Archive for March, 2012


Valentina

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March 28, 2012

Album of the Week: The Wedding Present – Valentina

Staying power is a wonderful thing, and something the Wedding Present have buckets of. While other popular 80s-born indie bands have long floundered, David Gedge and co have just banged out their eighth album in 27 years.

That period includes a hiatus when Gedge regrouped as Cinerama of course, but you could be forgiven for thinking there was no more to the band than Kennedy being played on repeat on 6 Music (this is a GOOD THING by the way).

But they’re still going strong, and the follow-up to 2008′s El Rey not only builds on that album’s success but also takes a more direct route into your subconscious. If you haven’t heard lead single You Jane, it’s classic Gedge with guitars set to ‘jangle’ and canny lyrics seeped in relationship woes.

But as anyone who’s heard the Steve Albini-produced Seamonsters will know, the Wedding Present have always been about more than bubblegum pop songs and indeed you’re exposed nice and early to some similarly shredding guitars on You’re Dead, a rumbling opener that presents the new line-up in full flight.

Ah yes, the new line-up. We’re not into Fall-esque revolving door band members territory, but this is an almost completely different set of musicians to the group that created El Rey. Among them is Swiss bassist Pepe LeMoka who adds cooing backing vocals throughout, most pertinently on The Girl From the DDR in an appropriately Teutonic fashion.

Back A Bit… Stop is a punchy number with a huge chorus and would have been an equally fine choice for a single as You Jane, while Deer Caught in the Headlights revisits the sharp guitar sounds we heard at the start.

With their first three albums – George Best, Bizarro and the aforementioned Seamonsters – Gedge could have walked away from music with his head held high, knowing that he’s left a strong legacy that will continue to get powered out on 6 Music on a regular basis. While the songs on Valentina are unlikely to generate the same levels of long lasting affection, to see a ‘veteran’ still turning in high quality albums makes us very happy indeed.

And what’s more, we were supremely honoured to grab a word with Mr Gedge this week.

How do you think the band has changed since El Rey?

We seemed to have acquired a somewhat rockier line-up! I’d like to take all the credit for this and say that it was by design because I knew we’d be playing ‘Seamonsters’ live this year… but it was just good fortune, really. That being said, I think there was a desire to move away from the more poppier sound of El Rey, anyway. This happens after every album… you feel like you want to go somewhere else for the next one.

Is it hard to balance the ‘nostalgia’ side of the Wedding Present (reissues, tours, etc) with making new material?

Initially, I did think that that might be the case… but I’m totally used to it now. Ever since we did ‘George Best’ live in 2007, in fact. I’m now as happy to re-investigate the history of the group as I am thinking about the future. It sort of feels to me now that I’ve been in about eight different bands since 1985 and each fits into the overall culture of The Wedding Present in its own way. It’s kind of fascinating, actually.

Are there any particular influences that went into Valentina?

Graeme Ramsay, the co-writer and guitarist on Valentina plays drums as his first instrument… and I think that probably had an effect on the parts he came up with and influenced the structure of the songs. Some of them have quite odd arrangements! Plus, I wanted to utilise the fact that our bass player, Pepe le Moko is Swiss… so I wrote our first bilingual duet!

Any UK festivals lined up this summer?

We get offers all the time, but you have to be careful of over-exposure. So far we have confirmed The Chilli Festival at Bath Racecourse and Sound City in Liverpool for May. And, of course, there are my own annual ‘mini-festivals’ in Brighton and Holmfirth for August!

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Bandcrush: So Many Wizards

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March 26, 2012

When we call this post a ‘bandcrush’ sometimes we really, REALLY mean it.

And we’ve been crushing on San Francisco’s So Many Wizards ever since we saw then between the unlikely brace of LeThug and Adam Stafford at Henry’s a few weeks back.

We – and pretty much everyone in the room – were utterly blown away by their spiky brand of dream pop, knocking beautiful melodies and a fine lyrical approach into 2/3 minute pop songs.

