburgh 1 Jul 2011

2011-07-15T07:02:00.000-07:00

The underground caverns of Cabaret Voltaire can be whatever you want them to be. To some bands the venue is a gallery, and to others an amphitheatre. To some it is a dungeon and to others it is a refuge. After eleven, it is the pulsating heart of Edinburgh’s electro club scene. Support act Hagana’s (photo on right) set had an intimate environment, as the room was packed with friends and fans of the band alike, all along to show their support. The band look at home on the stage, loosening up in a way they haven’t often done before, showing more potential still to be tapped.

By contrast, headliner The Fire and I’s (photo on left by Edi Pyczek) set is the well-polished, confident presentation of rigour and near-palpable performance experience, and the crowd greets them like the rock stars they are. The gig marks the end of the band’s tour in support of their fantastic debut album, Stampede Finale, and the effective homecoming for the Bathgate-via-Mexico City energetic alternative rock duo, who have been touring not just Scotland, but Italy too. It will also be the last gig the band perform for at least a couple of months, as the band take time off to write some new songs, and work on a side-project; more on that to follow.

The other big reason for the animation of the gathered audience is the first live performance and unveiling of Hagana’s secret new bassist, which edRock.net can now reveal is Death Trap City drummer Michael Field (photo on right by Edi Pyczek).

“There was a couple of interesting moments when I was loud as hell when I shouldn’t have been,” Field confessed after the show, “but that’s cool, it’s a learning process.”

As a drummer, Field was impressed by The Fire and I. “Their drummer’s cool. All of his stick tricks are ace! Proper out of the hand stick tricks that’re ridiculous! I don’t have the balls to throw any of those down on stage.” As a bassist, Field feels he’s just a newbie. “Having to stand up and not having anything to hide behind is f***ing terrifying. Proper terrifying.”

Hagana’s lead singer and guitarist, Leo Fox (left), was overjoyed with the performance. “Our new bass player done fantastic, he only had one practise with us, and he fitted like a glove, basically. He done fantastic.” Drummer David Chisholm (right) agrees. “Good considering I came back from Asia on Wednesday night and we had one practice on Thursday night and then the gig on Friday night. It was good all three of us having fun on stage, which I think has been missing the last couple of months. Obviously we miss our old bass player; he’s been with us for so long, but I think all three of us could use a fresh band, I think we’ve got a nice but of fun and enthusiasm to the band that was missing before.”

Fox also mentioned he was happy to see The Fire and I play again: “They’re old gigging chums of ours, we’ve gigged with them many times, great showmen, and I think they’ll go on to great things.”

Cheering on Field’s first bass show was Death Trap City lead singer and bassist Craig Robson (left). “I thought he was rubbish. No, I’m just kidding... I thought he was fantastic and I’m very, very proud.”

“Didn’t really watch much of The Fire and I if I’m honest,” Robson admitted. Immediately regretting it, he added. “Please don’t put this quote on your website, because I do actually think they’re awesome but I was otherwise occupied talking to people and things like that.”

Who could he have been talking to? Perhaps a very drunk Matthew Bakewell (right), lead singer of A Fight You Can’t Win, after whom Hagana have named a song in their set. “I think that Hagana’s bass player is a cross between the one fellah from Soundgarden and Gary Glitter,” Bakewell stated. “Which is, in my opinion, the best thing that ever happened. I think that he is both an excellent bass player but clearly fiddles kids.” Presumably, this is an endorsement from Bakewell, who is referred to affectionately by his friends as ‘Edinburgh’s favourite sex pest’. He went on to describe similar affections for The Fire and I: “I initially wasn’t entirely sure but actually they are the s***. Really, really good, and I want to f*** both of them in the ass, hard.” Hmmm.

The aftershow party is less than a minute’s walk away. Down Blair Street, across the Cowgate, up the alleyway stairs towards Guthrie Street you’ll find The Store. The VIP room upstairs is complete with low-sitting couches, a pool table, full service bar and Golden Age comic book artwork of Wolverine and Spider-Man (left) adorning the walls. Not to mention banging tracks and more faces from the Edinburgh alternative scene.

Such as lead singer of Scrap Brain, Angie Clarke (right). On the subject of Hagana, she exclaimed: “Loved them! It was really much more energy and stuff, I really liked it.” Then, as the token girl, Angie offered some beauty tips: “The Fire and I were good as usual... lots of energy, very sweaty, and what’s his name? Gordon? Very good, however, needs to work on his hair as it looks like a wig on back-to-front.”

Martina Cannon (right of photo on left) disagrees, “They’re tidy! The two of them are quite tidy. Good looking, aye,” she proclaims wistfully. Scene darling Martina Cannon is a regular sight at alternative gigs in Edinburgh and can be seen here as part of A Fight You Can’t Win’s stage invasion. She was impressed with Field’s debut appearance as well. “He was s*** hot, he moves like a panther. And there’s going to be a lot more of that, I can imagine, in the next couple of gigs.”

A panther? That doesn’t really match Angus Ross's (right of photo on right) description. “I quite like the way that his head still moves the same way when he’s playing bass as when he’s playing drums. Just a little bit of leg action on top so what more do you want?” “Jumpy-aroundy,” Chris Elsheikhi (left of photo on right) adds. Chris and Angus run Bainbridge Music, and they put tonight’s gig together. They were very pleased with their headliner’s performance. “Brilliant, really, really good. Energetic, in a word,” Chris says succinctly. “Well, what did everybody else think of The Fire and I?” Angus asks rhetorically. “You heard the crowd, you’ve got it on record, they were unbelievable... even the monitor mix sounded amazing”.

Hooligan Sadikson (left), ever-smiling drummer of The Fire and I, strolls into the afterparty fashionably late with a grin even wider than usual. “Today it went like a Super Pot Noodle when you’re hungry; so, really good. Of course it’s good to be back, I miss all the passionate fans. Although, they’re passionate over there as well.” By “over there” he means Italy, where the band have been away on a manager-free, entourage-free, girlfriend-free two-person tour. So used to being joined at the hip to his bandmate, Sadikson found the idea of a new member in Hagana a little hard to digest. “He must have been the real bassist originally. Surely he did not learn all those songs in one day. That’s f***ing crazy. I love him!”

The night gets later, and people either go home or get drunker. The other half of The Fire and I, bassist/singer Gordon Love (right), is a lot more timid and patient than the screaming rocker we see on stage, and he is looking forward to the future. “We are going to be writing a lot, we have been writing a lot, and we’re going to write some more and do a lot of demos and work on the next album, which is going to be, hopefully, out next year.”

“Just now we are taking a wee break from gigs for the next couple of months. We’ve got a side project happening. Me and Hooligan are both involved in it.” Interesting, tell us more. “It’s a quite established band but I can’t tell you the name just yet as we’re not allowed to announce it. You’ll probably hear next week.” So what can you tell us? “It’s a band that already exists and we’re kinda mixing things about and getting two drummers and I’m now going to be the bass player and the bass player is going to play guitar. So we’re looking for a bigger sound and it’s exciting, I’m f***ing excited, I want to tell you who it is but I cannae.”

Well edRock.net won’t keep you in suspense. It was announced five days later that Love and Sadikson of The Fire and I were joining Sucioperro onstage at both T in the Park and the 2000 Trees Festival.

Myke Hall

Precious Time - The Last September

2011-07-03T17:57:00.000-07:00

Precious Time, the new single by The Last September, opens with the sound of your mind trying to work out where you’re headed and a journey of self-discovery.

“I know my confusion is my own and my heart’s beating faster than before.”

The Last September are taking you on a road trip, and it’s time to saddle up and enjoy the ride. The listener is taken on a sweet car ride through America: luscious fields of corn as you drive through deserted roads aiming for a destination. The scenic picture presented is reminiscent of Americana Springsteen; you don’t know where you’re headed but you know that when you get there, it’s going to be beautiful. As the song progresses, the journey gets more colourful. Each chorus sees the pace pick up a notch and the storyteller sounds like he’s getting closer to what he’s searching for as time goes by.

Pete Deane has the kind of velvet vocals that even Willie Nelson would shed a tear over, and Precious Time gives a fine introduction to the band.

The single is from the forthcoming album 'As The Crow Flies', and if Precious Time is anything to go by, then the album will be incredible, and well worth a hearty listen. If you like your music meaningful and heartfelt, then The Last September are the band to watch.

Amy

The First - Her Royal Highness

2011-06-14T13:15:00.000-07:00

A first listen on PC speakers is not the way to hear this album. Get yourself a bassy set of cans and slap in a jack for some cyber-Thai punk rock beats dusted down with a sprinkle of Goldfrapp.

Opening track Canary gives you an indication of what you are in for. There’s a lot of styles going on here; think Adam Ant in a blender with some drum n’ bass thrown in and Blondie on steroids – that would be some party. No doubt this image alone would make you sing like a canary. After being audibly beaten with a very large stick, Her Royal Highness take you straight into another stomper: Cherry on Top. Bands don’t like to be compared to other artists, but this one just makes you think of Goldfrapp getting jiggy with Marilyn Manson, an image most of us don’t really want but oddly can’t turn away from. This is a stand-out track with some great bass lines going on and you can see this being a real crowd-pleaser at gigs.

Things slow down for You’ve Got Something and it’s got a nice variation of synth sounds going on; perfectly placed on the album to break up the pace from the first two tracks. It’s almost like a soundscape that you’d expect to find in Blade Runner... or a film about kitsch Thai robots trying to take over the world with their visceral pop sounds, whichever you prefer! Then we get to One Night in Berlin. It reminds me of the time I went to see the ‘Rhythm Drum and Dance’ show at the Fringe Festival last year. I went for the drum element but ended up being assaulted with the trashiest Euro-pop combined with disco lighting; it was like a timewarp! One Night in Berlin opens like a sequence from that show, so it seems that was HRH’s plan. They’ve certainly captured that Berlin feel but the lyrics weren’t really capturing anything more.

I’ll be honest, I was a little apprehensive about reviewing HRH; mainly because this doesn’t tend to be a genre that I know a great deal about but, having said that, I can feel the quality present on this album. It’s a brave step for most bands to want to do something different and break traditional band setups without a drummer in tow. It could well be the case that to fully experience HRH, you would need to see them live, which is true for most bands. I’d be interested in witnessing that event as I do believe that HRH have something to offer. The First has given a good introduction to the band and is a testament to the ever-increasing Edinburgh music scene. I look forward to seeing Her Royal Highness ripping up the dance floor in a venue soon.

Amy

Friends are Friends (née Epic26)

2011-06-08T08:12:00.000-07:00

The scene-veteran Edinburgh dance-punk band Epic26 have decided to re-launch the band under the new name Friends are Friends. Is this just a simple rebranding? Or is it a whole new band?

edRock.net contact frontman Nick Paterson for the answers.

edRock.net: Where did the new name come from? Is this just a name change? Or does it mean something specific for the band?

Nick Paterson: We decided we fancied a fresh challenge. We had a lot of amazing times with Epic26, but felt that it was perhaps time to move on to a new project since our sound, and line-up, had evolved so much from when we first started.

The idea of being able to start again was appealing; a chance to change direction and make a fresh start. We'd learnt a lot from being in Epic26, so we know what mistakes not to repeat. We're a bit older and wiser now!

The name Friends Are Friends, I suppose, was inspired by our song Our Friends Are Friends. It means something different to each of us individually and will probably mean something different to everybody who is interested in our music; that’s what we want.

How much of your set now will be Epic26 songs and how much of it is new?

Our current set includes some of our previous tracks like Sorry It Hurts purely because it’s a great live song to play and also, if we never played it, I’m sure we would get some grief. Anyone that has seen us this year will have heard our new tracks like LIDO, Our Friends are Friends [where the new band name comes from] and Losing My Head which are planned for release in the next coming months. So in answer to your question, 50/50, but we're going to be introducing new tracks as much as we can.

Epic26 went through a major change in core sound over the years—what do you attribute this to, and is it changing again with Friends are Friends?

Our sound has developed so much over the years due to developing an appreciation of dance/house music, that and the fact our line up has changed. When Kelvin joined it gave us the opportunity to have a more modern sound and improved us technically. Also, supporting bands like Everything Everything and Fenech Soler have inspired us to write in a more intelligent manner. Our sound seems to be evolving all the time. Expect more melody and generally better crafted songs. We like a good groove these days.

What is the ‘Friends are Friends sound’ in your own words?

Our live sound definitely has a pop feel to it; it’s upbeat, exciting and most importantly, entertaining.

You mentioned a few line-up changes. What is your current line-up and what are the new members bringing to the table?

Our current line up is Allan - bass/synth, Kelvin - guitar/synth/vocals/programming, Euan - drums, myself (Nick) - vocals/guitar/synth. We were all brought up on completely different music but we all appreciate similar modern stuff. It helps when it comes to writing as we're all on the same page. I suppose I bring a pop/R&B sound to the band whereas Kelvin likes alt-dance/ math rock with odd timings and complex arrangements, Allan likes a nice groove and Euan brings a bit of a trad rock feel to our sound. We all enjoy a good beat, a sweet melody and a catchy chorus though.

Epic26 were well known to have a loyal fanbase, what has been their reaction to the rebranding?

So far we have had a good response from our fanbase in regards to our name change. They seem to understand that some things need to change in order to develop and evolve rather than stay the same and they hope things work out for the best. We are happy with the feedback we have had and hope that people will carry on enjoying our music.

What’s next for Friends are Friends? Gigs? Releases?

We are recording as much as we can at the moment. We just released our first track Losing My Head, which you can get if you join our mailing list or you can find it on iTunes etc. We're planning on releasing a few tracks over the next few months two of which will be LIDO and Our Friends Are Friends, and as always anyone on our mailing list will receive it pre-release.

Myke Hall

Haddowfest Acoustic Sessions 2011

2011-05-15T17:18:00.000-07:00

In April 2011, Edinburgh's music venues were host to Haddowfest 2011, and in the smoking shelter out the back of The Liquid Room, edRock.net recorded live acoustic performances from some of Haddowfest's performing bands. Hear the full coverage on the Day 2 webcast, and stream or download the individual tracks for free from bandcamp.

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://edrocknet.bandcamp.com/album/haddowfest-sessions-2011"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Haddowfest Sessions 2011 by edRock.net&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;

Death Trap City | FreshAir.org.uk Session

2011-05-08T12:22:00.000-07:00

edRock.net are joined live and streaming in the Fresh Air studio by Craig and Mike of Death Trap City, who discuss their upcoming single 'Ignite'/'Fight or Fall', play a couple of acoustic tunes, and tell us about the launch party Friday 13 May 2011 at Sneaky Pete's with Hagana and Jump: Press A.

Death Trap City radio session download

News: Sick Kids Charity Album

2011-05-04T14:22:00.000-07:00

When drummer Col McGregor’s Edinburgh band Frantic Chant were booted off of a charity compilation album for Yorkhill Hospital in Glasgow that had decided to become exclusively Glaswegian, he decided to take doing his bit into his own hands. Together with Dom Holt of newly formed Leith-based Youngteam Records, Col has put together a compilation album of twenty-one tracks from Edinburgh-based bands.

The profits from the sale of the album, entitled ‘No Colour Too Strong to Paint’, will be donated to The Sick Kids Friends Foundation, the registered Scottish Charity that supports the Royal Hospital for Sick Children in Marchmont.

The track listing contains many of Edinburgh music’s glitterati, with a few unknown gems too. A full track listing appears at the bottom of the article. In Col’s words, “It’s a great document of what's going on in Edinburgh right now and it’s for a fantastic cause.”

The album title comes from a letter written to The Scotsman newspaper by Dr John Smith in 1859. The letter began "No colours are too strong to paint the sufferings of young children amongst the lowest and poorest classes of the population, when afflicted with disease." The cover artwork is produced by Nick Paul and the album was mastered by John Durnan, who also contributed a track.

The album will be available to download from “all the major online retailers” [iTunes, and, I guess, Amazon? eMusic maybe] for £6 from 7 May 2011. There will also be a limited edition CD of the album on sale for this one night only.

To mark the occasion, several of the participating bands will be performing at Maggies Chamber at The Three Sisters, Cowgate, Edinburgh, the evening of the launch. This launch gig is being organised by Ginger Music Promotions, and has almost sold out! Which is excellent news for Sick Kids, as the profits from the gig are also going to the charity.

Tickets are no longer available in advance, but a limited amount will be sold on the door so get there early if you don't already have tickets.

If you don't manage it and still want to get the limited edition CD on the night it is released, there is one other option. edRock.net is presenting another event that will also be selling the album on its launch night. At Sneaky Pete’s, just a few doors down from Maggies Chamber, Brain Storm 3 will take place. This is the third in a series of alt-rock live music events coordinated by noise-popniks Scrap Brain and sponsored by Bainbridge Music and Great Junction St Music Studios.

In addition to Scrap Brain, who appear on the No Colour... album, the night will feature Bathgate duo The Fire and I and Glasgow pop-punks Acrylic Iqon. The gig starts at 19.00 and tickets are available from TicketWeb for £3.

After the launch, the album will still be available online, and rumour is that there will be more promotional gigs to come. You can follow their progress and hear about upcoming activities on the No Colour Too Strong To Paint official Facebook page.

