Fresh Meat Monday - The Clock

Would you care to introduce yourself?  

Hi, I'm Calum and I play a few different instruments in a band called The Clock with 3 (sometimes 4) others who also play a few different instruments, based in Glasgow. We have recently  released our first ever music video which accompanies a new single named 'Everything's Eventual' 


How would you describe the music you make?   

I asked someone this question quite recently because I'm not very good at concise descriptions. They told me it was alternative cinematic rock. I'm not sure if that's right but I'll go with it until I can get a better one.      





How did you start out making music?  

Well myself and Robbie (we are siblings) have been making music for a long time, since I was a young 12 year old equipped with a guitar and a plethora of Green Day songs. Over the years we've (hopefully) moved on and more people have joined us to play music.      


What process goes into the way you write songs?   

I usually formulate some kind of musical idea and get a few chords and words together, then a few of us will flesh it out then we'll add some instrumentation over that flesh. Every song is different; some I write entirely and others just come about by chance.     


What can people expect from your live shows?    

Well, probably a lot of sweat on my behalf. That may or may not entice people to come to any subsequent gigs. Otherwise, a lot of running about with the odd foray into the audience, some 4-part harmonies, loud guitars, quiet guitars, funny dancing, violins, pianos, drums, some more drums.    


What are you all listening to at the moment?   

Bat for Lashes mainly, her new album is an absolute belter. Otherwise, Three Blind Wolves, Atoms for Peace, Olympic Swimmers, and Fat Goth.      


What can we expect to see/hear from you in the future? 

Well, as I mentioned above we've just  released a new track. Over the summer we'll be releasing another 2, equipped with their own moving pictures. In terms of live shows, we're supporting Hector Bizerk in  the Roxy on the 20th June, and we've also been announced to play King Tuts Summer Nights festival. We're also in the middle of organising some shows outwith Glasgow.  

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Fresh Meat Monday - Colin's Godson

Would you care to introduce yourself?

Hello I'm Joe from the pop group Colin's Godson

 

How would you describe the music you make?

We make guitar based pop with slightly offbeat lyrical sensibilities, that's the short version anyway.

 

How did you start out making music?

The band has it's origins in my student days in Manchester in 2007. Influenced by the likes of Half Man Half Biscuit. and too many Frank Sidebottom live shows we started a 3 piece punk pastiche act and wrote shouty songs about Paul Weller in a Tardis and how great Marmite, is, playing regularly in the back room our local pub to bemused but entertained audiences.

When I moved back to Glasgow I mainly played in other peoples bands such as The Hector Collectors,The Plimptons, The Martial Arts, The Hussy's, etc but I always liked the anarchic spirit of Colin's Godson so I when I got the chance I assembled an A-team of amazing musicians that I'd encountered in my adventures to play in the band.. I'm the only remaining member from our original incarnation.

I quickly realised that with the calibre of musicians in the band it would be a lot more fun to turn the band into an out and out pop behemoth rather than just doing the 3 chord punk thing and here we are!

What process goes into the way you write songs?

It can differ, sometimes a song will appear fully formed in my brain and I just go into a room with a multi track recorder and try and recreate what I can hear in my head. Other times I'll go into the home studio and just pull a song out of the air in a couple of hours. I'm not really the type of person that spends ages working on songs.

What can people expect from your live shows?

Up till now this version of the band ,CGMKII, has mainly been a studio thing so we're quite new to the live circuit. I'd like to think that people who go to our shows will appreciate the tunes and and hopefully find some of words amusing! Most of songs clock in at under 2 mins so if someone doesn't like a particular song they don't have long to wait till it's over.

What are you all listening to at the moment?

I'm on a complete power pop kick at the moment which is definitely going to influence our next record.. We love stuff like Jellyfish and the Posies as well as Bowie, Queen the Beatles, the Kinks,etc which are our main reference points musically I suppose. lyrically stuff like HMHB, Sultans of Ping and I, Ludicrous are quite a big influences.