And, as ale-fuelled chats with frontman Nima Kazerouni and guitarist Frank Matson (who we ending up waxing lyrical with about American football for about half an hour, a subject that neither of us know the slightest thing about)proved, they’re amiable chaps too. Very much the laid back back, west coast slacker types you’d expect.

Their Edinburgh show came as part of a short UK tour, which sounded like a lot of fun and future dates and a more substantive release than a CDR in hastily created sleeves, are being lined up.

From knowing nothing about the band when we walked into Henry’s that night, we now want to know everything and hope you do too.

We caught another word with Nima, this one without alcohol being involved!

So who the hell are you?

We’re So Many Wizards! 

Describe your sound in ten words or less!

Anxiety-driven jangly dream pop.

What would you say your key influences are?

 Orange Juice, Cranberries, Beat Happening and Belle and Sebastian.

You’ve been touring the UK these last few weeks – what do you make of it?

It’s an amazing place. We feel so welcome. Everyone has been so supportive and  has shown such hospitality. Without a doubt though, Irn-Bru has been the best experience of the entire United Kingdom.

You’ve been playing for a band as a while. How come UK audiences are only starting to hear about you now?

The LA community is so vast and diverse that its easy to get wrapped up in it.  Nonetheless , some great people in the UK  have found our music and helped put this tour together. We feel very fortunate.

What, if anything, do you know about Scottish music in 2012?

We don’t know much but from what we’ve experienced in Scotland in the two days we were there, we’ve discovered some great things like LeThug. But we really love older Scottish bands ilke the Vasalines, Arap Strap and Camera Obscura.

So Many Wizards. I don’t believe for a second that any of you practice magic?

Ummm. Did you meet Frank?

Good point. You’re bound to have a formal release coming soon. Tell us about it.

It’s going to be released on Jaxart in the early Summer and has ten never before heard recordings along with three songs that we released last year. We can’t wait for you to hear it.

Will you be back on these shores soon?

We really hope so. We’ll be back as soon as you invite us.

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Interstellar

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March 20, 2012

Album of the Week: Frankie Rose – Interstellar

A few years back, Frankie Rose and the Outs would have been lumped in with Dum Dum Girls, Vivian Girls and other lady-fronted purveyors of fuzzed-up girl group whimsy. That Ms Rose was a member of both acts merely enhanced the first and only Outs album’s inability to shake off their legacy.

Well, Ms Rose is back (sans Outs) and is doubly keen to shake off such comparisons, instead aiming to create something a little more widescreen with Interstellar.

But wait! Don’t toss away that effects pedal just yet, Mama Rose! Where some of the groups mentioned above flounder due to an inability to mix it up a bit, Interstellar actually retains plenty of guitar-based… Let’s call it Mary-Chaining, shall we… with an increased sense of melody and pop fun.

The Shirelles, the Ronettes and other such groups that this little sub genre claims to hold as an influence would be rather proud of tunes like Pair of Wings with its echo-y vocals and low key synths.

But Veronica Falls would equally sell various appendages to get their mits on the monstrous title track, room-shaking drums, hook-some harmonies and all.

This is a lovely record, full of beautiful songs, with plenty of muscle, ensuring a confidence that Frankie isn’t just setting her controls for the Planet Florence. Aye, sure, there’s maybe a bit of that, but in all 154 seconds of Night Swim, there’s enough pop creativity to render Flossy’s entire second album redundant. Crackling guitars and shiny synths? Yes, we’ll have that thanks.

Why the Outs have been dispensed with is unclear, but the very fact that this album trumps the debut shows that Frankie Rose can stand alone.

You can give key number Gospel/Grace a spin below. Infectious guitar pop at its best, we challenge you not to just keep hitting the repeat button.

We also had our usual probing chat with the titular lady, as you’d expect…

How do you think your sound’s changed since your last album (that would be French electro-pop chappie Le Chev)?

This album is much bigger, cleaner, and is much more cohesive then my last album.

Was there a fresh approach to recording with the new producer?

Oh yes! He helped me make decisions that I absolutely would not have made on my own. I knew I had to find someone with very different taste then me to make the record I wanted. I also knew I needed someone who could “think big” that would push me to uncomfortable places , but also be okay with me pulling on the reigns.