No Colour Too Strong To Paint

1. Dancing Round the Nails - The Jackals
2. Tear it up - Frantic Chant
3. To Be Sad... - Steve Heron
4. If I Lived Here I'd Be Home Now - My Electric Love Affair
5. I'll Rest - The Thanes
6. Dollyrocker - The Valkarys
7. Sheltered Life - Delta Mainline
8. So - White Heath
9. First Light of Day - Matt Norris & The Moon
10. I Want You, You Want The Devil - Scrap Brain
11. Spirit Walk - Inspired
12. She Said, You Said - The OK Social Club
13. Summertime - The Steals
14. Light - John Durnam
15. Two to Tango - Epic 26
16. Traffic Management - The 10:04s
17. Eighteen Tonne - Imperial Racing Club
18. More Than I Could Tell - The Remnant Kings
19. Sick Of You - David Winpenny
20. Sewed Beneath The Fabric - Nicky Carder
21. Bicycle Day (The Hoff) - The Lunes

Launch Party
Maggies Chamber

Frantic Chant
My Electric Love Affair
White Heath
Steve Heron
The Steals
The Remnant Kings
David Winpenny

Brain Storm 3
Sneaky Pete's

The Fire and I
Scrap Brain
Acrylic Iqon

Haddowfest 2011 Day 2: Backstage Acoustic @ Liquid Room, Edinburgh

2011-04-15T13:43:00.000-07:00

For the second day of Haddowfest 2011, edRock.net go backstage at Liquid Room and record some acoustic performances from Haddowfest bands, and do a few interviews with Edinburgh music folk.

Haddowfest 2011 Day 2: Liquid Room Backstage Acoustic download

*CONTAINS STRONG LANGUAGE* - photo by Dom Holt

Kerrie Lynch - Something New
Steve Heron - Eleanor
Gary of Ginger Music Promotions
The Remnant Kings - More Than I Can Tell
The Fire and I - Control
Craig of Alive & Amplified
The OK Social Club - She Said, You Said
Chris Helme - Last High
Michael of New Found Sound
Homework - Why Oh Why

Haddowfest 2011 Day 1: Bainbridge Alternative Stage @ The Store, Edinburgh

2011-04-07T01:34:00.000-07:00

edRock.net spend the first day of Haddowfest 2011 at The Store speaking to bands and other participants at the Bainbridge Music curated Alternative Stage.

Haddowfest 2011 Day 1: Bainbridge Alternative Stage download

*CONTAINS STRONG LANGUAGE*

Seafield Foxes
Babylon Dub Punks
The Dark Jokes
Casino Queen
Angus of Bainbridge Music
Ghosts of Progress
The Fire and I
Tourettes
Keith D Edinburgh of Edinburgh Underground
Death Trap City
Fatalists
Hagana
Chris of Bainbridge Music
A Fight You Can't Win
La Faro

Merit/Privilege - Notebooks

2011-03-14T11:02:00.000-07:00

Stirling's Notebooks first surfaced in 2010 and have been plugging away diligently since, on the back of a reassuringly back-to-basics model which seems to be working quite well for them. The Notebooks’ agenda is quite simple: gig mercilessly, sell t-shirts and CDs, play dark and heavy modern hardcore. And a year or so down the line, their work has culminated in their debut EP Merit/Privilege. The CD is sharply packaged and clocks in at just 17 minutes, concise in every way. Beginning with Network, featuring a sample from the film of the same name that quite neatly sums up the whole record, and blasting through five tracks of pure intensity. Merit/Privilege never lets up but never overstays its welcome, which is always a big plus.

The first "proper" song on the EP, Sorrow, serves as a nice introduction to the band's sound: a breathless rush of aggression that collapses into a brilliantly heavy groove with the furious roars of vocalist Chris Gregg unrelenting throughout. Gregg's vocals are one of Notebooks' strongest assets; they are devoid of the melodic-to-unmelodic shifts that are common in metalcore. While these shifts are not always a bad thing, staying away from this style prevents the songs on Merit/Privilege from ever falling into overly melodramatic, scene-orientated pitfalls. The songs on the EP play on the band's grasp of straight-up, deeply confrontational aggression. The structures are fairly simple and riff-driven, which does lead to structural and dynamic repetition at points. On the other hand, this allows the emotion of the songs to bleed through, putting emphasis on Gregg's passionate song writing and the sheer heaviness and darkness of the band's music. It's good to listen to a band that encroach on a scene that too often veers towards what's almost self-parody, yet emerge proudly brandishing their songs with their own sound and credibility firmly intact. The EP's highlights include the pummelling Four Walls and Being Human’s brutal, head banging intensity.

As a body of music, Merit/Privilege serves as an immaculate portrait of exactly why Notebooks are here. Whilst sounding very much like the work of a band still finding its feet, everything from its presentation to its songs indicate a young band who already have real depth and integrity in their grasp.

Stewart McLachlan

Feel Safe Small - French Wives

2011-03-09T16:41:00.000-08:00

‘Happy indie pop’ best describes French Wives’ new EP, Feel Safe Small.

The Glasgow band kicks off the EP with Big Brave Boy, an upbeat track containing clapping and a decent rhythm; the sound is a bit like being on holiday. The vocals may seem slightly irritating at points of this song, but fear not, it doesn’t last. Moving on to Purple Hell, the vocals are a lot stronger and are reminiscent of an early Maxïmo Park. This poppy, summertime sound continues in Covered In Grace, a tune that could be played at indie discos across the country.

The EP is saved from being trite indie pop by the final track. Wrapping up the record is a sweet, melodic ballad, Confidence, the EP’s strongest track. The violin, harmonies and atmosphere show the band’s potential; the song seems to have more depth and originality than the others.

The EP overall is definitely worth a listen, but isn’t groundbreaking. The array of music instruments is enjoyable; however, the violin is sometimes too dominant, although this may be down to production.

Although the whole sound is a bit too much like what has been floating about the indie scene for the last few years, the band show promise overall.

Dani Rowley

News: New Releases Mar 2011

2011-03-06T11:40:00.000-08:00

Keyboard-fronted trio The Marvels release their new single on 18 March 2011. With a title from a Japanese video game mistranslation internet meme, 'All Your Base Are Belong To Us' is a moody punk foot-stomper with a piano riff that is the sleek European monorail to rock and roll’s clanky steam engine. The track will be available for download on iTunes and Spotify and the B side is catchy New Romantic-inspired ‘Kisses and Breathing’.

Following their critically successful 2009 EP, Sleepless Nights, Homework are back with a new single, 'Why Oh Why' released 23 Feb 2010. 500 copies will be available as a free download in exchange for an email address until 31st March when it goes on general digital release.

Psycho-rock duo Birdhead drop their debut EP ‘Talons’ on 16 March 2011 with a launch party at Electric Circus. Edinburgh bands Emelle and The Young Spooks, plus DJ Kris Wasabi (Wasabi Disco), will support.

Band/Arts collective FOUND release their new single, 'Machine Age Dancing', on 7 March 2011, ahead of their new album, 'Factorycraft', on 14 March 2011. These will be the group’s inaugural releases through legendary Scottish indie label Chemikal Underground, with whom they signed a deal in September 2010. These releases are available to preorder now on the Chemikal Underground online shop. Both releases will be available on vinyl or MP3 download, and Factorycraft is also available on CD.

Prog rockers Underclass released their double A side single ‘Bruised Eyes’ / ‘Sheep’ on vinyl on 26 February 2011. The record is available now at Great Junction St Music Studios for £5 and comes with a download code for the MP3 version.

The new Stanley Odd EP ‘Pure Antihero Material’ is available from 21 February 2011 from the six-piece rap collective’s Bandcamp page. CDs can be ordered for £3 while stocks last (400), and they come with a free signed A2 sized band poster. The songs are also available in MP3 form, but at a higher cost of £3.95.

Finally, Supermarionation’s EP ‘On The Fly’ is out now and available for £4 on CD through their website, or at Edinburgh’s Avalanche Records or Elvis Shakespeare for £2.99.

In a World Full of Madness, the Simple Joy of Melody Can Pull You Through - Delta Mainline

2011-03-02T16:29:00.000-08:00

Delta Mainline do have a bit of an eclectic streak running through their psychedelic rock anthems. The seven-piece (yep, seven) seem to draw influence from sources as broad as Mississippi Blues and Britpop, and this is certainly celebrated on their wordily-titled EP ‘In a World Full of Madness, the Simple Joy of Melody Can Pull You Through’.

Here Comes The Light has a warm evening country glow despite its somewhat cold The Coral-esque lyrics and melody. As the sun sets, the song moves into slightly creepy discordant trumpet fights and blustering theremines.

Hope/Grace is a gentle boat ride down a river made of reverby guitars, ride cymbals and synthesiser, with just a hint of punk screaming escaping near the end. Sheltered Life is built like a straightforward The Eagles-style country rock guitar ballad, building up as the song goes on with guitar slides and choir backing vocals.

Holy Slow Train is a much darker sonic affair. The band play with tempos a bit in this tune, leading you clattering down distorted and echoey sonic corridors, taking you to a place where all the Lou Reed lovers like to explore, the world of noise, and at 7:14 it takes its sweet time. There’s also a background noise in there that sounds like the transporter from Star Trek: The Original Series.

Between their room-filling sound and the steady rock undertone behind their experimental brush strokes, Delta Mainline have written an E.P of songs that sound good in your record player, but could also entertain live. Surely that’s a goal achieved.

Myke Hall

Ginger Music - Maggies Chamber Edinburgh 11 Feb 2011

2011-02-28T05:01:00.000-08:00

Ginger Music Promotions has been gathering real momentum over the last few months, and on the 11th of February kicked off a residency at similarly up-and-coming venue Maggies Chamber with local songsmith Steve Heron; naturally, edRock.net was in attendance. Before the first act had even taken to the stage, a considerable crowd had built up, and the stage was set for a strong opening night for Ginger.

Openers The Shenanigans (photo by Towserout Photography) kicked things off with their spiky indie pop. As far as the songs went, they delivered more or less the usual jangling acoustic guitar-driven "verse-chorus-solo" fare, complete with lyrics about girls and getting wasted; so far, so harmless. Of course, this style, however done to death it may be, always has its high points. In this instance, when The Shenanigans aimed more for Oasis and less for the Kooks they ended up coming out with a couple of pleasant ballads that were definitely the highlights of a set that was otherwise little more than a fun wee appetizer. The Shenanigans do, however, get points for sheer confidence, and brought along an impressive crowd. For those who are into that sort of thing, their new EP will be out soon.

The Last Knights followed up with a different colour from the same spectrum, with their pleasantly diverting pop drawing from a distinctly more American sound than The Shenanigans. The band originated as a pub covers band, and there was a certain shyness as they took to the stage, but they got it together surprisingly quickly, and cruised calmly through their set. Their songs featured melodies with elements of pop-punk, but the overall sound was delivered in a mainstream pop rock fashion; not anything totally new, but inoffensive and certainly crowd pleasing.

Main support act Sebastian Dangerfield were a man short for their set, with vocalist/guitarist/banjoist Dave Thompson away in New York, and were joined by his brother, Adam Thompson of We Were Promised Jetpacks, for a dependably solid set. Although Sebastian Dangerfield's ascent has been somewhat slower than the impressive breakthrough of Jetpacks, they have always remained true to their softer, country-tinged sound; always yielding moments of real beauty, and gorgeous songs like ‘The Sycamore Tree’, which is available on their MySpace. Though often softly spoken and understated, the band have a Wilco-like sensitivity and grasp of dynamics that makes them a real pleasure as a live act, fuelling mature songwriting with great musicianship. Their new EP is in the works.

Finally, Steve Heron modestly took to the stage. Heron's appeal, for me, has always lied with his image as a reassuringly down-to-earth, unglamorous bloke, and this has always come through in his quirky brand of indie rock; straightforward, driving and distinctly British rock in the vein of artists like The Jam and Dr Feelgood, with confrontational lyrics delivered in a way that brings Morrissey, Cursive's Tim Kasher and yes, Weller, to mind. The tunes themselves are generally as good as that sounds, with some fantastic hooks prevalent throughout, aided by the tightness of Heron's rhythm section. ‘Lie To You’ was an early highlight of the set, a studio version of which is available on Heron's Soundcloud along with numerous others. Impressively, however, the best songs of the set were all from Heron's upcoming new EP ‘Domino Mask’, which is definitely something to be excited about; ‘Marionette’ was without doubt the best song in the set. Creative drumming and some of his catchiest hooks to date were prevalent, giving the impression that Heron's best is still yet to come.

Stewart McLachlan

Promo: Open Til Midnight Season 2

2011-02-16T15:12:00.000-08:00

Starting 16 February 2011, Open Til Midnight is back on the internet radio. Tune in every Wednesday from 22.30 til 23.30 (well, it's almost midnight!) on FreshAir.org.uk to hear Myke and Danielle chat about movies and music.

But as well as the usual film banter, Open Til Midnight will be bringing you some new features, including a 'Track of The Week' chosen by edRock.net. The track will represent some of the finest music Edinburgh has to offer, it will be played live on Open Til Midnight, and will be available to listen to all week on the edRock.net homepage.

VM1 - Verse Metrics

2011-02-10T09:40:00.000-08:00

Glasgow four-piece Verse Metrics don't waste any time. Their first gig was less than a year ago, and yet here I am sitting listening to 'VM1', their confidently presented debut EP, looking at a tightly designed, and straight-to-the-point website with a whole host of glowing media reviews that drop names like Biffy Clyro and Mogwai. Well played, sirs.

Of course, knowing how to market yourself is only half the battle, so on to the music. 'VM1' is nothing I haven't heard before- its sound has been in circulation for some time and is arguably beginning to define the Scottish "alternative rock" scene; Horoscopes features stuttering drums, melancholy, chiming chords, soft vocals and yes, a xylophone, before building up to a climax and letting itself back down, before doing it again. On paper it's a formula I hear all the time. In practice, the results are admittedly pretty. In fact, they are quite beautiful. That is what grabs me about Verse Metrics: they're doing what a lot of bands are doing, but they're doing it well enough to be better than most of them. The musical maturity and dark Interpol-esque tension in songs like lead track Tired Lights hold a certain promise. It feels like the work of a band focused on the long-term rather than some scenesters jumping on yet another bandwagon. The relatively hyperactive Fractions features clattery, dissonant chords without descending into any tech-for-the-sake-of-tech math-rock attempts, showing some reassuring versatility in the band's dynamic range. Husker then brings the overall mood down into a defeated-sounding, gloomy waltz, with Sad Bones providing a pulsing, almost euphoric finale (I have a funny feeling it's about drowning yourself and the world not really caring, but I'll still say it's euphoric. On second thought, it's quite depressing). The overall result is a complete-feeling, focused EP that demonstrates a band with a whole load of real potential. Whether or not Verse Metrics disappear with changing trends is something only time will tell, but 'VM1' hints at a band that are here to stay.

Stewart McLachlan

Your New Favourite Band - Sneaky Pete's Edinburgh 8 Jan 2011

2011-01-28T08:03:00.000-08:00

Although Tam’s Railways (photo by Evan Wilson Photography) have played several shows since they lost their lead guitarist, Bainbridge’s 'Your New Favourite Band' marked their official relaunch as a three-piece, with new songs and reworkings of old songs to accommodate the power trio line-up.

Opening the night was Seneka, who have supported Biffy Clyro and the Bluetones with their confident widescreen rock sound. It is certainly difficult to doubt the ambitious four-piece's commitment to their songs- almost everything they played felt fully-formed and well-written, with three-part harmonies and big choruses all over the place. However, after a few numbers, the absence of a distinct, core sound started to become seriously apparent. Being a chameleon band can work (Primal Scream or Blur, for instance), but in Seneka's case it was slightly to the detriment of the songs themselves. At times aiming for Biffy Clyro aggression, at times an almost Wilco-like sensitivity, at others just aiming for flat-out Nickelback-sized rock, the result was a sound that fully attained none of these different goals. There were still many enjoyable songs in the set though, with ‘Humble & The Frauds’ and [what I think was called] ‘Salisbury Heights’ providing swooning, epic heights. Seneka aren't quite there yet, but some day they're going to be a very good rock band- check out their Myspace for some tracks.

Next up were Montrose-based blues rock duo Ghosts Of Progress, who were interviewed last year for edRock.net. Taking to the stage with a faintly intimidating quietness, they wasted no time in launching into a brutal ‘Bitch In Heat’, the opening track of their recent LP Exchange Your Problems For Dope And Whiskey, released on Motor Sound records. Vocalist Lew Palgrave's floor drum-kit instantly turned heads, as did his howling, brutal vocal performance on the electric ‘Free Dumb’. The band held together a violent, chaotic and yet mercilessly tight set, with minimal stage banter but maximum presence, pulling no punches in showing the crowd what makes them such a unique and blistering live act. Their album is thoroughly recommended.

The evening’s headliners proved worthy successors. Tam’s Railways’ cheeky playground-punk was augmented by the use of a new band uniform (black skinny jeans all round) and their abundance of stage presence. Bassist Gordon’s fingers hop-scotched across the fret-board with grace and ease, even while singing backing vocals. Save for a few salvaged fan favourites like ‘Stay Wise’ and set-opener ‘Man Up The Stairs’, the band have written an all new set. The new tunes incorporate the use of three-part vocals, a harmonica headset used by either Gordon or lead singer/guitarist Leigh, and in one song a highly technical approach to alternative solo sections – taping a kazoo to the side of the microphone. The new songs created mixed reactions from the audience, the highlight being smile-a-long jingle ‘Cream of the Crop’, with drummer Innes providing skilful and precise use of the kit, even with a microphone in his face. Unfortunately not all of the new tunes were quite as well-defined and listenable, and some of them fell a little flat. But the band have enough technical skill and originality to continue to write great songs until their set turns a nice golden brown.

Stewart McLachlan and Myke Hall

News: Jan 2011

2011-01-24T11:37:00.000-08:00

edRock.net is proud to have participated in the 2010 Scottish Blog And Music Site award (BAMS), where bloggers, contributors and webmasters vote for their favourite albums of the year. The BAMS award is coordinated by Lloyd Meredith of the notable Scottish music blog Peenko. The top fifteen albums of 2010, as voted by Scotland’s online reviewers, are:

The top 30 are available from the Peenko blog and the logo was designed by Struan Teague.

Privilege Promotions have organised an acoustic gig at Wee Red Bar on Fri 28th Jan 2011. The gig will be free entry and include acoustic performances from Ratson, The Aspect, Jason Kyrone, Paul Harthill, Sweep Across Horizons and My Electric Love Affair.