What can we expect to see/hear from you in the future?

I'd like to hope we get asked to play more gigs so we're more of a live prospect. I've mostly written our next album which is going to be called Colin's Godson 3D and mixed in 5:1 surround sound with full 3D artwork.

As we're a DIY band it might take a while to realise that ambition from a financial point of view but we'll get there. I'm hoping it will turn out well though. After that, who knows?

 

 

Colin's Godson's Greatest Hits is available as a pay what you like download on Bandcamp.

 

 

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Fresh Meat Monday - Gastric Band

Would you care to introduce yourself?       

Hi! I'm Kami from the Gastric Band, I play guitar, trigger samples and press down on a couple notes of a cheap Yamaha Keyboard on the odd occasion.      



How would you describe the music you make?        

Depends on where and when you'd catch me. If it's with The Gastric Band then I'd say challenging music; to write, play and listen to. But if you stick it out it can be rewarding, exciting and incomparable. I also DJ and work on more minimal/electronic/lo-fi tracks under the name Floatingboy.      


How did you start out making music?       

I've been active in bands for 9 years and when I started it was just filling in on Bass for a High School band that I ended up touring with extensively. Gastric Band's drummer Ricki was the guy who asked me to join and we've been making music together ever since. We had a pretty strong music scene in our home town of Livingston and through that we met Bruce, Ross and Jack which would inevitably lead to the formation of Gastric Band.       


What process goes into the way you write songs?       

With Gastric Band most ideas come from unusual grooves and rhythmic detail. From there we start forming the songs out of loops, guitar melodies and whatever else gear we've accumulated from past endeavours to fill out the harmonic progressions. Bruce and Jack are both music teachers so a lot of theory goes into the sections then I usually add some weird noises to mess up the well put together compositions.        


What can people expect from your live shows?        

A mass of polyrhythms and sparkly sounds that can be at times overbearing and eventually enlightening. I'd definitely say our music really comes to life when played live. It was all wrote that way so I think it conveys better in that kind of format.      What are you all listening to at the moment?        Recently I've been listening to a mix of African (Francis Bebey, Gnawa Music), Electronic (Martyn, Arpeebu, Dimlite) and Noise Pop (Xiu Xiu, Women). I'm a total Music junkie and I do a lot of commuting so I get through records pretty fast. As a collective we're all pretty absorbed in Prog, Zappa, Minimalism, Jazz.       


What can we expect to see/hear from you in the future?       

Well the album, Party Feel, is physically released today on Armellodie and we've already finished recording a couple of new tracks that I think are our best yet so we're just keeping the momentum rolling.

'Party Feel' is out now on Armellodie Records

The Pastels - Slow Summits

Album Review: The Pastels - Slow Summits (Domino)

Having spent the last few years writing almost exclusively about music from Scotland, it's easy to forget where I came in. There has always been an almost dizzyingly complex, often incestuous scene - not least in Glasgow - but back then, before Bandcamp and iTunes, it was a much more location specific affair. When I was in town, I'd grab handfuls of vinyl singles by bands I hadn't heard of - and the hit rate was pretty damn good too. I recognise that it's probably that grounding in opening my ears to unknown sounds which means I'm still intrigued to hear new things today. But one constant through this period, and it has variously been a proud allegiance or a guilty pleasure depending on the prevailing trends, has been The Pastels. An ever changing line-up rotating around Stephen McRobbie, alliances with US and Japanese artists exploring the edges of pop music, and a work-rate more akin to a cathedral stonemason than a musician in the internet age have all conspired to put The Pastels right back on the fringe of things again. But, they're back...