What happened to ‘the Outs’? Have you stashed them in a cupboard?

Yes they are locked in my closet. I was thinking about releasing them come summer maybe.  The ladies are fine and are all still playing music in and around Brooklyn!

Can we expect to see any UK shows – or a cheeky festival or two?

One or two “super cheeky” festivals and also an entire uk tour in July!

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The Wrong Songs to Right Wrongs

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March 13, 2012

Album of the Week: Hey Enemy – The Wrong Songs to Right Wrongs

See that album cover? A drumkit on fire? Let’s start with that, shall we?

It’s not quite Rage Against the Machine’s self-immolating monk, but it is a brave statement and you’ll think ‘Danger!’ ‘Excitement!’ ‘Arson!’. If an album fails to deliver on such promises it’ll look more ridiculous than a fat man pissing on a burning drum kit.

Thankfully The Wrong Songs to Right Wrongs largely delivers, although we’ll have to let them off the lack of tangible arson action.

Hey Enemy hail from the historic central Scotland town, sorry ‘city’, of Stirling, an unlikely backdrop for such angry, visceral music but the band, comedy pseudonyms and all, have produced something to stir the loins.

Citing both McLusky and Queens of the Stone Age as influences, there’s certainly no shortage of riffs and wry humour here, but we’d suggest they’re more metal than the former and less polished than the latter.

Pink Steam is an almighty opening clatter and there’s not much let up over the course of eleven tracks. Snowy, Best Dog in the World bites hardest (see bonkers video below) and the relentless rawk could prove to be a bit much for some ears but there is enough light and shade to keep interest levels high throughout.

There’s even tunes. I Am the Blues is hook-laden and a potential radio anthem, and Chump Rebate is genuine slowy. Well, until the guitars get turned up and the screaming starts, that is. On the note, Flight of the Latex Eagle would make Anthrax proud.

The band have been around for a while and having torn Stirling a new one, we reckon they’re gunning for your own posterior. Whether they can resist torching their own percussion in the process is unclear.

Naturally, a chat with drummer ‘Caspin Rouge’ was the order of the day.

How did you guys come together as a band?

To be honest I can’t remember anymore, it was eight years ago. Basically, Colin and Chris (that would be Chet Harbringer and Jesus LaFontaine, alias fans) played in Dead Or American at the time and approached me about starting a 3-piece. My band had played on a bill with them a couple of times and Stirling being a small, incestuous, melting pot of a town we all knew each other some way or another… that and Colin is my uncle.

How does it feel to get an album out?

A relief? I recorded the drums for the album about two and a half years ago. The fact that it has taken eight years from band formation to debut ablum release gives you an idea of how we roll. We are just back from a three week European Tour that was designed to promote the release. I think we should do a tour to promote every album we make if that is the case we will probably release another album next Friday.

What have your key influences been?

I’m definately the worst person to answer this question, I listen to Jazz, Country and Blues. I remember being in Chris’ flat and him playing some Jesus Lizard and Unsane records, giving me an rough idea of the noise we were about to create. There was some influences we all shared, the likes of Nick Cave, Tom Waits and Queens of the Stone Age.

Can we expect to see you playing live soon?

Not all that soon, the month of May is the next time we hit the road. We are planning a short jaunt across the border to Auld England town for some shows.

The Wrong Songs to Write Wrongs is available from quality record shops and the band’s website.

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Bandcrush: Lost Telegrams

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March 9, 2012

Lost Telegrams will forever have a place in our hearts, having opened up our first ever gig in September last year.

So it’s with a heavy heart that we have to report their imminent demise. After just a handful of gigs and two excellent EPs, they’re calling it a day before immigration authorities break down the door of drummer Tristan Cruz to cart him back to Canada.

Japanese violinist Yuuka Yamada is also heading off to pastures new, so guitarist Alastair Bowden, singer Ciaran McGuigan and multi-instrumentalist Andy Philip have decided not to continue. 