Edinburgh businessman Keith Easton and his company Identity Parade Arts Limited are “well underway” with plans to open a new “creative hub” in Edinburgh, combining a rehearsal space, recording studio, café/bar, photography studio, music shop and a CD duplication and printing facility into one convenient location. Easton said “having lived in ‘The Festival City’ of Edinburgh all my life, I want to create a facility that will complement the vibrant and eclectic social scene of Scotland’s Capital City.” The company is working with the Edinburgh Chamber of Commerce and approaching Voluntary Arts Scotland, Creative Scotland and The Cultural Enterprise Office to help with funding. For more information or to offer advice for funding options visit Identity Parade Arts.

The newly formed Olive Grove Records have announced the release of the debut album by The Son(s). The Sons were a three piece band from Edinburgh, who split up and moved to different places. The Son(s) – with added parentheses, is the recording name of the band’s one remaining member, Karl, who now lives in the North East of Scotland. The self-titled album will be available from 7th March 2011 on CD and for download. The debut single ‘Radar’ is available now on iTunes, and the lead track ‘Dogs, Boys & Men’ is available for free download via Bandcamp.

Edinburgh prog-rock group Midas Fall will soon be releasing a new EP, and are asking their fans to decide which song from their debut album Eleven Return & Revert to remix for the album. You can vote in their online poll or leave a comment on their Facebook page. Voters will also be submitted into a prize draw to win a Midas Fall t-shirt.

Myke Hall

Brain Storm 2 | FreshAir.org.uk Session

2010-12-15T03:16:00.001-08:00

edRock.net and Angie from Scrap Brain sit down with Curators and Jump: Press A in the Fresh Air studio for interviews, live acoustic sessions, and a chat about Brain Storm 2 this Friday 17 Dec 2010.

Brain Storm 2 radio session download

Event: Brain Storm Strikes Back

2010-12-14T16:27:00.000-08:00

After the unmitigated success of the first Brain Storm, we're back on the 17th of December with our buddies at Bainbridge for the sequel, this time at the lovely Wee Red Bar. Once again we're joined by two of our favourite Scottish bands, it's going to be a hell of a night.

Our headliners are Curators, whose powerful, uniquely Scottish brand of anthemic rock has been given the thumbs up by ...Vic Galloway, Jim Gellatly and Is This Music? to name but a few. They describe their debut record Is This A Private Fight? as "a record bursting with ten noisy pop songs about conflict, love, belief, anger, disappointment and optimism that are uniquely Scottish but also universal, without ever sounding contrived". If you don't believe the hype, listen to it yourself.

That's what I thought. Curators are going places and this is your chance to say you were there at the start.

"Anthemic stadium rock"
- Vic Galloway, Radio 1

"Crazy power pop/rock, heaps of energy"
- Infectious Records

The gig is put together by Scrap Brain. SB have broken onto the scene with unique swagger and power, injecting an intense sexual energy back into rock 'n' roll. With a tirelessly passionate and energetic live performance that makes other bands look tame by comparison, Scrap Brain are raw, noisy, dirty, sexy, glitzy, cybergrunge played harder and louder than anyone else.

Download their music: http://scrapbrain.bandcamp.com/

"Scrap Brain have emerged fully-formed onto the local live scene, with armfuls of attitude and tunes that are classic examples of that loud quiet loud thing. Ones to watch out for, definitely."
- Edinburgh Spotlight

"Scrap Brain are one of my favourite bands by far."
- New Found Sound

"Scrap Brain fizz with New York cool, think The Kills and Jon Spencer's bastard love child."
- Little Doses

Also with us are the quirky, brilliant Jump: Press A - despite being a 6-piece, J:PA have established themselves as one of the tightest live bands in Edinburgh. I don't even know how to describe the experience, so I'll let them do it for me: "The lovechild of Shirley Manson and Delores O'Riordan, thrust through a raging multi layered pop-maelstrom of drums, bass, keys, guitars and close harmonies"- that sounds about right. With effortless hooks, a flawless rhythm section, and powerful songwriting, Jump: Press A are a genuinely unique live experience: you NEED to see these guys.

Jump: Press A are also recording the gig for a live CD, which will be available inthe new year.

Download their EP In Case Of Emergency

"A melody-fuelled juggernaut with the accelerator rammed to the floor...tight, talented, they know their way round a tune"
- Edinburgh Spotlight

Tickets are £3 in advance from Great Junction Street Music Studios, or from the bands, and a fiver on the door- and this promises to be worth every penny.

Event: The Remnant Kings go Orchestral

2010-11-17T08:03:00.000-08:00

The Remnant Kings are teaming up with a wide variety of musicians to form a make-shift orchestra, including keyboard, tin whistle, violin, percussion, harmonica and trombone.
Despite their drummer, Kit, being away on holiday The Remnant Kings didn’t want to turn down the invitation to perform at the launch night of their management company, Ginger Music Promotions, at Electric Circus in September, and so chose to rework some of their songs into an acoustic set, and invited Garry Hall and Alex Targowski from folk band Gallus, and long-time collaborator Fraser Yuill Scott, formerly of Yuill Scott and The Haight, currently of The Psycho Hearts, to perform with them.
The band were so pleased with the way the songs sounded with the additional instrumentation, that they have decided to take it to the next level, and invite even more musicians to join in on their Sneaky Pete’s headline show on Sun 21st Nov.
The show will include support from Sebastian Dangerfield, who recently supported We Were Promised Jetpacks; and Leith-based gypsy punks Emelle. The night is being promoted by edRock.net Events, and sponsored by Bainbridge Music and Great Junction Street Music Studios. Tickets are available now for £4 from TicketWeb, from The Remnant Kings, or from Great Junction Street Music Studios.

Waiting Game - Turbo Blanc

2010-11-15T01:08:00.000-08:00

Article originally published on Fresh Air, and is therefore their copyrighted material:

On Turbo Blanc's (pictured) debut single 'Waiting Game', the four-piece take the drama of bands like Muse and Queen, a melody line and harmony that are almost baroque in their theatrical nature, with a more modern electric instrumental kick; gliding guitar and powerful pulse-rhythm bass. This track could easily come from the second act of a rock opera. The band are releasing this track ahead of their debut album, due out in 2011. The band’s drummer, Virgil, controls the dynamic, moving from a standard rock beat to a more complex rhythm, and building to a crescendo. Lead singer Nik sings “I blame myself, in the absence of anyone else” in a sorrowful, regretful tone. As the song reaches its peak, influences of Elbow and Manic Street Preachers are revealed, mixing with Turbo Blanc’s clear 70s classic rock heritage. It isn’t quite the Meatloaf-esque rock explosion that represents the pinnacle of this style, but could stand tall beside the more dramatic Snow Patrol tracks without losing its nerve. The single is out now on the Fuzzbox Records label.

Your New Favourite Band - Sneaky Pete's Edinburgh 15 Oct 2010

2010-11-13T11:08:00.000-08:00

Deep Red Sky combine an indie-rock sound with some all-the-rage synthesiser parts to create a sort of modern pop fusion. The band stepped in at the last minute to replace Bainbridge darlings Underclass, but unfortunately they proved to be an unworthy surrogate. A young band, they have yet to find their own sound, and their songs are uninspiring imitations of whatever’s on the radio. Their cover of MGMT’s Kids manages only to highlight that they are scene-chasing and not doing a good job of it. The lads were far from awful, though, and they performed their uninteresting music with competence and positivity.

Jump: Press A (photo by FourthEye) have a 4:2 ratio of girls to boys. A more sexist person than I might cite this as the reason that the band have rather stylishly all dressed in various costumes consisting only of the colours red and black, and could cite the same reason for the fact that their set is plagued with technical difficulties. However, as an enlightened essayist, I would like to point out that the tech problems were with the bass and acoustic guitar, the two instruments operated by dudes, and the girls were responsible for electric guitar, electric piano, drums, and lead vocals. Between the six of them, the band create a rather full-sized, grand sound, suited to the medium-paced rock epics they perform: a sound that takes influence from glitzy polished post-grunge femme-fronted bands like Garbage and Republica, as well as components of thinking man’s indie like Radiohead or Elbow. Some highlights of the set are singer Kelagh’s Alanis Moriesette-esque melody on ‘You Are’, L-A’s classical piano sound on ‘Only The Brave Deserve The Fair’, and bright red-haired guitarist Lesley’s feisty guitar work throughout the set.

With Underclass out of the picture, the headline slot was awarded to odd pop, scene- veteran five-piece Cancel The Astronauts. Their witty, verging on silly lyrics and vocals put a smile on your face, and their bouncy Vampire Weekendy indie-pop with synthy kinks makes your foot tap. The dual guitars chime and dither through quiet drums that are sometimes relaxed and other times invoke Futurehead-like angles. Compared to the other two bands on the bill, Cancel The Astronauts certainly come across as the elder statesmen (read: they’re older than the other bands) and they have certainly carved their mark in the Scottish scene. So it’s not surprising to see a well-performed and polished performance. Perhaps they’re a little too quirky for the mainstream, but their dysfunction-pop is loveable and something that critics and music fans can get behind.

Static Kingdom - The Steals

2010-11-10T15:30:00.000-08:00

Article originally published on Is This Music?, and is therefore their copyrighted material:

The Steals’ debut album, ‘Static Kingdom’, is the soundtrack to a cartographer’s voyage of discovery into lands unknown. Lead singer Jayn Hanna’s delay-effected vocals float like a gentle breeze over the rolling hills of guitar riffs, glowing with chorus and reverb effects.

Ironically these modern digital sound enhancement technologies make the listener feel like they have been transported to the past. A smattering of snare brushings or bongo tapping provide the percussive backdrop, as the ambient guitar and misty vocals paint the foreground.

While the first three tracks, ‘Hope’, ‘Shelter’ and ‘The Weight’ are summer afternoon light-spirited tunes at various tempos, the album’s flow then takes a turn down a darker stream. ‘Dead Flame Rising’ has an after-dark eeriness and ‘Stay In Silence’ has a strong tribal potency.

At almost nine minutes long, ‘Golden’ loses its way somewhat, without enough of a stable refrain to return to, this prog rock song has lost the listener’s attention half way through. This attention is re-ensnared, though, as ‘Borderlines’ slowly swells to a crescendo. ‘All Coming Back’ represents probably the most commercially viable track on the album, which is still a far stretch from a typical pop song.

All–in-all, ‘Static Kingdom’ is a good representation of the dynamics that The Steals can achieve within their folk-ambient subgenre, but while the album has its high points, it fails to capture the hypnotic quality and sense of both guilt and serenity created by their previous release, the ‘Floodlights’ EP.

Promo: Open Til Midnight

2010-11-08T12:33:00.000-08:00

Open Til Midnight is a downloadable pre-recorded webcast featuring a Scotsman and a Californian talking about local music and mainstream movies. It is presented by music journalist, musician and promoter Myke Hall, head writer and webmaster of edRock.net, and California-born Danielle Mattison, music lover, editor/photographer for edRock.net and walking IMDB.

The Open Til Midnight webcast began as a forum for Myke and Danielle’s obsessive natters about movies, and a showcase of local music tracks. The show has since expanded to include downloadable alternative DVD commentaries and festival reviews, recorded on location. All episodes of the show are currently available to download or stream at OpenTilMidnight.co.uk.

Now Open Til Midnight can now also be heard live on Fresh Air, Edinburgh’s student radio station. In addition to the usual movie reviews and discussion, the live show will also play host to local bands live in the studio for interviews and acoustic sets, and the latest movie news.

Open Til Midnight is broadcast on Fresh Air’s streaming media service (freshair.org.uk), every Tuesday from 17:00 to 18:00, and will also be available for streaming and download from OpenTilMidnight.co.uk one week after the live broadcast.

You can also keep up with Open Til Midnight on Facebook or Twitter.

Stampede Finale - The Fire and I: Track-by-Track

2010-10-27T11:39:00.000-07:00

Gordon and Hooligan of The Fire and I take us through their debut album, Stampede Finale, track by track, and talk about each of the tunes.

Stampede Finale: Track by Track download
Some strong language.

Track list:

Revenge to the Bloody Angel
The Beginning
Left and Right
Control + Interlude #1
Mr. K
Just Face It
Take It All + Interlude #2 (Siento el fuego)
F*** the Cliché
Bullwings
Pick It Up
Dark in the Shade + 'Why is the album called Stampede Finale?'

Are You Home Yet? - Hold The Suspect

2010-10-19T13:59:00.000-07:00

Hold The Suspect’s debut E.P ‘Are You Home Yet?’ has this in common with the Y2K bug fiasco – it starts with a lot of excitement and danger, but has a disappointingly unimpressive conclusion.

The four-song release begins with title track Are You Home Yet?, an upbeat rock-out with pinches of classic rock guitar licks stirred in with some red-walled overdrive and Biffy Clyro-inspired epicness. The deliciously produced bass sound has both the snapping tanginess and the warm smarminess needed for the different dynamics of the song.

Dive Into the Sun swings pendulum-like from a metal punch chorus to a soft yet angular verse, creating a parallel with the caged frustration expressed by the lyrics. It’s a balance understood by bands like Incubus and Deftones, and it is captured fairly well by the Livi’ boys.

The E.P falls down, however, on Glass Half Full, where the band stretch for a sadness and emotional depth that is simply not believable in the tone of the music they play, or the singer’s voice, even with the help of a female backing vocalist. The use of glitch beeps two thirds into the song, while an interesting moment, does not save this “obligatory slow song” from sounding forced.

Similarly, E.P. closer Society brings us a melody that verges on ridiculously cheesy, like a sketch show making fun of an advert. The 80s hair-band tune doesn’t match the Iron Maiden-meets-Foo Fighters guitar parts at all, and the lyrics don’t seem to say anything. The chant-along section in the middle is kind of cool, but this song definitely misses the mark.

Hold The Suspect are clearly a band with a great deal of talent at their respective instruments, and this E.P shows that they are able to record and produce studio-quality songs. What they are lacking is boundaries – knowing when a song goes from emotional to cheesy – knowing when a lick goes from impressive to showing off. Still, the brief uses of electro beats and football chant vocals show the band have more in store. With any luck, the follow-up E.P will be an all-round enjoyable piece of music.

The Nature Boys E.P Launch - The Bongo Club Edinburgh 4 Sept 2010

2010-10-11T15:23:00.000-07:00

The heat in The Bongo Club plus the camouflage netting on the ceiling make the venue seem like a tropical jungle, which means when The Nature Boys (pictured) take to the stage dressed like The Lost Boys from Peter Pan, it seems apt.

Drums are provided by local super-producer Andy Howden, who keeps it heavy on the toms, adding to the jungle motif, and drawing on Adam and the Ants-style glam rock. Guitar is at times sparse, opening up the songs to the deep-rooted low-end created by booming drums and pulse rhythm bass, reminiscent of Isa and the Filthy Tongues.

There’s definitely some Sex Pistols-era punk happening in The Nature Boys sound too, and lead singer and true performer Cammy Shiels feeds the crowd his energy as they feed him their applause, in a self-perpetuating musical eco-system. Shiels’ antics include taking a lap around the crowd at the beginning of the set, getting his hairy chest out, and diving into the crowd to sing in the middle of the room during distorted guitar rock-out ‘One Way Out’, where he got The OK Social Club singer Raff to join him on vocals for the chorus (“He always does that!” comments Raff later, both irritated and flattered).

The Edinburgh-based quartet are launching their ‘Pretty’ EP tonight. The CD, for sale in the lobby, includes a sub-metropolitan take on mythology in ‘Valhalla’, the raw art-punk of ‘You’re So Pretty’, the Art Brut-style sing-speak and one chord progression repetition of ‘Upside down Sinner’, and the football match sing-along ‘Age is a Number’.

The band end their set with fan favourite ‘Girl of the Night’, where they invite all the animals of the jungle on stage with them, to “start a f***ing riot” and turn the chorus into a cacophonic mass sing-along.

News: New Releases Oct 2010

2010-10-04T06:26:00.000-07:00

It’s officially autumn, folks. Festival season is dead, but there’s still a worrying amount of great music coming out. Let’s see what’s in the edRock.net mailbox...

Come On Gang’s catchy new single ‘Fortune Favours the Brave’ combines folky vocals with power rock guitar licks, and is available for free download from their site.

Livingston emo kids Hold The Suspect have an E.P out called ‘Are You Home Yet?’ featuring punk, power-pop and progressive influences. The E.P is available on CD from the band.

Newly signed glitch-folk collective FOUND are giving away free music every Friday until their album comes out in March 2011 on the Chemikal Underground label. Visit their site every Friday to see what treat you’re getting this week. They’re calling it #FoundFreeFri.

Indie scenesters The Nature Boys’ EP ‘Pretty’ is available on CD from the band. The music on the EP is reminiscent of such diverse influences as Isa and the Filthy Tongues, Art Brut and Adam and the Ants.

Edinburgh rap-rock scene-pioneers Stanley Odd have released a remix of their single ‘Think of A Number’ produced by Circular Records label-mate Mangomad, who in turn will be releasing a single ‘A New Parable’ on 1st Nov 2010, featuring Stanley Odd lead vocalist Solareye.

Grunge trio Scrap Brain are giving away a four-track demo for free via Bandcamp, Tweet For A Track or Direct Download. The demo includes three live favourites and an acoustic version of a fourth track.

If you know of any other new releases in Edinburgh or throughout Scotland, add a comment below.

Event: Brain Storm at Sneaky Pete's

2010-10-02T08:09:00.000-07:00

Brain Storm is the sound of lightning, the smell of thunder, and the vision of rain-drenched sexual ecstacy.

But more importantly, Brain Storm is a gig on Saturday 9th October 2010 at Sneaky Pete's, with three female fronted rock bands.

Headliners are electro-rock walk-the-walk Glaswegian duo Any Color Black. With music being played on BBC3 drama Lip Service and MTV, and slots supporting LadyHawke and on the Academy Live Tour, the guitar-weilding techie two-piece are coming up faster than their electronic backing tracks.