The intervening years roll effortlessly away as 'Secret Music' shuffles in. A tumble of glockenspiel chimes, furtively bubbly baselines and Katrina Mitchell's laconic, sensuous drawl. The song sprawls like a stretching cat, luxuriating in a glossy production which hooks in Stephel's distinctive brogue and some pretty horn embellishments. 'Night Time Made Us' ups the tempo somewhat, with a churn of scratchy but solid guitars and a confident but wonderfully ungoverned vocal from Stephen where he wonders "when did the burn become a river?". The passage of time seems like a key concern here, and elsewhere on this record. There is more brass accompaniment here, which adds a stomping 60s soul dimension to what shapes up into a truly lovely piece of music. The sunny, pop shuffle of recent single 'Check My Heart' transports me back to the relatively carefree early 1990s, as it skips light-footed around Glasgow's shining wet pavements, describing a scene not so much disappeared but ceaselessly reinvented. Nights in G12 are no less torrid and hip, if a little more expensive and a little less mysterious these days.

Beginning with the evocative "When the city is framed by a blue black sky..." there is a quiet, distant quality to 'Kicking Leaves'. Gentle strings and soft flecks of brass shore up the fragile vocals provided by guest vocalist and former full-time Pastel Aggi. A wobbly organ and ever-so-slightly off key guitar launches 'The Wrong Light' with Stephen's famously dissonant, low burr rarely sounding more in tune with this slow-burning ballad. A chorus of sweetly sung backing vocals emphasize his claim that "we are shadows of the night". Some tougher, angular guitar lines and little stabs of brass colour in the background and suddenly it could be anywhere in The Pastels distinguished back catalogue. This is no bad thing - and it's not about a lack of progress. It's more about striking out for new territory in a measured, confident way whilst holding on to all of that uncertainty and shyness about ever quite being the band of the moment.

The extended film-soundtrack shuffle of 'Slowly Taking Place' bristles with edgy guitar jangles, shuffling drums and a mournful noirish woodwind melody among bleeps and twinkles of electronics. It should be adorning the opening credits of a mid-sixties movie - Glasgow standing in for Paris, a tracking shot of an old Citroen crossing the Clyde. Elegant couples rendezvousing under the clock at Central Station. It's a beautifully done set-piece, with The Pastels' influences - both old and new - copiously nodded to.

So, all these year later, all this water under the bridge, and with the kind of indie-pop they typified in their various reinventions having drifted out of vogue and back again, does "Slow Summits" still produce spine tingles for this increasingly arthritic pop kid? Well, in fact it does - its a timeless, joyously old-school indie romp with rough edges and a heart-on-sleeve bravado. It's just what made us want to keep our fringes long and wear our school sweaters. It's what convinced plenty of us that picking up a guitar would be a good move - with variable results. Dismiss them as twee or wilfully inept all you like - the truth is, you can never write off The Pastels.

"Slow Summits" is available now on Domino Records and via your local record shop.

The Wynntown Marshals - The Long Haul

Album Review: The Wynntown Marshals - The Long Haul

The Long Haul represents the second full-length album by Americana exponents, The Wynntown Marshals. Former in Edinburgh in 2007, the band have supported some prominent Americana artists such as Chuck Prophet and Jason & the Scorchers, while appearing on such notable genre radio shows as Ricky Ross and "Whispering" Bob Harris. Not a bad haul for a band with one full length and couple of EPs to their names. US-based site, No Depression, even went so far as to name their first album a contender for debut of 2010. Not bad for a band from Scotland, but will the second album live up to this?

One of the things that piqued my interest in this album was as straightforward as the band's influences. Listed amongst the names were three that are close to my heart - Neil Young, The Jayhawks and Wilco. Opening track 'Driveaway' certainly slots right in beside these influences, giving a nice blend rather than straight up mimicry. The vocal that leads off the sing is heartfelt and sounds great. The rhythm section  are perfect harmony, kicking up a really nice tempo while the keyboard sounds really fresh. There's a really great key change midway on what is a cracking opener. 'Canada' kicks off with a really great guitar before settling into a steady tempo. That rhythm section once again gets my toes tapping and my head nodding along appreciatively. Keys and guitar add some nice touches throughout and then I hit musical heaven - handclaps and killer harmonies. Lovely. It's a very good track that ebbs and flows very nicely throughout.

