Tag Archive: Come On Gang!
Yes, it’s that time of year again – absolute heaven for list writers as we try to assemble our favourite albums of the year into a single, ordered list.
We’ve gone for 50 this time rather than 25, although last year we did name our ‘next 25′ (unordered) as well as a further ten that we’d hoped to have listened to more.
We’ve not done that this time, although we appreciate the futily/ridiculousness of a single man assembling no fewer than 50 pieces of listening pleasure into an order of preference; also the fact that if it had been a different day and different mood, the make-up of this list could have been radically different. But sod it.
Here’s a blast through 50-26 with audiovisual context for all these great albums. The next five days will cover 25-1 with a bit more on why the Tidal Wave of Indifference thinks they’re so good. Here we go….
50. The Douglas Firs – Happy As a Windless Flag
A fine effort from the Edinburgh act, exemplified by key songs I Will Kill Again and The Shadow Line.
49. The Phoenix Foundation – Buffalo
Who said Kiwis couldn’t do dreamy indie?
48. Explosions in the Sky – Take Care, Take Care, Take Care
Perhaps not their best, but their always interesting and epic.
47. Friendly Fires – Pala
A decent fist of following up 2008′s debut. Simple pop songs crammed with hooks.
46. The Antlers – Burst Apart
Again, not in the same league as their amazing debut Hospice, but we’ve a lot of time for Peter Silberman and his squad.
45. Driver Drive Faster – Open House
Polytechnic weren’t great but their key figures regrouped for this lovely slab of indie pop, championed by Marc Riley
44. The Field – Looping State of Mind
Mind-warping German shoegaze techno. Nice.
43. Sparrow and the Workshop – Spitting Daggers
Increased momentum from Jill O’Sullivan and co. Every bit as good as their brace of mini-albums from the past few years.
42. The Kills – Blood Pressures
Their best yet? Unlike Jack White, Alison Mosshart hasn’t let the distraction of the Dead Weather get to her.
41. Bibio – Mind Bokeh
Good stuff this, a freaky eclectic album that defied all genres.
40. Dutch Uncles – Cadenza
A more than reasonable attempt at XTC-aping wonk-pop from a young Manchester troupe.
39. United Fruit – Fault Lines
Scotland does Fugazi/Trail of Dead noise. And does it damn well.
38. The Go! Team – Rolling Blackouts
A return to form after a lengthy absence with help from Bethany Best Coast.
37. Elbow – Build A Rocket Boys
They’ll never recapture the magic of Asleep in the Back but it was a darned sight better than their dreary 2008 Mercury winner.
36. Mazes – A Thousand Heys
Joyous, scuzzy indie pop that does exactly what it says on the tin.
35. And You Will Know Us By the Trail of Dead – The Tao of the Dead
A fresh line-up and fresh ambition from the Texans. Big rock songs and proggy madness.
34. Wye Oak – Civilian
Built mainly on two songs – Holy Holy and Dog’s Eyes – what songs they were.
33. Lykke Li – Wounded Rhymes
Former pop ingenue took on Jonsí-esque levels of lunacy and created a stunning record of massive tunes.
32. Come on Gang! – Strike a Match
Already much-missed Edinburgh indie-pop three-piece’s first – and last – album.
31. Trips and Falls – People Have to Be Told
Tongue-in-cheek pop from Song, by Toad’s American imports.
30. Adam Stafford – Build A Harbour Immediately
Very much a slow burner. We were unconvinced after his album launch but repeated listens saw this shoot up in our opinion and we’re now converts to his live show too.
29. Kurt Vile – Smoke Ring for My Halo
Sleepy, stoned stuff from the prolific singer-songwriter.
28. Kate Bush – Fifty Words for Snow
Utterly, utterly baffling. Stephen Fry naming (oh yes) fifty words for snow, a song about shagging a snowman and a rare occasion where an Elton John guest appearance enhances, rather than ruins, a song.
27. The Horrors – Skying
The NME still love them, and this is some rare common ground for ourseleves and the increasingly childish music weekly. Where shoegaze meets garage meets dream pop.
26. Low – C’mon
Probably their best album in three years, this was short, sharp and bloody great.
Yes, the indie-pop trio have decided to split on the same day they release their debut (and now only) album Strike a Match.
I think I speak for everyone who knows their music whenever I say: “BUGGER!”