With a mission to put the "sex" back in "musical expresexion", glitz-grunge trio Scrap brain's explosive live performance and carnage-inducing rock sound has earned them a support slot with Little Doses and crowned them the winners of the Friday Night Live @ Frankenstein's competition.

Storm in a D Cup love to dress hot and rock hard. The four-piece are 75% female (the drummer is a dude, but he does have long hair!) and 100% passionate. Coming from different musical styles, their music is a culmination of classic rock, cock rock, goth and glam.

The night is presented by edRock.net Events and sponsored by the good people at Bainbridge Music and Great Junction Street Music Studios.

Tickets are available on TicketWeb, from Great Junction Street Music Studios, or from the bands for £2 in advance. £2!! That's all. Buy soon as the price will double on the door at 19.00 Sat 9 Oct. See ya there!

That Howden Sound - The OK Social Club

2010-09-30T06:40:00.000-07:00

Article originally published on Is This Music?, and is therefore their copyrighted material:

Now into their third EP, you’d think it would feel like business as usual for Edinburgh four-piece The OK Social Club. Named after their producer, Andy Howden, 'That Howden Sound' collates three different songs of jagged indie-punk.

The fraction of a second of feedback at the start of opener Getting Away With It is like being allowed a tiny breath before having your head thrust underwater at the deep end. The song is a Libertines-inspired track for people with a short attention span. The fast-paced guitars start and stop and the drums rush, with none of the sections lasting more than ten seconds before a change. The breaks in the song feel like moments where the runaway train has caught air, before it hits the ground again with a crash.

The hook of Little Broken Bones is a call and response between guitar licks and vocal punches over snare-rolls, with a very Strokes-y chorus melody. The bass rattles and oozes through its punky riff. The lyrics sing of a rose tinted look at school day antics. The joy in this song, though, is in the razor-edged, distortion-drenched “rock out” outro.

RMT (Radio Days) is mostly an acoustic song, with a “la la la” chorus and sweet harmonies, but near the end it bursts into a red-walling distortion session.

In only eight and a half minutes the EP is over, leaving the listener definitely wanting more. But with three differently presented songs held together by straightforward songwriting, The OK Social Club have avoided any unnecessary sections or redundant repetition. They have simply cut out every ounce of fat from the tracks, presumably to help them slip into their skinny jeans.

Ghosts of Progress interview / Resound Scotland

2010-09-17T03:45:00.000-07:00

Occasional edRock.net writer Stewart McLachlan is launching a new music blog, Resound Scotland, boasting coverage of "real, honest artists playing all over Scotland, with an emphasis on unsigned and underground acts". To commemorate the blog's launch, Stewart's interview with Montrose garage-rock duo Ghosts of Progress will be split across the two websites. The first part is shown here, for the second part, you'll have to visit Resound Scotland.

I'm sitting with Ghosts Of Progress in the basement of Elvis Shakespeare on Leith Walk. It's a bookstore. They're about to play a gig in it. But for these guys it's just another gig- the Montrose-based duo have been relentlessly touring up and down Scotland for some time now, racking up an impressive touring schedule. Real rock n' roll bands work hard, and these guys are a real fucking rock n' roll band. Their brutal, blues-tinged sound is instantly recognizable- and don't start with that White Stripes shit. This music is real blues- it's gritty, loud, out of control and hard as nails, songs about whores and whiskey with none of your sugar-coated lyrical pish. But don't just take my word for it- see them live for yourself and you'll be a believer. Singer Lew Palgrave juggles his razor-sharp vocals with slide guitar and drumming (the guy plays a drum kit with his feet; it's as badass as it sounds), whilst Callum Christie adds guitar noise and some impressive riffing. They're a force to be reckoned with, and having recently signed to Belfast-based, respectably bullshit-free garage rock label Motor Sounds, the hard work's paid off and the future's looking pretty sweet.

First of all, congratulations on signing to Motor Sound. How did that even happen?

Lew: We played at a couple single launches they did last year with a band called The Bonnevilles (Ed note: cool band, worth checking out) who're signed to Motor Sound. They've just been in touch ever since, said when we're ready to put stuff out to give them a shout. So that's cool, costs a hell of a lot to properly release stuff, know what I mean? As opposed to just putting it out yourself. They specialize in the kind of music that works with us too, y'know.

Yeah, it's definitely the right label for yous.

Callum: It helps to get us to places we wouldn't have been able to get to ourselves, media-wise and that.

Lew: Aye, it's a good helping hand along the way. We're no gonna give up our day jobs or fuck all (laughs) but it helps to have that on your side, y'know?

Had you just done as much as you could by yourselves or were you waiting for a label that could handle your sound?

Lew: Not really, we're not the kind of band....I mean you get a lot of bands that are determined to make it, but I think we've always been determined *not* to make it in many ways... It's never really been about that, know what I mean? A lot of record labels just want the rights to everything; we were never really keen to do that. The agreement we had [with Motor Sound] had it right: any time in the agreement they could say "fuck off" to us, and we could say "fuck off" to them as well, which is fine. It's not something we went looking for, so to speak- but you know what it's like in a two-piece, you get paid two ways but your petrol costs and that split two ways as well...

Callum: And what we're doing is so different, we've been through a lot of crap to get here. Playing with the wrong bands, the wrong nights, the wrong venues, just trying to get a foot in the door...

Tell us a bit about your background, how G.O.P came together?

Lew: Uh, we were in a four-piece band years ago, but drummers and bassists don't fucking...they're either shite or unreliable, know what I mean? (laughs) It's hard to get a drummer that's reliable, they're a different kinda people from guitarists and whatnot. And nowadays with bassists as well, you get a lot of them that don't really play the bass, they just plug along on the top string...

....just doing what the guitarist does, aye...

Lew: ...aye, just...shite.

Callum: We're from a small town so, there weren't many options kicking about eh. We went from a four-piece to a three-piece until person number three just took off. It hadn't been going too well until that point, then Lew decided to put the two drums together and it just became fun from there onward.

continued on Resound Scotland...

Talk To Our Management...

2010-09-05T04:54:00.000-07:00

It seems lately that bands all over the shop are hooking up with aspiring industry professionals to be their managers. It’s beneficial for the unsigned band to get someone with experience and contacts involved who can help them push their career forward, and take some of the nasty admin off their hands. It’s beneficial for the new managers to get closer to the new music, and add band management to the list of skills on their CVs. edRock.net has taken a look at some of the recent announcements, and discussed the bands with their new managers.

Band: Campfires in Winter

Manager: Lloyd Meredith
Known for: Peenko, Scottish new music blog

“The initial plan had always been to try and put a record out with them, but as they had already been snapped up a new label called 'stand & wave', that idea was put to bed. It was actually just after seeing RM Hubbert play for the first time that I suggested to Boab [of CiW] that I could manage the band.”

“If I could use any of knowledge or contacts to help them out then I wanted to help them in any way that I could. I guess that I am taking a slight risk on my reputation by doing so, but I have that much conviction and belief in the guys that I am more than willing to take that risk.”

Band: Hold The Suspect
Manager: David Easdale
Known for: Gap Radio, Internet radio station

“After years of experience working with young bands throughout Scotland, I was approached by a band I had worked with on many occasions - Hold The Suspect - A young but talented quatro of electro prog rock to be their manager.”

“A lot of people say 'You don't need to like the band, to manage them' but this is far from the case. The satisfaction you get from helping a band make it in life is indescribable.”

Band: Underclass
Manager: Bainbridge Music (Chris and Angus)
Known for: Great Junction Street Music Studios and Bainbridge Presents...

“They can dovetail with a number of current "scenes" without ever being pigeonholed which, from a business perspective, is an extremely useful marketing tool.”
“When we started, if we had sat down and asked, "what can we offer a band", the answer would be very little, other than top quality rehearsal space of course! Now, we have 2 years experience working at the coalface of the local music scene and can use the insight, knowledge and contacts to develop the band and take them on to the next level and beyond.”

Band: Juan Pablo
Manager: El Parks
Known for: Is This Music? writer, gig promoter

“When it became apparent that I was acquiring a number of their gigs for them, I approached them with the idea of making me their personal/general manger and since then we have worked together on a number of gigs and projects.”
“I see Juan Pablo as my little brothers and I want every success for them, and being their manager I try to do all I can to make that happen.”

Band: The Remnant Kings
Manager: Gary Tait
Known For: Leith Festival, Ginger Music Promotions

“I feel as though the band know where they want to go, which means that we get a collective idea as to what to do next for the band. I am also looking forward to recording the EP and being able to get our music out there with some great recordings.”

“I have known the band for over two years now, and due to that had a good understanding of their talents before I was asked to manage them... Their songs are very smart, the choruses on all of the songs stick in your head after you have listened to them, which is a great thing for picking up new fans.”

In My Defence - Vertis

2010-09-02T12:07:00.000-07:00

Vertis emerged in late 2008 and have been rising steadily since then, with an appearance on Scottish new music compilation "A Sort of Homecoming" along with Dirty Modern Hero and Jakil last year, as well as an Edge festival performance. The Edinburgh/Fife-based trio list Biffy Clyro, Foo Fighters and Nirvana as influences, and that's pretty much the angle to come from when approaching their new EP 'In My Defence'.

Opener See Through This sounds like Foos classic Everlong if it was played by Biffy, and sets the scene for the rest of the EP. Vocalist Alan Gilliland-Patterson's voice sounds distinctly like Simon Neil, with a tinge of Kurt Cobain; the same can be said of his band's music: grunge-infuenced progressions squeezed into off-kilter time signatures. The overall result sounds distinctly 90's, but has enough Scottish-accented quirks to project a contemporary feel. Without You takes these influences further, bringing to mind Puzzle-era Biffy, particularly Folding Stars. The setting is arguably more accessible than Biffy, however, with Vertis choosing a more steady rock ballad format for the tune, leaving hyperactive rhythms by the road and bringing in some Jimmy Page style, unashamedly rock n' roll guitar soloing. On the other hand, the next track, Injection, follows an aggressive introduction with a hushed verse, the classic grunge dynamic prevailing as the volume claws its way back for the chorus. The title track, In My Defence, displays traces of powerpop and Twin Atlantic-esque hooks, and you get the impression Vertis have some stadium-sized ambition behind them. Unlike the big-sounding tunes, the production is stripped-back and straightforward, sounding more like a live recording, and the EP overall hints at a passionate live band becoming comfortable with their sound.

Stewart McLachlan

Event: The Remnant Kings E.P Whip Round

2010-08-29T11:13:00.000-07:00

The Remnant Kings E.P Whip Round will take place on Friday 10th Sept 2010, in the Wee Red Bar. All profits from the night will go towards the cost of recording and releasing of the band's debut E.P.As well as a live set from The Remnant Kings, support is provided by Tam’s Railways and Black Riot Valves. And the backline is provided by Bainbridge Music and Great Junction Street Music Studios. Wee Red Bar also has terrific drink deals.

Not only that, but fans will be given the chance to vote for which songs they want to see recorded, and anyone who buys a ticket for this fundraiser show will get free entry to the E.P launch event, when the E.P is recorded.

The show starts at 19.00, and tickets on the door will be £5.

You can get advance tickets for £4 by contacting edRock.net over email or Myspace, by contacting The Remnant Kings over Myspace, Facebook, or email, or in person at Great Junction Street Music Studios.

Stanley Odd Interview

2010-08-29T08:02:00.000-07:00

edRock.net chats to the lads of Stanley Odd on the streets of Edinburgh surrounded by festival buzz about their debut album, Oddio, Scottish hip-hop, and the Edinburgh Festival.

Stanley Odd Interview download

Best of the Mine - Liquid Room Edinburgh 1 Aug 2010

2010-08-23T03:38:00.000-07:00

Live music club ‘The Mine’ at Wee Red Bar is now one year old, making the oldest of several live music club brothers and sisters such as ‘This Is Not A Toga Party’ at Maggie’s Chamber, and ‘CD Quality’ at Henry's Cellar Bar, and proud parents Angus Ross and Chris Elsheikhi of Bainbridge Music are about to give birth to twins ‘Amplified’ at Electric Circus and ‘Your New Favourite Band’ at Sneaky Pete’s. To celebrate The Mine’s first birthday, the Liquid Room is filled, for the first time since it burned to the ground in 2008, with live music fans ready to rock out to a showcase of Edinburgh bands that have graced the Wee Red Bar stage for ‘The Mine’ over the last twelve months.

The honour of first band to play on the newly refitted Liquid Room stage is awarded to Tam’s Railways (pictured). As the cheeky Leith-based scamps batter through a set of upbeat rock, their sense of humour is evident in both their lyrics and mannerisms. Lanky bassist Gordo shows off some well thought-out counter melodies on the bass, which plug the hole left by their recently departed lead guitarist. Drummer Innes adds shade and intensity to the playful guitar parts, and lead singer Leigh’s broad Scots accent keeps the songs sounding urban and modern.

The trio of A Fight You Can’t Win like to thrash away on their guitars like they are scratching chicken pox. Both guitar and bass boom with mushy lumps of low-end, and the songs mix heavy metal with alternative rock and then speed it up a little, with some chromatic chord progressions that allow a film of grunge to float to the surface. Some sound issues prevent this from being quite the triumphant performance it ought to be, but the issues are smoothed out by the next band.

Hagana’s dirty rock, earthy riffs and decidedly grunge vocals have never sounded clearer than they do on The Liquid Room stage. What the regular band lack in performance skills is made up for (and then some) by the antics of Big Hand’s trumpet player, Phil, who regularly joins the band for some of their tunes, playing trumpet or stylophone. Indeed the one ska song in Hagana’s set, ‘Baltic Connections’, seems like it was written just for Phil’s trumpet riff. Another highlight of the set is ‘Shelly’; as the lightest and most compassionate song in their set, the country/indie romp shows the band have the potential to write all kinds of different music when they try.

Underclass’s set kicks off with the sound of a giant crystal statue in a forgotten desert that is suddenly split down the middle by a dual octave guitar riff. The psychedelica-meets-muscle rock five-piece produce a tight, polished sound with big sounding riffs on the axe and splashy hi-hat beats on the drums. The keyboard slides between some sparky analogue synth sounds and hot pub-rock piano. The vocals glow with Audioslave-esque strength and desire, and the lead singer performs the songs with the appropriate level of machismo. Although it’s not very macho to run off and hide behind the amps while the rest of the band set out on their eight minute prog-rock voyage near the end of the set.

Next up, the first of two headline acts, special guest stars Marner Brown, have travelled up from London. In their neckerchiefs, scarves, loose vests, tight jeans, pointed boots, long shaggy hair and bristly chins, the quintet are ever-so-stylish. Their influences come from moody indie-punk on both sides of the ocean, be it Americans Black Rebel Motorcycle Club or The Strokes, or Brits like The Libertines and The Enemy. Growling vocals or buzzing distortion on the bass or guitar give the music its edge, and their practised stage persona gives their show its punch.

In a rather similar chic, The 10:04s fill the second headline slot to the delight of a large gathering of indie scenesters. They are the best band whose name references ‘Back to the Future’ since McFly... OK, maybe that’s not a fair comparison. Like McFly, though, their riffs are catchy, and the two guitarists pass back and forth lead singer duties. Unlike McFly, however, the band pull a buoyant but edgy indie-punk sound and a leather jacket-wearing sense of style from the likes of The Strokes or The Cribs. Well-executed drums keep the band in good time even through their running-pace pulse rhythm power chord-filled tunes. This is music by indie kids for indie kids, and the crowd eat it up, especially set closer ‘About Tonight’, which has everyone dancing and joining in – and a small stage invasion!

The lights go up, revealing that the Liquid Room has inexplicably been painted purple. Nonetheless, I think it’s fair to say that this venue is back with a vengeance.

There Will Be Fireworks - There Will Be Fireworks

2010-07-19T16:29:00.000-07:00

There’s definitely a theme here: 'Columbian Fireworks', 'I Like The Lights', 'Guising', 'We Sleep Through The Bombs', 'Headlights', 'We Were A Roman Candle', There Will Be Fireworks.

The debut self-titled album by There Will Be Fireworks is undoubtedly themed. The four Glaswegian musicians make use of broad Scottish accents, which go from hushed harmonies to desperate screams as the dynamics of the songs rise into the air and then fall back down in an explosion of sound and colour (see what I did there?). The delicacy and understated-ness of certain sections of this album are hard to ignore, with some very moving piano or acoustic guitar, streaking into overdriven or delayed guitars, Arcade Fire-y crashing drums, and insistent bass.

The flow of the album is also carefully crafted. The songs contentedly and calmly collide into each other, as if written purely for album release, giving the impression of an epic rock opera. Beginning with the spoken word poetry of Colombian Fireworks, softer slowburners So The Story Goes and Guising, mid-tempo melody Midfield Maestro to the epic yell-along Off With Their Heads, an unforgettable tune that is the highlight of the album, and onwards through an anthology of other songs, no two sound quite the same.

The bass guitar playing can be best admired on Waltz-timed A Kind Of Furnace, where it dances (waltzes even) underneath flute flutters and oboe sounds and drums played with beaters rather than sticks, while at other points it happily undercarries the excited strobe light guitar.

Unfortunately, the second half of the album does not maintain the rocket-high quality of the first half, with the whiney lead guitar riffs and strained vocals beginning to annoy the ear. But this is still an excellent example of how an album should be written. Recurring themes in both lyrics and music, variety of instrumentation and arrangement, but all tied together with similar production. Each song easily snaps onto the last and the next to create a complete piece, as well as a collection of individual tracks.

Also, try not to be holding any hot drinks when you listen to We Were A Roman Candle; you might get a fright when the loud part kicks in.

Sleepless Nights EP - Homework

2010-07-05T11:35:00.000-07:00

Why anyone would name their band after the worst part of going to school, I don’t know. I’m getting ‘Nam style flashbacks just thinking about it. Thankfully I have the band’s charmingly agreeable tunes to chill me out.