'Low Country Comedown' has some big drums over a slightly more melancholic guitar, which I suppose is apt give the song title. The pedal steel guitar sounds fantastic on this track as well, as does the lead vocal. I couldn't help but think that these must be some mistake as to the band's geographical history. This can't be the work of Scots? It's pure Americana and bloody good to boot. 'Whatever It Takes' slows the tempo down with an acoustic lead guitar and some sparse drums. The pedal steel guitar again sounds beautiful and adds texture and character. Add in the keyboard and this is an early leader as my favourite track. 'Tide'  opens with a nice steady bass and drums, while the guitars flit back and forth creating some interesting sounds tht are almost counterpoint to the steady rhythm. They're like bright flashes on a darkened sky. The keyboards add more colur and depth to the sound on this track, which takes you on an interesting journey and comes at you from different angles. Another cracking song.

'The Submariner' kicks off at a decent tempo with the drums sounding like a train rattling along in the Mid West somewhere. It's nice and upbeat until about a minute before the end when there's a big change of pace, but it's not lasting and is a nice diversion. It sounds a bit like the music has gone below the surface of water at first, before the cymbals crash like waves against the rocks, before the song surfaces again. Another brisk track follows in the shape of 'Crashing (Like The Reds)'. Big drums and a good tempo which sweeps you along and evokes Wilco ore than any other track, particularly vocally. There's some streling guitar work and drumming, especially on the chorus and the way the keyboard underpins it all is particularly good.

There's a slightly mournful feel initially on 'Curtains Call'. The lyrics are a little darker also (here I sit in this stingy room/alone with needle, tourniquet and spoon). It's quite heart-wrenching and reminded me a little of the starkness you feel on Neil Young's 'Needle and the Damage Done'. Not the content as such, just that uncomfortable feeling that the song gives you. It's stripped down and raw and rather excellent.'North Atlantic Soul' lifts the mood, with the full band involved. Initially it's almost a shock after the low key, emotional 'Curtains Call', but the catchy chorus soon hooks you. There are some great harmonies and your mood is soon swept upwards by the tempo. Final track 'Change of Heart' starts with an interesting acoustic guitar, before the pedal steel guitar and keyboard also come in. The rhythm section sets out  nice, steady tempo and the addition of Diane Christiansen from Chicago's Dolly Varden on vocals adds a nice contrast to Keith Benzie's voice. It's a really nice closing track to a very good album.

I realy liked this album a lot. It ebbs a flows and there's never a feeling of sameness to the tracks. At every turn they change things up, throw in a sad, melancholic track then hit you with a more traditional Americana tempo and sound. The influences are there to hear, but there's a ton of originality too. They take the influences and craft them into something new and special. If you fancy grabbing a copy, or previewing the tracks head on over to the bands website which links to bandcamp here.

You can also catch them live in the coming months around the UK/European album release on 15th July. Dates confirmed so far are:

12th July at Broadcast, Glasgow (Album Launch)

13th July at Voodoo Rooms, Edinburgh (Album Launch)

26th July at The Holly Tree, Dinnet

27th July in Aberdeen, venue TBC

Ticket links can be found here on the band's website.

Fresh Meat Monday - Mad Nurse

Would you care to introduce yourself?    


Hi we are Mad Nurse from Edinburgh. we are Tom, Andy & Colin   


How would you describe the music you make?    

Long-brooding-noisy-quiet-atmospheric-noisy-brooding-long. If you like Mogwai, My Bloody Valentine, Arab Strap, Talk Talk, Sonic Youth, Smog & Interpol then you will think were nae bad. We just released our 2nd Ep 'The Rip' which you can get from bandcamp and listen to on soundcloud, so please have a listen.   