Boo, bloody. hiss. Their charming, folk-infused tunes, while lovely on record, had considerably more muscle when played live and Ciaran’s impressively soulful voice got a few tongues wagging as much of the Wee Red Bar’s crowd spilled into Brauhaus after curfew on the evening of our aforementioned promotional debut.

We’ll also remember how they gave that night’s soundman palpitations when, after already voicing his concerns over miking up their violin, Andy presented him with an accordion and mandolin. Their beautifully presented first EP also sold out on the night and we were lucky enough to walk away with one.

We had high hopes. Those hopes have been dashed, but we hope to see the band’s talented component parts resurface in another form or forms soon. But for now we’ll simply have to look forward to their last show on the 23rd, back at the Wee Red Bar.

After badgering Alastair for an interview for months, we finally grabbed a chat, just as the band was about to sound its death rattle.

So who the hell are you?

We are Lost Telegrams – and this interview comes just as we are poised on the cusp of destruction.

Describe your sound in ten words or less!

Basically we’re a folky, noisy (dis)array of sounds, with epic drumming, pretty guitars, soaring violins and throbbing bass, led from the front by our singer’s remarkable lungs (and dubious banter).

For fuck’s sake. Can’t you count? Anyway, you’re an international bunch – how did the band come together?

You’re quite right, two of us are from the exotic climes of Aberdeen, and our singer was raised from as far away as Milngavie. The origins of our other members is much less exciting though – Japan and Canada.

Where did the name Lost Telegrams come from?

Our bassist and chief-luddite, Andy, is somewhat resistant to modern telecommunications, preferring to make his views known via telegrams – the name, unsurprisingly, was his idea.

What have your musical achievements been then?

Well, you can listen to, or even buy our new, and final EP on Bandcamp.  Alternatively, if you are coming to our swan song gig, we will throw in a free download with your ticket for a smidgen over four quid.  

Why, oh, why are you splitting up???

Long before the inevitable artistic differences and conflicting personalities had a chance to wear us down, we have been torn asunder by a combination of unfriendly immigration policies and a barren job market.

What have you got lined up for your farewell show?

We’re going back to where it all started at the Wee Red Bar on Friday March 23. If you missed the Beatles in the Cavern Club and Dylan going electric then you can at last make up for it, by witnessing Lost Telegram’s final performance. Ever. Sterling support coming from the excellent Morris Major and another as yet unconfirmed band. Be there.

As suggested above, Lost Telegrams say farewell at the Wee Red Bar on March 23. Get tickets here. Sniff.

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In Pictures: PAWS/Edinburgh School for the Deaf/Sebastian Dangerfield/Jamie Sutherland, February 25, 2012

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March 8, 2012

Yeah so, a few weeks back we had another gig and it was awesome. The bands were great, we sold out the Wee Red Bar and everything, and everyone had a spectacular night.

There was a the ragged folk of Jamie from Broken Records, upbeat pop fun with Sebastian Dangerfield, dischordant noise from Edinburgh School for the Deaf and guitar-smashing drama (and a whole lot more) from PAWS.

Also on board was intrepid photographer Erlend Barclay to capture the evening in photos. The results are below, and I think they sum up the evening rather nicely!

Sorry about the length of the post, but we hope you enjoy the visuals.

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Die Hard

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March 6, 2012

Album of the Week: Die Hard – Die Hard

You will find no wisecracking New York cops here, oh action movie thrillseeker.

Instead of defending skyscrapers, airports or underground bullion stashes, this Glasgow three-piece are more intent on defending their own identities from the public eye, remaining largely anonymous.

Perhaps said approach is to allow the music to speak for itself. Well, we’re hearing it loud and clear, particularly In the Garden, all hissing unease and vocal effects, reigned in by a steady drumming. A smidge Knife-y, we might suggest.

Here Comes the Rage is altogether cheerier, janglier and Djangoier. Okay, so we’ve just invented another adjective to compare bands with other bands and for that we apologise and ask your forgiveness. But let’s set aside the song’s patently angry lyrics and look at Die Hard as a complete picture.

Present and correct is a sparky mix of guitars and programming with such a wide variation in song styles, that we’re very much into art pop territory. So suggesting they’re not unlike a Django Django without the hype or an Animal Collective without their heads up their arses is fair comment.