Homework’s well-structured five-track debut EP opens with the title track, Sleepless Nights, a song whose jaunty guitar-indie sound propels steadily onwards like a canal boat made of Stratocasters. One of the defining features of Homework’s music is the unashamedly Scottish accented vocals – a rising trend in Scottish music, which is sadly still under-utilised in favour of a damp trans-Atlantic manner. You’ll get none of that nonsense from these Edinburgh boys.

All I See opens with a sleek and sexy production of atmospheric synth, reverb-heavy guitar and strong bass that would make Garbage or The Cardigans proud, and proceeds to trot on with a steady pace as the catchy chorus comes along: “LIFE-style, NO style, MEAN while, MORE MORE money”. Possibly the catchiest song on the EP, All I See shows that Homework’s music has some humour to it too.

Aside from its swooshing progressive middle-eight breakdown, third track Forget About Everything continues with the synth beeps and swirls, the 90s guitar effects, the mid-tempo canter, and the bass, as thick and meaty as a salami, of the previous tunes. However, the closing tracks take on a more epic quality. With vocals and lyrics leaning more towards the ballad side of rock, and a structure that builds up to a peak in the third act, Havana and We Should Not Regress grasp the listener, hooked by the catchy first songs, and lift us out of the water with urgent drums and ringing guitar.

As Havana elevates, the quirky guitar riffs become clangy chords, the drums become more urgent and excited, the bass becomes funky and reminiscent of Flea in recent Red Hot Chili Peppers works, and the vocals become more intense, as it closes in on its climax.

The climax of We Should Not Regress, however, is more like a clapping-your-hands-above-your-head, save-the-world power ballad. The tune begins by playing analogue beeps, like a confused payphone, against a piano part, and then climbs steadily to its crescendo, and ends on an echoey voice sample.

The Sleepless Nights EP sits comfortably between the worlds of art-pop indie-rock and that epic sound that Scotland loves, without ever resigning to either side, and without ever suffering for it.

GoNorth - Inverness 11 Jun 2010

2010-06-30T09:09:00.000-07:00

Friday at GoNorth was like Monday morning at The Priory. Thursday’s showcases had left the conference goers somewhat worse for wear, but coffee in hand and bags under the eyes, Scotland’s musical community stumbled on.

GoNorth is Scotland’s premier showcase festival, with live performances, workshops, panels and seminars for the Screen and Broadcast, and Music industries – basically the mass entertainment community. The
town
city of Inverness plays host, with venues all over the city taking part, and the event takes place annually in the run up to the nearby RockNess live and dance music festival.

Edinburgh’s Born to Be Wide, one of this year’s biggest contributors to the music side of the event, hosted the Music Making Money seminar, and the small conference room was overflowing with guests waiting to hear details of publishing and performing rights. The most notable speakers were Will Page of Performance Rights Society for Music (PRS), and Keith Harris of Phonographic Performance Limited (PPL), two of the UK’s most important royalty distributing companies. These two speakers explained thoroughly what their organisations were responsible for, and what that meant to the average UK musician. In essence, PRS collects and distributes royalties for public performances of music to the songwriters and PPL does the same for the copyright owners and performers of music and videos. Duncan McCrone of Mechanical Copyright Protection Society (MCPS) explained the meaning of mechanical royalties, royalties for the sale of music, paid to both the songwriters and publishers, and how his organisation collects and distributes them.

The whole system is rather complicated and the vast majority of the one hour seminar was spent explaining the different types of rights and who is responsible for collecting them, or dispelling rumours of injustice or swindle. But the basic message was that all musicians should sign up and register their songs – it costs nothing and you might get money back you didn’t know you were due.

The explanations took so long that there was barely time to hear from Ron Spaulding of Fontana Distribution, on the panel to explain the differences between our system and that of the USA, and Jamie Gilmour, of the British Association of Composers, Songwriters and Artists.

After a half hour lunch break, Born to Be Wide provided its second panel of the day, titled Sync Panel, to provide information about music synchronisation licenses, or ‘sync deals’, where a fee is paid to use music for TV, film, advertisement, even video games. The panel included Kyle Hopkins of Microsoft Media, representing the video game industry, Mark Davies of The Leith Agency advertising, representing TV and radio advertisements, and Craig Pickles, a producer with ITV, representing film and television. The three described how they discover music for their respective charges, and gave advice to the audience as to how to achieve a sync deal. While there are many different methods the panellists had for discovering music, their advice included providing specific details on the type of music you create, to make their lives easier, and to always have versions of the songs without the vocals, to be used as backing music.

Also on the panel was David McGinnis of Mute Song, who contributed a music publisher’s perspective on sync deals. And better-late-than-never Lee Parson of Sentric Music, a company who fight for the royalty rights of UK artists, and began questioning the other panellists’ motives, as if trying to expose them as money hungry thieves in front of a crowd, creating a more entertaining, albeit slower-paced seminar.

The honour of keynote speaker on Friday was awarded to Steve Krill, the president of US based The Radiant Group, a marketing services company that, in his words “put the ‘r’ in bands”, as it works to partner performing acts with corporate brands to create mutually beneficial marketing campaigns.

The room was about twice the size of the room where the Born to Be Wide sessions were held, but had less than half the guests, so perhaps they should have switched. Nonetheless, Steve Krill spoke about his company in a frank and open way. He did his best to address issues people have with bands ‘selling out’ by getting involved with corporations. As far as he can see, if the deal benefits both sides, there isn’t an issue. If the band damages their relationship with their fans, this is bad for both parties, and it would be a rather large blunder on behalf of the band or their representation and The Radiant Group for allowing it. At any rate, a band whose politics are a big concern to their fanbase is probably not the sort of band that brands would benefit from working with anyway.

Krill also dispelled the notion that corporate sponsorship was the new record companies, and would inject the entertainment industry with the cash flow it needs to survive. They may play a part, for internationally recognised bands becoming associated with internationally recognised logos, right down to brands sponsoring ‘unsigned’ music events and tours for emerging artists, marketing synergy will continue to be a source of income in music, but it is not the be all and end all. Not all bands can benefit, and there simply aren’t enough brands in the world to have the whole music industry resting on their shoulders.

Nonetheless, Krill kept things simple, and entertained the audience with his stories of partnerships he’d set up and their varying successes.

News: 19 June 2010

2010-06-19T17:29:00.000-07:00

This Saturday, 19 June 2010, is a very interesting day for music in Scotland. As we previously talked about, Edinburgh is hosting two EP launches on the same night.

The OK Social Club play Cabaret Voltaire to launch their third EP ‘That Howden Sound’. Tickets are £5 and available from Royal Mile Tavern or from the band.

Penguins Kill Polar Bears play Sneaky Pete’s to launch their debut EP ‘Dawn’. Tickets are £5 and available from WeGotTickets.com.

In addition to these two events, Edinburgh will also see the arrival of Happy Mondays legend Bez’s new band Domino Bones, playing Maggie’s Chamber, above the Three Sisters, followed by a DJ set from Bez himself. The night is brought to us by Colossal Promotions, also who are also actively promoting gigs for Leith Festival and the Edinburgh Fringe. Support comes from The Vibe, The Stalls, Tams Railways, All at Sea and Kolumbia. Tickets are £8 in advance from any of these bands, or £10 on the door.

And by some strange coincidence (or possibly licensing laws) all these events kick off at 19.00.

Finally, fledgling internet radio station Gap Radio officially launches this Saturday to stream music online 24/7. To celebrate, they have organised a launch party at Harley's in Bathgate, which will include performances from Tango In The Attic, 4 Day Weekend, Fred Astaire's Boots, Bambou Enfants, The Secrets and others still to be announced. Tickets are available on the door.

Stephen Malkmus - Stephen Malkmus

2010-06-16T13:14:00.000-07:00

The self-titled debut album by Stephen Malkmus, lead singer of recently reunited Pavement, may have one man’s name and one man’s face on the cover, but the band who recorded the album with Malkmus went on to tour with him as Stephen Malkmus and the Jicks, and fans consider this that band’s first album.

From minute one the technical musicianship, complex production and instrumentation put The Jicks in a different category than Pavement. Retaining Malkmus’s trademark lo-fi and occasionally dissonant guitar licks in places, the use of synthesiser sounds, a variety of rhythm guitar styles and crystal clear bass defined a sound that characterise The Jicks as a band in their own right.

The most striking thing about the album is the lyrical content, rich in stories set in all kinds of romantic settings, such as 19th century Imperial India or Ancient Greek islands, or interesting characters, like Turkish pirates, an Alaska fisherman, and most bizarre of all, actor Yul Brynner. The joy is in the poetic nature of the scenarios, as the stories rarely resolve, and are more like detailed and poetic reflections of people in places, be they modern or during minor historical events. The lyrics flirt with morals, but abandon them, leaving you to write your own conclusions. 'Jenny & The Ess Dog', perhaps the album’s peak, focuses on a strained relationship between a college student and her older boyfriend, in parts told through the eyes of their dog, Trey, who is the only living creature who can witness them alone together.

Well-produced arrangements see guitars pitted against synthesiser, vocals, or more unorthodox instruments like steel drums or xylophone, while installing out of place instrumental or vocal samples in a rhythmic way to add character to an already charismatic set of songs.
Stephen’s voice is weedy, and never strong or confident, and he tries to hit notes that are too low to be heard or too high for him to sing. But his voice fits well atop the overall kookiness of the music. In some cases another instrument will play the melody line along with him, whether this is to reinforce his voice, or just to underline the melody.

Another notable feature is the appearance of ‘mini-songs’ after several of the tracks. A mini-song is about five to ten seconds long and has the same instruments from the track playing an independent little section, treating the listener to a little pace-changing tune between full length numbers.

Malkmus displays his lyrical genius and poetic depths here in ways he never did with Pavement; this album is the flourishing of an artist held back by the limitations of his environment, suddenly unleashed with full studio and musicians who would do what he told them. While it doesn’t have that awkward college radio magic that made Pavement the cult legends they are, it is instead digestible, beautiful, and glowing with a sorcery of its own.

Myke Hall

News: June 2010

2010-06-09T14:05:00.000-07:00

Edinburgh indie-punk stars The OK Social Club release their third EP, 'That Howden Sound' on on 19 June 2010. The EP will be free on the night of the launch gig at Cabaret Voltaire, tickets are £5 and available now from the Royal Mile Tavern or from the band.

On the same night, Linlithgow based Penguins Kill Polar Bears are set to release their debut EP, 'Dawn', with a 19 June 2010 launch gig at Sneaky Pete's, followed by an EP launch tour across Scotland.

Leith Festival runs from 11 - 20 June 2010 this year. The festival, which celebrates all that Leith has to offer, is a community arts festival that encompasses all art forms, including the theater, dance, comedy, and of course music. Some of the highlights of the festival include Leith Sessions @ The Granary and Colossal Sessions Leith Music Festival at The Yard, both showcases of Edinburgh's best unsigned music.

Inverness's goNORTH starts this week. The event combines numerous seminars, workshops and live showcases in several city centre venues, catering to everyone from musicians in their first band to seasoned industry professionals. All events are free. Edinburgh's own music industry meet-up Born to Be Wide is hosting some of the event's seminars. Among the topics to be covered by the Born to Be Wide seminars are music management and how to get your music used in film, television and adverts. There will also be panels on how to make the most money from music with little additional work and a discussion featuring artists who take care of their own booking, releases and promotion.

Fringe events start tonight Wed 9 June 2010, and the main events, including those hosted by BtBW, run Thurs 10 June and Fri 11 June, as do the evening band showcases.

Edinburgh Mela Festival 2010, Scotland’s largest celebration of cultural diversity through arts and culture is back to deliver yet another full on programme packed with dance, music, theatre, circus, crafts, fashion and food! The festival takes place August 6-8 at Leith Links, Edinburgh. Tickets cost £2 in advance from the Edinburgh Mela website, and £2.50 on the door.

Bainbridge Music Interview

2010-06-03T09:36:00.000-07:00

edRock.net interrogates Chris from Great Junction Street Music Studios and Bainbridge Music in their church basement rehearsal space, about rehearsal studios, live gigs, rock and roll miners and local bands, and then are interrupted by Alex from Fentek Audio.

Bainbridge Music Interview download
Some strong language.

Gil Scott-Heron - HMV Picturehouse Edinburgh 26 Apr 2010

2010-04-30T04:57:00.000-07:00

Gil Scott-Heron has lived a life many thug-posturing African-American artists can only write about. Establishing himself in the 70s as a formidable lyricist with poetic, political and hard-hitting soul, his later years were riddled with drugs, prison and HIV. His return to the spotlight came earlier this year with the critically acclaimed album I'm New Here, a gorgeously sparse record with an unnerving, world-weary power in its songs. Unsurprisingly, when the Chicago-born legend stepped onto the stage of a packed HMV Picturehouse, he was met with an audience electric in its enthusiasm.

After introducing himself with a tongue-in-cheek speech about how Black History Month should be in May (because it's easier to say. Or at least that's what I understood), a confident, charismatic Scott-Heron sat at his keyboard and launched into a stunning solo rendition of 'Blue Collar'. The restless, anticipating crowd was instantly silenced as Scott-Heron's voice cast the decades aside with its soulfulness. An equally arresting version of 'We Almost Lost Detroit' followed, before the first member of Scott-Heron's band, keyboardist Kim Jordan, took to the stage for 'Work For Peace'. The pair's alternating vocals built into a hypnotic climax, prompting the audience's enthusiastic approval.

"This is one of our favorite places in the world", Scott-Heron stopped to remark, to a roar of approval from his fans. The remainder of his stripped-down band (percussionist and harmonica) then emerged for a quirky version of 'Is That Jazz?' with Scott-Heron taking to the front of the stage and encouraging the audience to dance and clap along, though they needed no such persuasion. Such an engaged, participatory atmosphere has long been a hallmark of Scott-Heron's live act, and the ambiance was infectious.

Following an ecstatic, albeit slightly bizarre, solo keyboard performance from the gifted Jordan, the band launched into the classic 'Pieces Of A Man', a reminder that Gil Scott-Heron knows exactly when to bring the mood back down. Age has not withered the song's emotional impact in the slightest, and the audience response was rapturous. The band continued through 'Your Daddy Loves You' and 'Three Miles Down' before exiting the stage. In less than a minute, thunderous foot stamping and applause dragged them back. A euphoric, moving performance of 'The Bottle' provided the night's dizzying climax, and the Picturehouse transformed into an almost spiritual mass of drunken singing and dancing. This is what makes Gil Scott-Heron such a unique figure in modern music: his songs and stories will teach you the horrors of the ghetto, but rather than batter his audience into depression he lets his concerts highlight music as a catalyst for unison and recovery. His audience at the Picturehouse were moved, and left with something positive at the end of the night. Scott-Heron's resurrection is without doubt one of the great comebacks of recent years, his message as essential as it ever was.

Stewart McLachlan

Frank Turner HMV Picturehouse Edinburgh 16 Mar 2010

2010-04-27T08:31:00.000-07:00

Article originally published on Is This Music?, and is therefore their copyrighted material:

With a background in hardcore punk music, it’s rather surprising that Frank Turner’s (photo by Vikki McIntyre) solo career consists of acoustic songs, but these aren’t sit-down acoustic folk ballads; they’re stand up and sing-along acoustic belters. As his tall frame takes the stage as though climbing a victory podium, he’s flanked by a military snare-loving drum kit, embossing bass and supportive electric guitar players, who come and go at various parts of his set. Frank’s songs burst with life-affirming chants, witty rhyming couplets, and wry observations, aimed at the struggling artist that lounges in the heart of Britain’s pint drinking public. Frank is also a card-carrying political libertarian, and his songs resound with anti-Thatcher, anti-9-til-5 political themes.

His words ring with such personal truth that it isn’t hard to imagine that the majority of his predominantly male audience are also musicians and artists fighting to keep their heads above water in the entertainment business, and can sympathise with every pained word as Frank displays his bruises as proudly as war wounds.

Frank is the embodiment of the ‘try, try and try again’ attitude. Between songs he reminds the audience of his first Edinburgh gig at an empty Whistle Binkies (cheekily adding “I’m not having a go, although now that I mention it, where the hell were you all?”). His career as a failed punk screamer, and his spoken-from-the-heart lyrics, including lines about texting strangers to try to get an audience for his gigs, indicate that he really has fought an uphill battle to get to the point he is at today, but is glad to have taken the journey.

However, not all his songs reflect his career trajectory; songs like ‘Long Live The Queen’ and ‘Father's Day’ retread the oft-walked paths of family and personal relationships. While very few of his songs are “love songs” of the clichéd variety, Frank is not above picking the guitar strings to tug on the heart strings.

Its is only when HMV Picturehouse staff make it clear Frank isn’t allowed back out, by turning up the Tannoy music and getting bouncers to usher out the crowd, that the audience finally gives up their cheering and leave the venue. Nevertheless, a lucky few are treated to a few more songs later that evening at the Vat and Fiddle next door.

The Bobby Masicks EP - RBRBR

2010-04-21T15:25:00.000-07:00

During the launch party for RBRBR’s ‘The Bobby Masicks EP’, the five-piece band is joined on stage by a dancing ninja. Two conclusions can be drawn from this fact. The first is that the band members don’t take themselves too seriously, and the other is that they are not afraid to do things that are a little outside of the box.

Opening track Maff’s hook is a descending distorted vocal part, and its joy is a catchy bass loop, which plays against peppery saw-tooth wave synth parts. The overall effect is something like Hot Chip with better and more Scottish vocals. The title is a reference to the tired US cliché phrase “do the math”, which also acts as the chorus refrain for this song.

Golden Tomorrow makes healthy use of natural bass and guitar sounds, and then layers synthetic loops over the top. The influence of 70s disco and soul is seen here in the drum beat and high-pitched backing vocals. The song’s downfall might be the medium tempo, which makes this song difficult to place; it’s too slow for dancing, but too fast to fully absorb the texture of all the sounds involved.