Thankfully they’ve decided to burn out, not fade away. Not only is Strike a Match now out, but they’ve also just played a triumphant final show in the hushed and wholly inappropriate surroundings of Pilrig Church in Leith.
More about the gig in a bit. Let’s tackle the album first. It’s a beezer. I’ve seen them play live a few times now and was confident that the record wouldn’t disappoint, but it’s always a pleasure when a band you love manages not to fuck it up.
Live favourites Coffee Shop, Fortune Favours the Brave, Wheels and Spinning Room are all present and correct. Paul Savage’s production does the songs justice, ensuring the guitars pack a punch and the drums pound like they should.
Sarah Tanat-Jones’ vocals are where they should be - right at the top of the mix – and while the whole ”wow, a GIRL singing and PLAYING DRUMS” schtick must be tiring, it’s again worth noting that she does both really rather well.
The songs noted above are probably the highlights on a very, very good album and it makes me a little sad that this is the last we’ll be hearing from them. They’ve added charm, grace and humour to confident songwriting and musicianship to ensure that any suggestion of generic indie – let’s face it, how many modern guitar/bass/drum acts you’ve heard have been truly inventive? – is gleefully sidestepped.
Live, to get straight to the point, they kick ass. Again.
The support bill – songstress Hailey Beavis, power pop from Cancel the Astronauts, wildly inventive chamber-poppy two piece Over the Wall and the night’s very special guests Kid Canaveral – is dazzling and I dare say you’ll be reading more about one or two of these acts on the Tidal Wave of Indifference very soon.
They took the stage with a slight difference – Kid Canaveral’s David MacGregor stepping in for the departed Rob Howell on bass, but thankfully they lose none of their live power.
As you’d expect, they charge through their album with gusto and express huge gratitude to everyone for being there. It’s all a bit emotional, but the band takes their last breath on a high note – the closing double whammy of Spinning Room and a second airing of Fortune Favours the Brave provokes euphoric dancing from men old enough to know better and one of Kid Canaveral even indulges in a bit of crowd-surfing.
If this really is the last we hear from Come on Gang! they truly did themselves justice tonight.
I spoke to guitarist Mikey Morrison before the gig.
Why, why, WHY are you splitting up???
When we started the band a few years ago in our dusty boiler room-cum-practise studio, we knew all the stuff we wanted to do and, in short, we’ve pretty much done it all. The album’s a really good summary of what we’re all about and, with that on it’s way, it’s time to try our hands at other things. It’s like we’ve cut our teeth with Come on Gang! and now it’s time to venture out into the world all by ourselves!
Booooo. So no truth in the rumours that Sarah’s knife throwing act or your escort agency have interfered with the dynamic of the band?
Well ‘rumours’ is a strong word isn’t it? Those things may have contributed, but I ain’t giving up no money for sex gig in a hurry!
A proud moment to get the album out?
Yeah! We’re very proud of it and can’t wait for it to be out in the big bad world.
You came very close to winning Hog the Stage last year. Would playing Edinburgh’s street party have changed anything?
No, winning the Hogmanay thing wouldn’t have changed it one bit. We had decided before we even played that, but an ‘insider’ suggested we enter and, lo and behold, we got through to the final. A bit of fun, but we didn’t expect to win anyway. We got all sorts of news after we announced our decision, some of it from ‘industry’ folk and, thankfully, we didn’t hesitate in agreeing that it was 100% the right decision. Tough but the important decisions always are.
So what’s next then?
Well I can’t speak for Sarah too much, but I have already subtly started my next move. Nothing huge, just writing, recording and releasing more music, playing with mates and generally just enjoying music again without any burden of outsiders being involved. I know Sarah is hard at work on her next step too, which I am very excited to hear at some point.
Well that’s that I suppose! I’m excited to hear what they do next, but for now you can listen to album opener Coffee Shop below. Physical copies of the album will be available in Edinburgh’s Avalanche for a limited time and it’ll be on your better download services.
You might have already sussed that the Tidal Wave of Indifference loves felines, big or small, so it was with much delight that we heard about Kitty the Lion – almost as moggy-tastic a band name as Cats and Cats and Cats, but thankfully with better music.
The Kitties, as absolutely no one else is calling them, are ostensibly built around singer-songwriter Anna Meldrum, who has forged a decent reputation as a solo artist in her own right.