Hands’ layered vocal melodies and firm beat shouts ‘single!’ but we doubt that – at this stage at least – Die Hard would do anything as populist as, y’know, release a single or anything.

No Vendetta feels like Brian Wilson if he was a high concept pattern serial killer and Mmmm is a lyric-free FX clusterbomb to the senses.

Quirky, odd, a little pretentious. Absolutely the polar opposite of the John McClane film saga, but when they decide to start playing gigs, they should be playing to packed theatres around the land.

And so much for being elusive, we tracked down the band for a word…

You appear to have come from nowhere – what’s your background?

Craig: Music’s been a thread that’s ran through our friendship for years, as you do growing up, we used to play, or batter guitars, then recently we started to melt samplers together and just over a year ago, the three of us decided we should write an album and since we had moved into the same flat and we started building the band up from there; it allowed us to record together at crazy hours, mostly staying up all weekend or through the night.

Could... not... resist...

What were the key inspirations for the band, both musically and lyrically?

Adam: When we were creating the album we tried not to use guitar, it’s there, but usually always in the background. From years of rehearsal room bashing in different bands, we had grown tired of the guitar sound, so we were trying to keep away from it. Inspiration came from more a more unusual sound, weird classical, electronic and music with textures. There was no one band or album. Films were a major influence when we were growing up together though, something like Total Recall was one of those major influences; when we were younger we used to pass around pirate copies of all sorts of strange films, that definitely crossed over to our music-making sensibilities. As for the lyrical inspiration for this album, its dark with a pinch of salt, we like positives and negatives.

There’s an element of secrecy around the band. Has this been a deliberate move?

Ryan: As we haven’t played a gig, it felt natural to just let the music speak and let our personalities be secondary to that, to us it makes sense. These days everything is so personal, I think we’re just being laid back for now.

Can we expect to see some more live shows in the near future?

Adam: Yes, no doubt – it’s something we’re really looking forward to. There should be a show lined up for Stag and Dagger and a few other gig offers that we’re looking at just now.

Die Hard is out now through major download services. For more info head over here.

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Bandcrush: LeThug

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March 4, 2012

We have fairly refined tastes over at the Tidal Wave of Indifference and rough boys, skinheads and the feral underclass are generally types we try and avoid.

So a band called ‘LeThug’ left us undecided. Our Gallic undertones were piqued, but with a sense of trepidation that we were about to get beaten up for looking at someone’s pint in an unwelcome fashion.

Glasgow’s LeThug are certainly a muscular bunch, but in the musical sense rather than the needless aggressive way. We’re not saying ‘Dann and Mick’ couldn’t stand up for themselves but they’re more intent on teasing out fantastic sounds from their guitars and synths.

Equal parts shoegaze and drone-pop, they make a powerful noise and one that could be utterly absorbing live. And coincidentally, they’ll be through in Edinburgh at the weekend to play with the supremely talented Adam Stafford at the next Ides of Toad (i.e. him that does Song, by Toad putting on gigs aplenty) show at Henry’s.

American lo-fi pop types So Many Wizards are also on the bill so it promises to be quite a night. But it’s LeThug that we’re drawn to most of all and their layered walls of noise could shake Henry’s to its very core

Who the hell are you?

We are a two piece electronic, guitar, drone, ambient, noise pop outfit from Glasgow.

Describe your sound in ten words or less!

Abrasive ambience.

Errr, that’s only two. What’s with the name – you don’t look or sound particularly thuggish?

“Le” represents our ambient tones and “Thug” represents the noisier drone side of things.

How did you get together to start making music?

Friends for years now, finally getting round to making that music that we always said we would.

What’s influenced the sounds that you make?

My Bloody Valentine amongst many other bands and various electronic music.

You’re playing with Adam Stafford – did you know much about him previously?

Not much, but we had a listen to his tunes on soundcloud which sound good so we are looking forward to see him play.

Are you planning a more formal release any time soon?

Yes. But we are not sure when, how and in what format. Anyone that wants to help us out with that, feel free to get in touch.