On the third track, an artificial voice states that he has “27 Russian Friends” over and over; the band play with a set of artificial voice samples while the music twirls chaotically but in perfect time like a gothic clockwork flea circus. It’s on the back of this song that the band has earned a reputation as the cheeky chaps of indie-electro.

Masick’s Blues, a call back to the EP’s title, is a Kraftwerk-esque electro piece that flirts with dissonance and Red Hot Chili Peppers-style guitar work, without ever really settling. This track would be well-placed at any strobe rave, and while not as memorable and catchy as the other tracks on the EP, this is the one that’ll get the hips shaking and the glow-stick jewellery out.

For a long time Edinburgh's electro club scene has flourished, while the live music scene has fought to keep its head above the water. It's bands like RBRBR, who are entirely comfortable in both environments, that can thrive in our oft-harsh cityscene.

News: Wide Days

2010-04-02T12:29:00.000-07:00

On April 8th 2010, Born To Be Wide is bringing you an entire day of seminars and band showcases, titled Wide Days.

Born To Be Wide is an Edinburgh-based music industry mixer that runs on the first Thursday of the month at The Voodoo Rooms, where musicians, promoters, press, and anyone involved in the music scene can get together, swap CDs and socialise. The night is hosted by Olaf Furniss and New Found Sound Promotions, is supported by the Musicians' Union and the Youth Music Initiative, and has been running since 2004.

Since April 2008 BTBW has also featured seminars for those interested, including Music Management and How To Get On The Radio. But the 8th of April sees an entire day of seminars. The programme is as follows:

Seminars (Times: 09.30 - 18.00)

How To Get Onto a Festival Bill
Dave Corbett [T In The Park, The Edge], Helen Chalmers [Wickerman], Rob Hicks [Rockness, Belladrum], Stuart Nisbet [Hogmanay Edinburgh], P.C Rae [Slottsfjell, Norway]

I Am The Law – Essential Legal Advice
Dawn Barraclough, Murray Buchanan, Claire Thompson, Steven Fisher

What Next? Preparing For The Future
Scott Cohen [The Orchard], Ruth Daniel [Unconvention], Andrew Dubber [Birmingham University], Will Page [Chief Economist, PRS]

Speak To The Management
Rab Andrew [Texas, Primal Scream], Mark Bailey [Woodenbox], Keith Harris [Stevie Wonder], Bruce Findlay [Aberfeldy, The Silencers, Simple Minds]. Moderator, Vic Galloway [BBC Scotland]

Keynote Q&A
Gavin Bain (pictured left), author of California Schemin' an account of how two young Dundonians convinced the London record industry that they were rappers from California.

Following a double booking at their usual venue, The Voodoo Rooms, the Wide Days seminars will now take place a Shanghai Club on George Street. The evening programme, however, will take place at several live music venues:

Showcases (Times: 19.00 – 23.00)

19.00 - Cabaret Voltaire Speakeasy
Carrie Mac + Holden

20.30 - Sneaky Pete’s
Panda Su (pictured right) + Aaron Wright

22.00 - Electric Circus
Hopeless Heroic + Found + Meursault
+ DJ sets by distinguished guests

Seminar Tickets are £30 (or £20 if you’re a member of the Musicians Union) and available at www.eventzi.com/borntobewide. The live performances however, are free! To obtain tickets for one of the shows, contact the band you’d like to see via Myspace.

Copy Haho - Sneaky Pete's Edinburgh 5 March 2010

2010-03-28T06:47:00.000-07:00

A version of this review is also published in The Journal.

It’s not very often that you go to a rock gig and have to cram closer to the stage to hear the band playing. But solo artist Debutant’s music is just that quiet. The picked guitar is bathed in effects: chorus, reverb, delay, slow attack, all designed to create a soft, glowing, otherworldly presence. The vocals are few and far between, and incomprehensible as they are also drenched in reverb. Despite the low volume, everyone is transfixed on the solo artist. You could hear a pin-drop.

Following a similar suite with quiet, slow, picked guitar and quiet vocals are follow-up act eagleowl; utilising less effects and a little more folkiness, and of course the biggest difference from Debutant, a second member of the band playing a thundering double bass. However, eagleowl failed to capture the audience’s ear in the same way and the bar is quickly filled with babbling chatter.

Tonight’s headliners, Copy Haho (pictured) are guitar-driven indie/rock/pop. The four piece are made up of a drummer with impressively speedy high-hat beats, a Stephen Malkmus sound-a-like singer/guitarist, a lead guitarists who’s riffs and licks like to go for casual strolls on the high strings, and a bassist, who likes to go for casual strolls in audience with his radio lead; although the wireless wonder learns that this is not always a practical party piece when his woolly hat is stolen by a member of the crowd. Keeping the use of overdrive to an impressive minimum, the melody of the lead guitar and the melody of the vocals dance flirtingly and unashamedly atop the rhythm instrument’s sturdy sonic platform.

Although many of their songs are unmemorable, some stand-out tunes near the end of the set get the crowd grooving, such as the penultimate number, rock-out tune ‘Pulling Push-ups’, where the bass breakdown and elevating outro part push the song a head above the rest.

Lostprophets - Edinburgh Corn Exchange 19 Feb 2010

2010-03-22T08:58:00.000-07:00

A version of this review is also published in The Journal.

The phenomenal Ilan Rubin left Lostprophets last year to play drums for Trent Reznor on the apparent last ever Nine Inch Nails tour. Lostprophets (picture by Andrew Moore) are now on tour now with their new drummer, Luke Johnson, out to prove to the world that they don’t miss him.

The Welsh six piece play high energy emo-tinged nu-metal, coating each track with a sharp biting guitar overdrive and diet metal drums. Their set includes songs from throughout their decade long career, as well as a cover of The Prodigy’s ‘Omen’. Lead singer Ian Watkins’ voice seems perfectly crafted to sail through the noise without gruffness, without strain, never struggling to hit high notes. Balancing him is synth player Jamie Oliver, whose metal screams add the required aggression when the song requires it. But aggression isn’t this band’s primary motivation. Tunes ‘Rooftops’ and ‘Last Train Home’ not only get the vast Corn Exchange audience pogoing like 70s punks, but prove uplifting and inspiring. Lyrics like “But there's still tomorrow/ Forget the sorrow/ And I can be on the last train home” breath optimism into a genre too often overfilled with depression and negativity.

As the end of the set draws closer, the band are killing time. Throwing bottles of water to a dehydrated and grateful audience, and pouring on the praise as bands always do “You guys are pissing all over Glasgow”, but eventually they get to the point and close the set with the broken beats and staccato guitar riffs of their first major hit ‘Shinobi Vs. Dragon Ninja’. Extended cheering leads to their reappearance, but the encore tune, a song called ‘The Light That Shines Twice As Bright...’ from their January album The Betrayed, is slow, atmospheric and eerie, leaving the audience somewhat bemused by this stylistic sidestep. To come full circle, the song was rather reminiscent of Nine Inch Nails.

Spoon - King Tuts Wah Wah Hut Glasgow 14 Feb 2010

2010-03-19T13:10:00.000-07:00

Article originally published on Is This Music, and is therefore their copyrighted material:

American college indie rock is a well-explored genre in the States, but the barrage of t-shirt and jeans bands rarely seem to bleep on our radar. Two such examples are Spoon, who hit their stride in the mid-naughties, and White Rabbits, more recent scenesters.

White Rabbits’ light rock guitar songs are made especially eerie and dancey as their six-piece line-up includes a percussionist as well as a drummer, who thundered drums and cymbals alike in spite of a rather nasty-looking cast on his arm. The band’s broken-beat Dirty Projectors-style harmonies, subtle use of piano and gritted-teeth lead vocals can be used to create either strange little pop oddities or off-kilter post-rock epics. Add their warm booming basslines and you’ll be following White Rabbits into Wonderland.

Spoon (pictured) are much more rough around the edges, with some spiky guitar clashes, staccato piano and laid-back but agitated vocals. The Texan four-piece’s songs are often made up of minimalist riffs and uncluttered drum parts, allowing the instruments to stay well-separated, creating a sort of hollow space in the middle range for you to listen to the song from. Lyrically, they float between odd and sometimes unreadable metaphors, and sentiments that ultimately convey a general discomfort with the world they inhabit.

Describing the music as “indie” by British definition is way off. There is little to nothing in common with Britpop or art-rock or the Madchester scene or any of the other things we class as indie in this country. This is music that will make most sense at 1AM to tired students going over their revision notes for the hundredth time. Interesting, then, that it cast a similar spell from the darkness of the King Tut’s stage. Highlights of the set included new single ‘Written In Reverse’ (below) and the sombre but dramatic ‘The Beast and Dragon, Adored’.

News: Edinburgh in March 2010

2010-03-15T13:33:00.000-07:00

Orange Slice Records presents Pensioner live at Sneaky Pete's on 17 March 2010 in support of their debut self-titled EP, out now. Their mathy rock sounds tracks the epic voyage of four musical journeyman individuals and their rock odyssey... or at least that's what their PR would have us believe. Support comes from the dazzling Bronto Skylift and completing the bill are the criss-crossing guitars of Edinburgh veterans Degrassi and Curators.

A week later, Sneaky Pete's will be host to Edinburgh's own Night Noise Team. The 'France pop meets 80s rock' band will perform on 27 March 2010, promoting their new single, 'Menolick' (pictured right), which has already been talked about by Lamacq on 6Music, Radio 1 and other stations and podcasters.

YRock - Cabaret Voltaire Edinburgh 13 Feb 2010

2010-03-14T05:14:00.000-07:00

Casino Queen (pictured) make a lot of noise for just two lads, be it Connor Doherty's growling grizzly bear voice, his biting blues guitar, or Stewart McLachlan's juggernaut drum thrashing. Playing dirty delta-blues-rock, the duo verge on what The White Stripes would sound like if Meg was a better drummer. Guitarist Conner plays complex Mississippi style riffs effortlessly, at one point even having an onstage conversation with drummer Stewart while executing a solo, all without missing a note. Stew's rise and fall from subtle accompaniment to crashing explosions add dynamics to his counterpart's strums.

Edinburgh trio Radiokills play rock tunes along the lines of young American bands, drawing on the emotionality of the emo scene to play alternative rock melodies. Where they get interesting, though, is their use of multi-effects boards on both the bass and guitar. The power trio are able to create synthetic but energetic sounds reminiscent of modern progressive indie rock bands like Muse and Radiohead.

The crowd really swelled, though, for the evening's headline act Genetic Radio. The blue-eyed pretty boys are an indie-rock/Britpop four-piece. While they clearly draw a lot of influence from Oasis, as noted by their cover of the Gallagher brothers' 'Falling Down', there's evidence of artists like David Byrne and Edwyn Collins in their remorseful pop rock. This was only magnified by their charming onstage personalities and smiling faces, which the crowd ate up like chocolate drops.

The Red Stripe Music Awards - Cabaret Voltaire Edinburgh 3 Feb 2010

2010-03-08T12:29:00.000-08:00

A version of this review is also published in The Journal.

The winners of the Red Stripe Music Awards will get to play at The Great Escape festival and get a load of Fender equipment, so it’s not surprising some of Edinburgh’s finest bands signed up for the Edinburgh showcase. The evening starts with Carrie Mac, a singer/songwriter with an acoustic guitarist accompaniment. Carrie’s songs might start from folky roots, but grow into pop saplings with branches into funk and R&B. Her voice is unbelievably powerful and pitch perfect throughout. Let’s pray we can enjoy her raw performance for a while longer before the big record label bosses can turn her into an over-produced pop princess.

The Fire and I’s lead singer/bassist Gordon is joined only by drummer/ backing singer/ keyboard fiddler / drumstick twirler Hooligan. The duo create dirty, rough grunge/rock with angry Scots vocals. The fuzzy distorted bass sound never fails to make guitars seem obsolete, and Hooligan fills every space with drum fills or cyberpunk synth noises. With a never ending supply of energy, they are the Irn Bru 32 of bands.

Pose Victorious prove the least innovative band of the evening. With their traditional five piece line-up, their Brit-pop inspired songs of laddish antics, equal parts Oasis, Stone Roses and Kasabian, are paths that have already been re-tread by every indie band around since the early 90s. Donning scarves and skinny jeans, their show may be stylish but lacks spirit.

Rather unusually, power trio Come On Gang's lead vocal comes from the girl behind the drum kit. Sarah’s voice is folksy, which is something of a juxtaposition next to the dance-tempo rock music the lads play. Guitarist Mikey plays chiming trebley riffs while bassist Trev plays a thick, slightly distorted bassline.

Strangest yet are funky, hippy-pop ensemble The Banana Sessions. Their lineup is made up of female vocals, acoustic guitar, flute, tuba, and brushed drums. Their songs include an ode to the favoured drink of neds (‘Buckfast Gets You ****ed Fast’), but their party piece is a 10 minute Prodigy medley, turning songs like ‘Out of Space’ and ‘Smack My ***** Up’ into psychedelic summer meadow romps.

Johnny Foreigner Interview

2010-03-01T08:11:00.000-08:00

edRock.net chats with Birmingham ADHD-punk band Johnny Foreigner in the green room before their gig at Cabaret Voltaire about bands from Birmingham, the controversial Christmas number one, their new album, and Craig Finn.

Johnny Foreigner interview download

Chew Lips - Sneaky Petes Edinburgh 27 Jan 2010

2010-02-25T09:34:00.000-08:00

A version of this review is also published in The Journal.

The show opened with Leith based outfit My Tiny Robots, appropriate to the electro-disco genre of the other bands in name alone. The band gave a rather awkward and self-conscious performance, switching between instruments at every opportunity: including guitars, bass, synth, drums, trumpet, melodica, maracas and ukulele. Unfortunately they seemed to think a variety in instrumentation could make up for their lack of performance skills. Only their lead singer had the charm and charisma to warrant the audience’s attention.

Conversely, every member of Glasgow four-piece Boycotts was a well oiled indie-disco machine. The female vocals had the toughness of alternative rock, without being angry or angsty, and were backed by very snappy high-hat beats on the drums, overdriven, fidgety guitar, and disco-funk rhythms on the bass. The songs are designed to get the heart pumping and the foot tapping, and succeeded.

By the time London based Chew Lips (pictured) came on stage, Edinburgh’s smallest venue was packed sardine-style. The band is made up of lead singer girl, Tigs, centre stage, flanked by her two musical lads: Will Sanderson and James Watkins. The drums and most of the bass is pre-programmed and sequenced. The boys play synthesisers most of the set, sounding very 8-bit and glitchy, but will sometimes pick up a guitar or bass to add some buzz. Tigs’s vocal parts are poppy like Little Boots or recent Kylie Minogue.

More than any other instrument, the use of drums can affect the on-stage energy of a band, and although programmed drums blend well with synthetic music, the atmosphere ultimately suffers without having someone banging the kit. Fortunately, that’s the only area where the band lacked energy. The singer skipped happily to cyber-bleeps, while the boys convulsed to the beat like they were receiving very well timed miniature electric shocks.

The stand-out song from the set was ‘Salt Air’, whose uplifting melody is a refreshing in contrast to the dance-punk claustrophobia of the rest of the set.

Orange Slice Records Interview

2010-02-17T17:05:00.000-08:00

As an apology for getting too smashed to remember his last gig that I was supposed to be reviewing (and possibly drunkenly hitting on his girlfriend), edRock.net asks Dan some intimate questions about Orange Slice Records, running an events promotion company, and the music scene.

Orange Slice Records Interview download

Blackbody Vol II - The Lava Experiments

2010-02-16T02:23:00.000-08:00

'Blackbody Vol II' is a collection of lackadaisical trip-hop for 5 am on a Sunday morning. As the titles implies, it is the second installment of a triptych of EPs by Glasgow three-piece The Lava Experiments. Indistinct, distant vocals can sometimes seem like the ballads of an exhausted world-weary traveler by a campfire, and other times the chanting of monks echoing from the dark ages. Indeed the music seems to inspire metaphor contrivation. The songs are usually formed with programmed drumbeats, Moog or Moog-like synthesizers, rich bass and sometimes gentle guitar.

The opening track, Piecing Memories Together, falls flat compared to its successors, over-repeating a guitar riff and a three note synth line that is so simple it’s almost childish. Unusual, then, that the band have chosen to follow up the release of 'Blackbody Vol II' with an EP of remixes of this track. Perhaps the band saw that the song had the most potential to be improved upon.

Luckily, the following tracks, Sun Flies, River Shape and Ring to the Dark Place are a dramatic improvement with the hypnotic quality of well-crafted progressive trance. The drum beats are active but not obnoxious, and produced to sound unimposing. Album closer The Release even brings an element of rock and roll to the mix, with a distorted guitar riff and a muscley electric bassline.

Overall, 'Blackbody Vol II' is good music to have in your collection to have for when the right mood strikes (even if it is at 5 am). Although you might have to skip to the second track.

News: Music Blogocide 2010

2010-02-11T09:11:00.000-08:00

The past few days have seen the deletion of several well known music blogs from the Internet, including Pop Tarts, Masala, I Rock Cleveland, To Die By Your Side, It's a Rap and Living Ears. All were hosted on Google's Blogger service, as is edRock.net.

Blogger have been enforcing violations of the USA's Digital Millennium Copyright Act (DMCA), a law set up to implement regulations on digital media file sharing set down by the World Intellectual Property Organisation, and chose to delete the blogs entirely.

However, many of these blogs were working with record label or artist approval for all the songs they published, and were not given proper explanations of which songs were in violation of this act, or how to prove their innocence. Google simply told them they were in violation of Blogger's Terms of Service and left it at that.

It should be noted at this point, that no matter where the blog claims to be based, if it is hosted on Blogger it is subject to US law, as Google is a US company and the Blogger servers are in the USA. Its not totally clear whether Blogger is enforcing this law themselves, or if they are receiving complaints from an unnamed regulatory authority.