She’s been collecting band members (including Admiral Fallow’s Joe Rattray and Jocasta Sleeps’ Callum Wiseman) since 2009 and they’re now plying their trade under the Kitty name.
Their’s is a brand of accomplished folk pop with plenty of commercial appeal, and a few more ideas than say, KT Tunstall. Fresh from the release of double A-side Gutted/Split Ends and an appearance on STV’s The Hour (yes, really…), they’re into the final five of the Hog the Stage competition to open Edinburgh’s legendary Hogmanay celebrations and share a stage with Biffy Clyro, the Charlatans and the Coral.
It felt like the right time to catch a word with Anna and see what all the fuss is about.
So who the hell are you?
We are Kitty the Lion from Glasgow and we consist of me playing guitar and singing AT THE SAME TIME, Sorren playing guitar and singing AT THE SAME TIME AS ME AT THE SAME TIME, Callum playing mandolin and singing AT THE SAME TIME AS BOTH SORREN AND I PLAYING GUITAR AND SINGING AT THE SAME TIME and Joe playing bass and Nick (Roan) playing drums.
Comprehensive! So describe your sound in ten words or less!
Slightly girly folk-pop despite four-fifths of us being male. Hypens make two words into one word, right?
Any feline-themed name will get my attention but you get bonus points for doubling up. Where did the name come from?
We had just written a song about lions and I have always liked the name Kitty, because it was my great-grandmother’s name. So those two things got splodged together in my mind. I also quite liked the idea of having a band name that sounded like a cartoon character.
You’ve had a few singles out now. Can we expect an album soon?
We are planning to lie low for a while, write and record an album and then do a big pounce next year! Zebras beware.
Having ostensibly been a solo artist for quite a while, how does it feel to now have a number of experienced and talented musicians on board?
It’s good in two opposing ways. Firstly, it lets me be a bit lazy live because when I make mistakes the noise everyone else is making covers it up a bit, whereas on the other hand it intimidates me into coming up with better tunes and arrangements because I want to impress them. Plus they are handsome, so the ladies like it.
You recently played on STV’s The Hour show. Great exposure. But how did it feel to meet the legendary, ummmm…. Michelle McManus??
She talked about singing for the Pope and I was impressed. I wanted to ask her if she’d join forces with me to get Gillian McKeith deported back to Sadists’ Island, but I was too chicken to ask.
Finally, you’re through to the final five of Hog the Stage alongside Tidal Wave faves Come On Gang! What would it mean to win and share a stage with Biffy Clyro and the Charlatans?
Well, if we got to share a stage with Biffy Clyro I would find it hard to not to propose to Simon Neil there and then!
It’s hardly a shock to hear about the buff semi-naked yeti that is Mr Neil having yet another female admirer, but I’ve advised Anna that she’ll need to get behind Mrs Tidal Wave in the queue.
You can see Kitty the Lion and Come On Gang! at the Hog the Stage final at Edinburgh’s Picture House on Sunday November 21. At £5, you’d be stupid not to go.
Admittedly, there is some pish playing too, but all the more reason to show your appreciation for the aforementioned acts in front of the judges and make sure Scotland is well represented and that the only generic indie act playing Hogmanay is the Coral.
Gutted/Split Ends is out now on Dead Hip Records and available through all good download services. If I wasn’t having IT ‘issues’ I’d give you a streaming link – sorry!
So often, the final part of a trilogy is a distinct let down compared to what’s come before. I’m thinking Spider-man and Aliens, here. Even Return of the Jedi was a below par closing chapter.
Thankfully, the same cannot be said of the Ayetunes Vs Peenko series of gigs put on by esteemed west coast bloggers, known as Jim and Lloyd to their Mums.
The final installment is at the Classic Grand and first up is Luke Joyce, playing under his I Build Collapsible Mountains guise. Last time I saw Luke play live was with the Gothenburg Address, and here he seems to have swapped walls of noise and his black hoodie for a plain old acoustic and a nice sweater.
Thankfully, we’re not into Foster & Allen territory – Luke’s songs are deeply personal and affecting and greeted with raucous cheers from the small audience. Sadly, not everyone’s listening and the ‘you could here a pin drop’ reference that I’d hoped to make can’t be applied, but at least the irritating chatter drowns out the even more irritating teenage metal gig happening upstairs.
His set’s made up of songs from the recent Month of Lost Memories record – To the Dark, Rails and Empty Veins all stand out, and there’s the promise of more material to come sooner than we might think.