How did you start out making music?    

The usual gumtree ad way. started with me (Colin) and powerhouse skin pounder drummer Tom for about a year and half then added bass and producer extraordinaire Andy just over a year ago. we keep it tight.   


What process goes into the way you write songs?    

Most songs are written by me and then taken to rehearsals for the other two to shape and pull apart as necessary. recently we have written a few songs from us jamming, one which is a enormous loud beast which is usually our closing song at the moment. have so many ideas and demos flying around its hard to choose which is the good ones. my process of writing usually involves two different bits of music Ive written that are glued/forced together as im really creative/lazy.   


What can people expect from your live shows?    

Three sweaty beasts on stage, face melting guitar, pounding frantic drumming and a bass that's tuned to guarantee you health problems later in life.  It's loud, fast and not very pretty. it may repulse you. we hope it does.    


What are you all listening to at the moment?    

The Knife, Mark Kozelek, Busta Rhymes, Rhye, Baroness, Kid Cudi, RJD2    


What can we expect to see/hear from you in the future?   

You can see and and hear us next month in gigs at Bannermans (Edinburgh 3rd June), Box (Glasgow 8th June) & Henrys Cellar Bar (Edinburgh 29th June). And sorry to plug it again, you can hear us on our EP 'The Rip'. Many months of hard work and a record were very proud of. you'll just love it.

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Fresh Meat Monday - Kevin Harper

Would you care to introduce yourself?   

My name is Kevin Harper, the Q is silent. I was once the singer in vivamelodica, and then I was the singer in Little Eskimos. And now I'm the singer in Kevin Harper.     


How would you describe the music you make?   

Hmm. I tell taxi drivers I play covers because I hate this question, but since it's you, I'll keep it simple. I define pop music as 'happy music with sad lyrics' so I'd describe it as pop music.   



How did you start out making music?   

 In the early 90's a combination of Nirvana, Smashing Pumpkins, Dinosaur Jr, Screaming Trees,  Pavement, and Buffalo Tom led me to the guitar, but Bowie, Dylan and The Beatles made me realise I still had to learn chords. I was devastated at the time, but they also taught me how to write songs,     


What process goes into the way you write songs?   

Usually some from of trial separation followed  by an egregious and litigious divorce. Seriously, though it's different every time. Sometimes a song can come out, fully formed, all you need to do is fix a line or two and boom! Done. Money in the bank. These are usually the best songs as well, which sucks. Other times, you have to extract it from yourself forcibly, which is what happens in 95% of cases.  


What can people expect from your live shows?   

Well, at the moment, I'm working on a solo set-up wherein I use a looper on my guitar, voice and other instruments,. Check out my 'Monkey Gone to Heaven' cover on my youtube channel to see what I mean. For a full band setup you can expect a high energy rock and roll set, but I need to find a drummer first HINT   


What are you all listening to at the moment?   

I'll be honest, Hall and Oates are always on in my head. As far as new stuff, I'm loving Father Sculptor  and Sparrow and the Workshop right now, both great bands. Siobhan Wilson might well be the most talented musician I've heard since Prince, she's amazing. And my buddies Miniature Dinosaurs' forthcoming album promises to be brilliant. Well they promised ME it would be brilliant, anyway.  Mostly Hall and Oates though.    


What can we expect to see/hear from you in the future?  

Well for this album I'm working on my live set up, I'm also planning videos and hopefully a tour by the end of the year. Whatever form that will take I don't yet know. As for after that, I plan on very quickly (well quicker then 6 years) making another album. When I gain a respectable amount of indie cred, I plan to host Big Brother's Little brother and a year after that I plan to be an A-list celebrity complete with clothing line, the first of many prematurely ghost-written autobiographies, a similarly desperate for attention A-list celebrity girlfriend, and a high profile drug problem.   

I'm joking of course, all of those things are terrible.



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