Google/Blogger, or whoever has been making DMCA complaints to them, seems to be operating separately to the wishes of record labels. Indeed, many bloggers are encouraged to share tracks by record labels and promotions companies, especially for lesser known, up and coming or independent label artists, music blogs are a cost-free way to share new tracks with music lovers who may never have heard the band otherwise.

I Rock Cleveland had received four previous DMCA complaints for songs that they had received record label permission to publish. For at least the last two years every song they published came from the record label, the artist, or a promotions company acting on their behalf.

Masala focused on obscure genres like kuduro, Japanese dancehall and funk carioca, music that wouldn't have had any affiliation with major record labels and artists that were usually glad of the publicity. Now they have no idea which of hundreds of songs posted got them in trouble, and claim to have received only one warning from Blogger before their four years of archives were erased. They questioned which tracks were in violation of the law and never got any response.

South African psychedelic rockers BLK JKS even received a DMCA complaint for posting their own song on their own blog.

Having received complaints about the way they were handling DMCA complaints last year, Blogger announced on their own blog that their policy was to warn bloggers by email and in their dashboard, and move the offending posts to 'Draft' status, so that they could be fixed, and copy the complaint to ChillingEffects.org for archiving. But if the bloggers are to be believed, they have not kept their promise.

Pop Tarts and Living Ears have already bounced back, able to recover most of their articles from archives, and have moved to Blogger's rival blogging service, Wordpress.

The two biggest music blogs on Blogger, Gorilla vs Bear and My Old Kentucky Home, remain online for now.

Yesterday, Blogger have restated their policy, and given instructions of how to make a DMCA counter-complaint, but is this too late, as several blogs are already gone?

Update 19 May 2010: Music Blogocide strikes closer to home with Scottish music blog The Pop Cop.

Them Crooked Vultures - Edinburgh Corn Exchange 15 December 2009

2010-01-25T11:01:00.000-08:00

Article originally published on Is This Music, and is therefore their copyrighted material:

I can’t imagine Josh Homme was too popular with the Corn Exchange staff, who are more at home doing wedding receptions and corporate events, when he told the sold out crowd they were welcome to climb on peoples’ shoulders, drink heavily and crowd surf.

Probably even less popular when he handed his half-necked bottle of vodka into the crowd for them to pass around.

But this “we’re going to do it anyway” motto is one that Them Crooked Vultures (photo by Trixta Photography) seem to subscribe to strongly. It’s clear that the band are playing the music they want to play. Clearly written in jams, it seems very little thought has been put into mundane nuances like catchiness, commerciality and accessibility. Instead the band favour concepts like ‘edge’, ‘balls’, and how fun the song is to play.

The three piece are the very definition of a hard rock supergroup, made up of Josh Homme, of Queens of the Stone Age and Eagles of Death Metal, on lead vocals and guitar, Dave Grohl, of Nirvana and Foo Fighters, playing the drums, and John Paul Jones, of Led Zeppelin, playing the bass; three household names in the world of rock music.

That effectively gives them license to do whatever they want (and apparently encourage the crowd to do the same), and what they’ve decided they want to do it play riff-driven tunes with lots of heavy guitars, noisy bass parts and keyboard parts.

While the songs often flirt with some brilliant riffs, they seem to go off on sonic adventures and lose focus. Most of their tunes probably go on too long to be radio friendly as well. However, you can’t fault the band on their variety. While at times they play White Stripes-style dirty blues, at other times they experiment with high doses of psychedelia, and then they fall into some alternative metal and come out of it dripping with distortion and feedback.

It will be surprising to some to learn that Josh Homme is the only one of the gang who is on microphone duty. Not even Dave Grohl, who is completely confident in front of the microphone in his own band, interacted with the audience at all. He just hid behind his long hair and massive drums, just like the Nirvana days, and supplied the occasional harmony.

John Paul Jones’ contribution was indeed significant. Playing some electric piano, as well as riff bass and stretching the instrument to play sub-bass, the elder statesmen of the trio held his own against the young bucks. Although there is really no excuse good enough to get away with coming on stage with a 12 string bass.

The fourth corner of the square is Alain Johannes, who is joining the trio for the tour. A virtuoso guitar player, the band even gave him a chance to perform some solo blues guitar. As he slid and jammed all over the fretboard, Johannes held the crowd in the palm of his hand, and he’s just the session player.

Overall, as rule-breaking as they may act, Them Crooked Vultures are not re-writing the book of rock, but the audience went there to see three of their heroes rock hard, and that’s what they got.

Franz Nicolay and Mark Eitzel - Cabaret Voltaire Edinburgh 4 Nov 2009

2010-01-22T14:38:00.000-08:00

In an interview with Stereokill, Franz Nicolay (pictured) is quoted as saying, "I think musicians had two business models for thousands of years: the Troubadour, where you had to travel from town to town and sing for your supper, or the Patron, where you courted the favour and worked at the pleasure of the idle rich."

It’s clear from his performance, if not directly from his music, that Franz Nicolay really is a man from another time. On stage he's more of a cabaret performer than a musician (appropriate considering the venue title). Between songs, he tells stories from his travels and makes jokes, smiling broadly from behind his Mario Bros moustache and his black suit and hat.

Franz’ voice is as rich as the red wine he drinks straight from the bottle, and has the air of professional vocal training. He plays some songs on the guitar, and others on the banjo, both of which he can handle with ease. Fans of The Hold Steady will know there are few instruments Franz hasn't mastered. His style can be applied to rock, folk, even ragtime tunes, but most often he employs it for stirring, inspirational ballads.

Through the content of his lyrics, it’s clear Franz has not only a fistful of life experience and a worldly view on life, but also a cultured taste. Though he appears to be a man of the past, he also seems to be able to predict the trends of the future; one of his songs references 'Nick and Nora'. It’s not clear whether that's a reference to the 1934 book The Thin Man by Dashiell Hammett, one of the six films, the TV series or the radio show that the novel spun off, the 1991 Broadway musical based on the same characters, or the novel 'Nick and Norah's Infinite Playlist' that was inspired by the characters. Whichever it was, the characters have recently been seen on cinema screens in the 2008 adaptation of 'Nick and Norah's Infinite Playlist'. So has Hollis Mason, subject of Franz's song 'The Ballad of Hollis Wadsworth Mason Junior' and narrator of the 1986 classic Alan Moore graphic novel Watchmen and the 2009 film adaptation. For a man who seems to be from the past, he certainly does seem to see into the future.

Despite appearing without his backing band of indie all-stars, Major General, the coup de grâce of an excellent solo set was his performance of the hard rocking 'Jeff Penalty', a song about the now-grown-up punk scenester’s relationship with the Dead Kennedy's front man. Franz performed the song with enthusiasm, slaughtering his guitar strings and stomping his foot resoundingly on the hard wooden floor, lost in the energy of the song until about two thirds of the way through, where he embarrassingly filled a quieter bit by explaining "this is the part where there's usually a guitar solo".

There are some stark contrasts between Franz Nicolay and his touring partner, Mark Eitzel. While the San Francisco man, formerly lead singer of American Music Club, also sports a Fedora, a suit and facial hair, their music and performance style differ greatly. Franz bubbles over with positivity, showmanship, and an entertainer's spirit. Mark Eitzel is a different breed. His is a self-deprecating dark humour, and his stories, he contends, intriguing as they may be, are situations were he was in the wrong place at the wrong time. He's almost too shy for the stage, but it would be such a shame if he didn't get up there and tell his crazy stories and sing his beautiful tunes.

Mark is an old fashioned crooner. With just a piano accompaniment, his rich, deep, somewhat throaty voice glowed like hot embers. Mark reminds us of how powerful music could still be long before rock and roll existed, and how a great singer and some piano are sometimes all you need for a moving performance.

Some of his most memorable pieces included his rendition of the classic 'I Left My Heart in San Francisco', which his style took to a dark, regretful place, and the song 'The Blood On My Hands', during which he was joined on stage by Franz Nicolay for accordion and backing vocals.

Nine Black Alps and Sucioperro - Electric Circus Edinburgh 28 Oct 2009

2010-01-14T11:46:00.000-08:00

Sucioperro have brought intelligence to a genre that demands nothing but passion. The guitar and drums have been carefully formulated to compliment each other very well. The guitar itself is usually highly distorted, but also makes use of muting and bright picking parts in order to provide a wide variety of sounds to Sucioperro's range of tunes, meaning their sound can stretch between uplifting power rock ('Don't Change (What You Can't Understand)') to grunge-metal ('Dirty, Dirty, Sick, Sick'). Sometimes the use of guitar goes a step further to a level of some serious creativity; there are some very interesting sliding and harmonic sounds in 'Liquids,' for example.

The bass is strong throughout, playing root notes when required, and playing more playful riffs that parry the movements of guitar and drums when there is room to. The drums are consistently tight and snappy. The vocals do sometimes suffer from ‘Transatlantic Syndrome’, that is, a Scotsman trying to sing in the American accent of the band he's inspired by, but this is not true of every track.

On stage, the Ayr trio have no problem executing complex songs without breaking a sweat, and are watchable without being cocky.

The other comment to make about Sucioperro is their colour co-ordination. All in black and red, with armbands and crosses, matching the drum kit too. There were no such stylistic concerns when Nine Black Alps (pictured) took to the stage.

Nine Black Alps’ first album was hailed by grunge fans for picking up where Nirvana left off. Screamed vocals, angry lyrics with dark metaphors, and chromatic overdriven major chords typified their songs, and a dishevelled, brand-free dress sense and unkempt hair characterized their image. Since then, they have expanded their sound, taking lessons from post-Seattle sound bands like The Vines and Bush.

Now on their third album, the four-piece haven't gained much in the way of commercial success. But their performance has the heart of a band playing what they love, and there is still enough of an audience there to keep them going, which is all any musician really needs.

The two guitars match each other, countering each other's heavy riffs and elevating the song, instead of just copying one another. The drums have the right amount of violence to keep the audience rocking out; while still being controlled enough contribute to the architecture of the whole tune, rather than just the foundations.

The band gave an exuberant performance with an unstoppable spirit, really feeling every chord they struck and I look forward to the next time they’re in town.

The OK Social Club Interview

2009-12-20T10:58:00.000-08:00

edRock.net catches up with scene starters The OK Social Club in the band's effective home, The Royal Mile Tavern. We discuss the band, their new EP 'That's What She Said' and the Edinburgh music scene.

The OK Social Club Interview download

s/e/l/l/o/t/a/p/e - The Forest Cafe Edinburgh 22 Oct 2009

2009-11-16T09:31:00.000-08:00

Beginning at the beginning: the Forest Cafe is as usual abuzz with the chattering of the 21st century version of beatniks. People are reading, drinking herbal drinks, eating vegan snacks, sitting on damaged mismatched donated furniture, under hand-decorated walls, house-plants and candles in bottles. A documentary on the Riot Grrl movement is being projected against one wall, but all that can be heard is a mumble. There are maybe two people watching it.

What follows is a series of female hippy guitar and poetry recitals. There's possibly a loose theme of anti-sexism and 'Dear Diary' emotional confessionism. The compère, dressed in punk leather and metal, introduces her own band next. This is their maiden performance, and they sprint through one three chord song with angry Italian lyrics, to a tremendous ovation from an audience that are likely high.

The star of the show, of course, was vikisellotape, and her band s/e/l/l/o/t/a/p/e. Drunk to the point where she could barely stand up, Viki squeezed onto the tiny stage that her other band members had filled up. Sellotape belong to that odd genre "no wave", which uses artiness from bands like The Velvet Underground as the template for lo-fi tunes involving noise, dissonance, broken tempos and non-rhyming phrases. Often they sound improvised, and usually they sound chaotic, which is why it's oh-so-interesting when the band change gears on a penny, be it in tempo or dynamic, and prove that this is exactly how it's supposed to sound.

Guitar is provided by former The Dreamt frontman Andrew R. Hill, who kept the strings glittering through new wave riffs and shoegazing noise, despite a drunken Viki stumbling all over his pedals and kicking out his leads. Bass was equally well executed, whether it was bouncy ska-style riffs or just one single repeating heartbeat note. In fact, the drums were often the only instrument that felt like they were playing the song, and the other instruments created planned chaos around them.

The eye, however, cannot help but be drawn to Viki. Dressed in all black and white, from her white hairband to her chequered short skirt to her two-tone heels, with black makeup and black writing up her arms; whether she's screaming into her mic, like a toddler having a fit, then writhing on the floor like she's in sexual ecstasy, or crawling around like Velma looking for her glasses; Viki is definitely an entertainer, and the booze lowering her inhibitions was like throwing petrol on a tyre fire.

Her occasional bursts of synthesizer couldn't really be heard in this venue of fifth-hand equipment, but it was probably just as well, as she might not have been able to see the keys. The lyrics explore such Kafka-esque concepts as cutting off, then reattatched a mammary gland on 'My Left Tit' and curbing instability and violent thoughts on 'Plastic Bag'.

In many ways, this was the best environment to experience Sellotape. The ludicrous melting pot of alternative cultures, the extensive inebriation of the frontgirl, a tattered drum kit and PA on their very last legs, they all amplified the extroverted entropy that the songs expose.

Mudhoney and The Vaselines - HMV Picturehouse Edinburgh 9 Oct 2009

2009-11-11T09:58:00.000-08:00

The Scottish band The Vaselines are well known in the world of grunge, perhaps most famously because their song 'Jesus Wants Me for a Sunbeam' (also known as 'Jesus Doesn't Want Me for a Sunbeam') was performed by Nirvana during their 'MTV Unplugged in New York' performance. While they do seem to fit well on a grunge bill, with their DIY production style and use of overdrive, a Scottish ear hears differently. The band are more reminiscent of dreich Scots folk-indie bands like Belle and Sebastian, Arab Strap or St Jude's Infirmary - it’s a band type we are quite familiar with. The two vocalist/guitarists, Eugene and Francis, share the spotlight like a brother and sister. Gracious enough to let the other have attention, but with a natural rivalry underneath, like they are craving Mummy's attention. (In this metaphor, the crowd is Mummy). Oh, and apparently they have differing opinions on thongs 9the girl likes them, the guy doesn't). Joined by a calm bassist and a slightly more enthusiastic drummer, the band have indeed aged since their late 80s heyday, and the nine year gap in their career prior to the 2006 reunion may have sapped some of the juice out of their punk spirit, but the band still chime and thrash in equal measure and seem genuinely pleased to be playing to a crowd.

Mudhoney (Photo by Richard Dyson) love to rock out. Of that there can be no denying. With a buzz sound on the bass and clattering drums, the lead singer pulls his best moves on stage. There's a lot of Mick Jagger going on there, and maybe just a hint of Ian Brown. The songs are made up of fast paced distorted power riffs, and yelled choruses. However, it’s not until the singer straps on a guitar that things really start to heat up. The lyrics are all things the previously-disillusioned former-youth audience should be familiar with, but may be new to the post-emo young of today: confusion, sexual frustration and sickness. Never is this more exemplified that in the fan favourite 'Touch Me I'm Sick', which the band recently told The Skinny would be great for a drain cleaner commercial.

While some argue that grunge music is no longer culturally or musically relevant, a resurgance of interest in bands like The Melvins, Alice in Chains, and Mudhoney themselves seems to suggest otherwise. Either way, it’s great to see one of the original Seattle sound grunge bands live and on form.

Feature: Jaded Playboy

2009-10-31T16:07:00.000-07:00

“The only people who are getting ahead in life are these sort of people who are at the top of the ivory tower or whatever, and everyone else just has to put up with that, and that’s what it’s about really, its just being ****ing sick of it”

Rock, in Scottish music today, is a dirty word. Bands will describe themselves as “indie” or even “pop” before they say the dreaded “R” word. It has negative connotations of unoriginality, outdated ideals, and bad AC/DC covers. Jaded Playboy, as a rock band, are fairly unsupported on the Edinburgh music circuit. They wave the flag for Seattle grunge and London punk, even if it means getting disappointed looks from Oasis fans and metal-heads alike.

Edinburgh four piece Jaded Playboy have been together since Winter 2007. The band are made up of three Edinburgh lads: guitarist Ross, bassist Kenny, and drummer Zander, and lead singer Scott, a former metal kid from Dorset and Bristol. “Like all good relationships,” Scott comments, “we got together at Christmas”.

The band are headed up by Ross, who takes the role of songwriter. “I don’t find anything in happy songs,” Ross confesses, “which might sound sort of… y’know”. He laughs as description escapes him. “But at the end of the day I find my inspiration in the darker side of life. So when I write a lyric that’s in that sort of vein then that’s when I feel ****ing alive, y’know?”

When put this simply, it's not too difficult to see where Jaded Playboy’s music come from. Forever focusing on the darker emotions, their music is born of the same spirit that sparked grunge, that sparked punk, that sparked metal, that even sparked rock and roll in the beginning.

Never is that more apparent than on the song ‘Lost Inside’. The lyrics are a political comment on people in power, who break promises and abuse their positions, and how the human condition is to pretend to have a good time and continue regardless. While the band themselves know they aren’t exactly starting a revolution, they use this song to vent their own frustration. “Even though you can’t start a revolt," Ross explains. "That’s our way of getting it out." “That is our pure release!” Singer Scott states. “We ****ing just let go on that song. It’s just ****ing do what you want. Hit your drums as hard as you want, do whatever you want on the bass, sing whatever you want. It’s our ‘get ourselves in the zone’ song… Turn all the shit in life into something decent”.

‘Lost Inside’ is the first track of Jaded Playboy’s new EP, recorded at Red Eye Studios in Clydebank. The four tracks are tied together by a theme that is reflected in the title ‘Broken Heartland’; a land of broken hearts. While the first track is about anger at the politics of our government and our society, the proceeding tracks ‘Hero to Zero’ and ‘I’m Not There’, bring the topic closer to home with an examination of failed relationships and dealing with the ‘why’s and ‘what now’s.

