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

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.

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Track list:

1. Green Eyed Monster Blues
2. Take the Money and Run
3. Scapa Flow
4. Pictures of Miles

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

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

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

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

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

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.

*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

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.

*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
• LaFaro

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

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.

Some strong language.

Track list:

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

Myke Hall

Talk To Our Management...

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.”

GoNorth - Inverness 11 Jun 2010

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.

Myke Hall

Feature: Jaded Playboy

“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”.

Myke Hall

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

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.

Myke Hall

Feature: T in the Park 2009

T in the Park 2009 Webcast

featuring Myke Hall and Danielle Mattison
Music - 'Symmetry of the Elusive Wolves' by Dead Boy Robotics

Contents:

Friday The Mars Volta Edwyn Collins Idlewild Yeah Yeah Yeahs Dead Boy Robotics Nick Cave and the Bad Seeds

Saturday Mumford and Sons The Hours The Noisettes Fight Like Apes The Virgins The Specials Jason Mraz* 1990s Jane's Addiction Nine Inch Nails

Sunday Barn Owl Gaslight Anthem V.V. Brown Regina Spektor Hockey Peter Doherty Little Boots TV on the Radio Dananananaykroyd Mogwai

*The cover Jason Mraz played was 'All Night Long' by Lionel Ritchie, not anything by Jamiroquai.

Myke Hall and Danielle Mattison