And perhaps more shows?

Yes, definitely, the gig at Henry’s is only our second gig. Don’t know where or when though, any gig offers very welcome.

LeThug are playing Henry’s Cellar Bar in Edinburgh with Adam So Many Wizards on Friday, March 9. More info HERE. Some music below, with more up on their Soundcloud page.

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Bandcrush: Fuzzystar

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March 2, 2012

The phrase ‘fellow traveller’ is one I’m hearing an increasing amount these days.

I probably first heard it from the mouth of Sean Michaels, author of Canada’s Said the Gramophone when talking about how I knew Milo McLaughlin aka the Clear Minded Creative.

It’s also an apt way of describing Fuzzystar frontman (and sometimes ‘only’ man) Andy Thomson.

Without goinging into the details of what we work or what either of us do, when I saw a chap with long, greying curly hair and a not unsubstantial beard rock up and get introduced as a new colleague I instantly thought ‘ah, fellow traveller’ and was right.

And not only does Andy Thomson like excellent music, he also plays it. Recently returned from a stint in London, Fuzzystar remains a going concern despite Andy’s key bandmates living hundreds of miles away.

Their first – and so far, only – release is Late Night Radio, a brisk slice of pretty, laid back folk pop with Americana influences. It’s available as a digital download, but seek out the physical version if you can. It’s a thing of beauty, a CD dressed up a piece of vinyl, and something to truly savour.

When we weren’t talking websites (work talk, sorry folks!) or shared musical loves, I spoke to him about Fuzzystar.

So who the hell are you?

Well, Fuzzy Star or Fuzzystar or pretty much any combination of that. Initially just me, Andy, but now anything upto six folk… usually hovering around the four mark for the past, slightly noisier, 18 months.

Describe your sound in ten words or less!

Melodic. Variable between one and nine pints.

Andy Thomson (Fuzzystar) by Dylan Matthews 2011 - bluebackhotrod.com

What inspired the Late Night Radio recordings?

The songs are a snapshot of my life back then I guess – a relationship or two that didn’t work out, and then a small obsession with radio. The kind where the dj plays you the songs they love but doesn’t come between you and the music. I’ve always enjoyed that.

You put a huge amount of effort into the CD version of the EP – a wise move given the ongoing emphasis on downloads?

He, he, probably not if you look at it financially… thankfully I’ve forgotten the costs now! I wasn’t sure at the time if/when there would be anything else to release so it seemed like a bit of a shame to just put it in a plain sleeve and I’d had thoughts of vinyl since the first songs were written, but the real thing was too pricey. It’s always nicer leaving a gig with something too, though downloads can be pretty handy… there is a Bandcamp version as well but I have a habit of losing things in computer crashes.

The EP was released a while ago. Have things changed for the band since?

Yeah, it has a fair bit. The EP launch helped get together a more consistent line-up. Having a good drummer and three other folk to turn up amps with is fun! The overall sound is a fair bit louder and more distorted than the EP as a result.

Are you planning to release any more material soon?

Yeah, definitely, not wishing to curse anything given how long these things take, but there’s an album in the works… we’re recording another four songs for it in a couple of weeks in London, so fingers crossed we’ll have something for the end of Spring or early Summer.

And can we expect any more live shows?

We’ve got Manchester this weekend, an Edinburgh one in March and then another London one getting scheduled for after that. Maybe back off to Paris as the band if we can get everything to line-up and a few more festivals again this year, who knows what next… Recording is definitely a priority though.

What’s with the name – is it a comment on your personal appearance???

The name’s a bit of a long story… or several short ones… insomniacs might find it a useful read… It involves liking the bands Big Star and Mazzy Star, having a changing line-up/appearance depending on who was free to play, which fitted with the definition of a fuzzy star and it also helped me not get mistaken at gigs in Edinburgh for my friend – also called Andy Thompson – who was in other bands and later became part of Fuzzy Star (and still is!).

Fuzzystar play Edinburgh’s Sneaky Pete’s on March 24 with the Bad Books and Cancel the Astronauts. More details here and you can sample Late Night Radio below.

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