The artwork was designed by Brad George of Love/Hate Tattoos. The front cover is of a satellite view of a country shaped like a broken heart and tinted red, surrounded by a sea of black, representing the dual themes on the album of broken hearts and a country divided between the people in power and those who have to live with it. The CD itself is adorned with a much more tattoo-looking image, as if to prove the designer is used to designing tattoos, of a heart, roses, a gold key, and the band name and album written on the banner that would usually have a girls name or the word “Mum”.

The sound Jaded Playboy create on the stage is highly passionate. Ranging from distorted rock outs to chorus-tinged, lively bass showstoppers, all led by Scott’s very Brandon Boyd-like characterful voice, with all the boys looking like their having a good time up there. Over September and October, Jaded Playboy have been on tour all over Scotland, promoting their release at a grass roots level, and have received praise from the likes of BBC Scotland's Jim Gellatly and BFBS Worldwide Radio.

The final song on the EP, ‘Broken Heartland’, comes attached with a heart melting story too. Originally conceived as a full band number, the track evolved into an acoustic song, with Ross singing lead vocals. Right up until they were recording in the studio, Scott had never managed to nail the track. Ross was on his third attempt at the vocals, with Scott listening. Scott wasn’t in a good mood that day. He had split up with someone he cared a lot about, and something clicked. He finally understood the song, and the way it was supposed to be sung. It finally made sense. “There’s too much emotion in there,” Scott explains. “I’m usually like, all the other songs: massive energy, massive emotion and I put everything into it, and that song is just devoid, it’s absent, of any energy whatsoever. The only way you can sing it is if you just don’t give a sh** about it. Going pure apathy. That song is just pure apathy.”

Scott went into the vocal booth, sang the song, and hit the nail on the head. “That one take is the only time I’ve ever sung it properly. It's the first time I’d ever sung it properly and it's recorded and it's rough as ****: it's out of tune, it's out of key, it's all over the place, but I think it just added something to it. The fact that it was just... it's just someone that’s at the bottom and they can’t sing properly and it doesn’t matter if it's sung in tune. It's like someone’s talking to you over the song; I think that’s what we were trying to convey, it’s not meant to be a song that’s sung to you, it's just somebody telling you a story.”

Now that their promotional months are finished, Jaded Playboy are moving on. Writing new songs, choosing their next steps. More of the same. There’s rumours of an Argentina tour. I, for one, am looking forward to seeing where they take it next.

On his experiences of touring and being in the band, Scott tells me:

“We’re so happy we’re in a band. Don’t care if we make it, don’t care what happens, but its just cool meeting people in these bands, watching these bands for free, most of the people in the world are sat in watching ****ing Casualty or whatever people watch on telly, and we’re out making friends, watching great bands and living life”.

News: Cybraphon the emotional robot band nominated for BAFTA

2009-10-22T10:12:00.000-07:00

I missed this news story the first time around so figured I would give this update the time it deserves.

The blog-reading emotional steam-punk robot band has been nominated for a Scottish BAFTA.

Cybraphon is the creation of the seemingly infinitely innovative glitch-folk nuts-cum-art collective FOUND. Ziggy, the band’s lead singer, calls it “an autonomous, emotional robot band”. Tommy, also from the collective, who presumably knows fewer big words, calls it “a musical cupboard with a personality that’s attached to the Internet”. Cybraphon is a gorgeous one-robot-band built with a combination of electronic components, atypical acoustic or obsolete instruments, some lights and various knick-knacks, all housed in an antique wardrobe. It can be programmed to play certain tunes, controlled via an attached MacBook, or just left to its own devices.

Cybraphon’s mood is shown on a dial on the top shelf, and ranges from desolation through gloom, contentment, and jubilation, right up to delirium. It plays one of many tunes programmed into it by FOUND when the infra-red motion detectors see it has an audience. The tune it plays depends on its mood.

The coup de grâce is how it determines its mood. Cybraphon actually goes on the Internet, via the attached Mac, and looks up sites like Myspace, Twitter, Facebook, Google, Wordpress, even Flickr to see if people are talking about it online. If they are saying nice things, if it's getting lots of hits, or lots of people are adding it as a friend, Cybraphon gets happier. If they are saying nasty things, or aren’t talking at all, Cybraphon gets sad.

Experiment (May Well Arise) from Cybraphon on Vimeo.

Cybraphon spent the Edinburgh Festival 2009 as an installation at the InSpace Gallery but has since been switched off. What makes it “art” is that it’s a comment on the moody, whiny indie bands and pop stars that are obsessed with their following, not their music, and are fuelled by ego rather than passion.

I can only imagine how excited Cybraphon will be when it is switched back on to discover it has been nominated for the ‘British Academy of Film and Television Arts’ Interactive award. It’s up against ‘The Lost Book’ and the British Music Experience museum at The O2 arena. Perhaps tough competition, but Cybraphon is just about the coolest concept I’ve come across in a long time.

Download its first EP from the Cybraphon website.

Feature: Frightened Rabbit, CHUTES, Withered Hand and Broken Records

2009-10-07T10:37:00.000-07:00

Its Friday 4 Sept 2009, Edinburgh is celebrating getting their city back from the tourists and production companies over the fest with a good Friday night out. The acoustic show will take in solo performances from some of the Edinburgh music scene's glitterati. edRock.net caught up with the performers backstage at Electric Circus (or more accurately the little room beside the stage) to ask them about their sets tonight, their experiences of The Edge festival, and what lies ahead.

Danny Chutes (with Adam Chutes and Rory Broken Records)
Front man of moody indie band Chutes

The Edge: Chutes didn't take part in the Edge festival this year, they've been too busy recording their album. Its about half done at the moment. Its not necessarily what you might expect from seeing their live performance, and includes some new arrangements: including strings and acoustic guitars.

The Electric Cabaret Show: Danny played some Chutes songs, and some that are just his own, backed up by bandmate Adam on upright bass and Rory from Broken Records on violin and mini-accordion. With two guitarists already in his band, Danny enjoys the opportunity to play as well as sing.

As a Solo Artist: With Chutes, songwriting is a collaborative project. On his own, Danny gets to play some songs that he has written just on his own. Having been stuck in the sometimes frustrating and labourious process of recording an album, Chutes haven't been gigging much recently. His solo songwriting is a good release. He can play what he wants, make up lyrics on the spot, its much more free and personally expressive.

On the Horizon: Apart from the new album in production, Danny would like to big up The Depot, a rehearsal and recording studio down in Granton run by his bandmates Craig and Stu.

Rory Broken Records
Violist from Broken Records plays "second fiddle" accompanying Danny Chutes

The Edge: Broken Records were worried that all their fanbase would be going to the Frightened Rabbit gig, a day later at Queens Hall too, and so wouldn't bother with their gig. It was also their first Edinburgh show in about six months. But the turn-out was excellent and the show was fantastic.

Accompanying Danny Chutes: Broken Records and Chutes have known each other a long time. Being part of the Edinburgh indie music scene, they've played a lot of gigs together, have gone touring together, and have become friends. Danny and Rory first met at the Christmas Songwriters Club. A group of around 7 songwriters get together and play four songs, often of a Christmas theme, to each other around the 22nd of December.

On the Horizon: From September through to Christmas, Broken Records are going on our a British and European tour with fellow Edinburgh band We See Lights. After that, they'll be working on their second album.

Withered Hand
High voiced solo acoustic songsmith

The Edge: Dan, the off-stage name of performer Withered Hand, supported Jeffrey Lewis at The Edge this year, and his band Jeffrey Lewis and the Junkyard. The other support act was Jeffrey's brother's band 'Jack Lewis and the Fisherman Three'. Dan is a big fan of both Jeffrey and Jack, and was happy to be supporting them once again. He says its weird playing with someone you really admire, but is happy he's becoming Jeffrey's go-to support act for Scottish gigs.

The Electric Cabaret Show: Unlike the other acts playing, Withered Hand is used to taking to the stage as a solo artist. His set was standard and unaltered.

As a Solo Artist: Although Withered Hand is essentially a solo act, Dan often takes to the stage with a backing band, made up of some of his friends, including Neil from Meursault. His band play banjo, cello, drums or accordion, whatever best accompanies each song.

On the Horizon: Withered Hand's debut album 'Good News' came out on 7 Sept 2009 through SL Records with producer Mark Kramer, known for working with American band Galaxie 500. Fans may notice different versions of familiar tracks compared to his previous lo-fi EPs.

Scott Frightened Rabbit

Main man of Selkirk comma World epic indie band Frightened Rabbit

The Edge: Having a headline show at The Edge festival was something Frightened Rabbit really enjoyed. Now a worldwide band, they play Scotland a lot less often, and so the gig was like a homecoming for them.

The Electric Cabaret Show: Scott played a mixture of classic Frightened Rabbit tunes, to please the crowd, and some new songs. The new songs have already been recorded for the new album, but some of them had never been performed in front of an audience, and this was a chance to see how they go down.

As a Solo Artist: While Scott has done solo shows before, he's now far more used to taking to the stage with his full band. But the band have been working on their new album over the Summer. Scott admires the work ethic of bands like The Hold Steady and Belle and Sebastian, who tour relentlessly and record albums whenever they get a spare chance. Scott reckons recording should be a joy, not a chore.

On the Horizon: The new Frightened Rabbit album is out in March 2010. The as yet untitled LP was recorded at Castle Sound in Pencaitland, East Lothian with producer Peter Katis, who's previously worked with The National and Interpol.

The full band are also back in Edinburgh on the 21st of October for 'Music Like A Vitamin' at HMV Picture House with Attic Lights, and a solo performance from Rod Jones of Idlewild and Teenage Fanclub, in support of a Scottish mental health charity. Tickets are a mere fiver.

Malcolm Middleton @ The Edge - Cabaret Voltaire Edinburgh 27 Aug 2009

2009-10-03T10:26:00.000-07:00

Article originally published by, and property of The Daily Record:

Malcolm Middleton shuffled onto the stage to open his set with 'Red Travelling Socks', a catchy ode to his favourite pair of foot warmers. From a lyrical point of view, Malcolm hasn’t strayed too far from his previous band, Arab Strap. His songs mostly deal with dreary mundane reality, in a deep and murky voice. His music tends to play simple melodies over a drone on one of the instruments. The effect is comparable to bagpipe music, a comparison made more apt by the quintessential Scottishness of Malcolm’s casual self-deprecation and ‘f*** it’ attitude. As part of his backing band, lead guitar and fiddle came from a red haired girl named Jenny, who also sang vocals, her well-rounded voice accenting Malcolm’s choruses like a bright red highlighter pen.

After playing a rather slow and anti-climactic last song, in which he forgot the words at least once, Malcolm announced that he had got the set list wrong and that was a terrible song to end on. To make up for it they played a surprisingly rousing cover of Bryan Adams’ ‘Run to You’. Malcolm claimed Jenny had posters of Bryan on her wall. She denied the accusation.

Metric @ The Edge - HMV Picturehouse Edinburgh 25 Aug 2009

2009-09-30T13:06:00.000-07:00

Metric are a glitzy band of the electro-rock persuasion, hailing from Toronto, Canada. While Canada for most people, conjures thoughts of Bryan Adams, Avril Lavigne and Nickelback, those familiar with the Broken Social Scene, of which singer Emily Haines and lead guitarist James Shaw are active members, will be less surprised to find Metric as a product the maple leaf nation.

The band are three smart/cas rockers with production leanings fronted by an arty blonde chick in a glittering blue 60s dress short enough that the photographers could see her pants. Their live show had moments of hurtling energy, when they played their hits with vigour and excitement, and moments of pointless noodling. I think the band believed they were creating epic soundscapes and working the audience's emotions with some all-consuming electro vide. The reality was a mediocre riff repeated beyond the point of boredom and irritation, with a totally banterless Emily failing to improv with statements like: "What day is it?" (pause) "What day of the week is it?" (pause) "Tuesday?" (pause) "Is it Tuesday?" (pause) "What happens on Tuesday?" (pause) "What are you guys doing here on a Tuesday?" (pause) "Tuesday." (pause) "What do you do on a Tuesday?" (long pause) "Watch House?"

And of course, the always-classic mood killer "Who has work in the morning?” Thanks for that reminder, Haines!!

Emily did pull some dance moves that were smooth enough to keep the audience's eye, and played some synth parts that were cool enough to keep the audiences ear. And the backing, although partly digitalised and therefore cheating, was pretty tight.

Some highlights of the set were 'Dead Disco', a song which can only unleash its true potential live, so you can hear that guitar punch, the bass buzz and the snare snap. 'Stadium Love', a celebration of noise where Emily lists a bizarre animal battles ("spider vs bat", "owl vs dove"), and 'Help I'm Alive', the lead single from their most recent album, which mixes a slow groove and a guitar pulse with an art-pop melody.

Andrew Bird and Emma Pollock @ The Edge - HMV Picturehouse Edinburgh 23 Aug 2009

2009-09-27T03:52:00.000-07:00

Emma Pollock, former singer of The Delgados brought her particular brand of mellow indie rock to the HMV Picturehouse to a rather more adult, scattered crowd compared to the last night's performance from Amanda F***ing Palmer. Since her band's 2005 split she's only released one solo album. Nonetheless her set was fairly free of her ex-band's material. Backed by a full band and playing her guitar in a 60s dress, Emma Pollock's music is slightly plain and gets close to but never quite reaches the levels of her former band. The melodies just aren't strong enough and the backing just isn't interesting enough. Regardless, though, she has a strong following amongst the crowd and they were delighted to hear the music well executed with an element of grace.

On previous tours classically trained violinist Andrew Bird (pictured) has appeared on stage with a group of backing musicians to cover all the nuances of his rather complex string and guitar arrangements. On this occasion however, he appeared on his own, with an array of amps and, the arrangement-happy solo artist's best friend, a loop pedal. The tunes built up quite quickly. There are actually quite a lot of different sounds you can make on a violin: bowing, picking, strumming it like a guitar, using distortion, using an octave pedal. The large set of amps meant the little violin could cover a massive range of frequencies, but the coolest trick was when he hit a pedal that started two large gramophone speakers pointing opposite directions to start spinning at smoothie-blender speeds, twisting the sound they produced with the Doppler Effect. Actually, this was the only point in his set when he required another person on stage, as a wee roadie would come on after these songs to reset the spinning speakers.

The music tended to be middle-beat hipster tunes reminiscent of Belle and Sebastian or Simon and Garfunkel, and involved a lot of whistling. Andrew also had a dry sense of humour and a good rapport with the crowd. Watching him build his songs using nothing more than the littlest string instrument and some invisible device from some meaningless clicks to a tapestry of different sounds was entrancing and the audience stood perfectly still, mystified. They clapped loudly, then waited patiently for the next song: a performer’s dream crowd. Hard to say whether this was the effect of his performance, or merely the sort of people he attracts with his music. He did, however, take one request from the audience: to play a comedic song where he makes the violin sound like a mandolin, a lute, a guitar, etc. that he allegedly barely remembers.

Also, he had a glockenspiel on stage that he never played. What's that all about?

Amanda F'king Palmer and The Indelicates @ The Edge - HMV Picturehouse Edinburgh 22 Aug 2009

2009-09-19T04:06:00.000-07:00

The Indelicates are a band of contradictions. The delicate, shy, sweet voice and piano playing of co-lead singer Julia Indelicate and the hard rocking, guitar slamming, obnoxious egomania of co-lead singer Simon Indelicate. The stringy, weedy arms of drummer Ed van Beinum despite the aggressive way he beats the kit. The guy should be built! And hearing them scream out the lyric "Godless america" while Simon plays an American guitar while wearing the United States flag for a jacket in a London accent so thick you'd think they were the cast of Oliver Twist.

Amanda had so many great stage antics that I wanna discuss I'm gonna keep the "critique" part of this review down to just three words to save space: gothic, cabaret, brilliant.

Amanda F***ing Palmer (as she prefers to be known) (Photo by Richard Dyson) came from behind the audience, descending the staircase in her baroque dress, following her horn section - Edinburgh's own Horndogs, and dancing like a burlesque rag doll, as they played the riff from 'Missed Me'. The crowd parted as the convoy went in the side entrance and reappeared on stage, Amanda taking her place at the piano.

The Horndogs joined her for a few key songs, but she played a lot of the set on her own, including The Dresden Dolls classic 'Coin Operated Boy'. Three quarters of the way through she starts jerking and repeating half a line like a stuck robot. She manages to replicate an identical movement a good twenty times before she's "fixed" and continues with the rest of the song.

Amanda also performed a reading of one of the stories from her photo and literature collaboration with dark fantasy writer Neil Gaiman, 'Who Killed Amanda Palmer?', and then invited Neil himself on stage to read one of the poems from the book, as she stared up from her piano at him, with the same wonder and excitement in her eyes as a child hearing a bedtime story, the same expression that was pasted all over the audience’s faces too.

Other memorable moments included the performance of Gaiman-penned song about Googling an ex, an unrehearsed duet with her sister, a furious cover of Relax and inviting The Indelicates (and then the Horndogs) back on stage to help perform recent hits 'Oasis' and 'Leeds United' (Amanda is clearly an anglophile) and an encore-closing show-stopping cover of 'Let The Sunshine In' from Hair.

News: Meursault Vs The Foundling Wheel Vs Dead Boy Robotics

2009-09-08T14:39:00.000-07:00

Versus is a now bi-monthly gig where bands go head to head at Voodoo Rooms. Their second event takes place this Thursday 10th Sept. Three bands will play on the same stage at the same time; reformatting their songs, jamming together, making stuff up as they go along. The idea is that they will either all get along and start making beautiful music together, or it will become some crazy sonic conflict.

Versus is the baby of The Founding Wheel (AKA Ted Koterwas), but is now being co-presented by Limbo man David Cummings.

The performing acts thia time around are metal-dance kids Dead Boy Robotics, attention-grabbing folk-whiners Meursault and the inventor himself, electro banshee The Founding Wheel.

VERSUS

10 September 2009

The Voodoo Rooms, Edinburgh

Doors: 8pm. Price: £5

For more details see their website.