The last time I saw Come On Gang!, they impressed me with their anthemic, danceable indie-pop and tight arrangements. It’s good to see that not a damn thing has changed.
Singing drummer Sarah Tanat-Jones anchors the whole thing from her kit, and flanked by the boys, they’ve grown in confidence. They’re also in the final five of the Hog the Stage competition to play the Gardens at Hogmanay.
I’ll refrain from commenting directly on their competitors as I wouldn’t wish to cause offence to the other acts, two of whom I think are utter shite, but Come On Gang! are one of the two bands up for it who would both deserve it and put on a great show.
Tunes like the cowbell battering Red Thread are catchy as hell and they’d be a fantastic warm up act for Biffy Clyro and whoever else plays. Come on judges!
Tonight’s nominal headliners are the Seventeenth Century and the band that I’m the least familiar, with but they play a cracking set. Thankfully the crowd has swelled a fair bit too, as this is music that needs to be heard by as many people as possible.
Musically, they’re a remarkable mix of chamber pop, folk and experimentalism here, but the songs, from the gently echoing Roses in the Park to the closing crescendo of Notes are blinding, all five members trading harmonies throughout. Singing violinist Mark Farmer is as an intense a frontman as you’ll see this side of Nick Cave with bags of on-stage charisma.
They’re young lads, but with an EP due next month, more gigs – including a trip to Holland – and talk of an album in the new year, I’m going to stick my neck out and predict big things for the Seventeenth Century. Judging by the reception they get, I’m clearly not the only one here that’s impressed.
You’d think Scotland would get bored with churning out talented, passionate indie/folk/chamber-pop bands. Acts that build on this country’s unique relationship with traditional music, weave in indie pop and sing in a heavy Scottish brogue are ten-a-penny round these parts.
That would be annoying, in the same way that London STILL keeps punting out dirty, ragtag skag-pop chancers, if it weren’t for the fact that these bands are consistently really, really good.
The Seventeenth Century are another such act. Classicly influenced, they mix up strings and brass with gentle strumming and military drumming to create another fine addition to Scotland’s astounding music scene. Alongside other sonically similar new acts the Scottish Enlightment and the Son(s) we’ve plenty to be optimstic about for the future.
Of course, if this heartfelt stuff was the only kind of music Scotland produced, then it MIGHT get a bit dull, but the Seventeenth Century are set to link up with two very different acts (propulsive pop punkers Come On Gang! and laid back singer-songwriter I Build Collapsible Mountains, both previously featured on these pages) for the third act of the intimidatingly great Ayetunes Vs Peenko gigs, happening next week in Glasgow.
I caught up with Andy and Ryan from the band for a few words last week.
So who the hell are you?
We are a five piece band who come from all over Scotland. We met at Reid Kerr College and Glasgow Uni in 2007. The band consists of twins Andy and Mike Truscott, Ryan Burns, Nicky Grant and Mark Farmer.
Describe your sound in ten words or less?
Passionate vocals over unique instrumentation, thundering rhythms and orchestral harmony.
Are there any key influences on your sound?
Heavily influenced by sixties bands such as the Velvet Underground, Beach Boys and Left Banke. As well as post punk bands and experimental music such as Godspeed and Dirty Three, where we got the influence for the use of dynamics in our music.
You’re playing a style of music that Scotland seems to be doing very, very well at the minute. Do you feel part of a ‘scene’?
I don’t think we really are part of a scene in Glasgow at the moment. I think if you compare independent Scottish music nowadays compared to the independent scene of the eighties, then you realise there’s not really a scene at all in Glasgow that we’re part of. I think there was much more of a sense of community and togetherness within the Glasgow independent scene in the eighties. Musicians helped and supported each other. We get compared to the folk rock scene, but don’t really feel part of it. There are a lot of great people doing great things, but I don’t think there’s any specific unifying force within the aforementioned scene.
You’re the latest band to be playing the dishonourable Ayetunes Vs Peenko gigs. Looking forward to it or dreading the ‘unique’ experience?
Our label-mates Mitchell Museum played the first Ayetunes vs Peenko gigs which was a great show so yeah, we’re looking forward to it.
Finally, why the Seventeenth Century? Why not the Sixteenth or Eighteenth?
I suppose we chose the Seventeenth Century because the best composers came from the Seventeenth Century! We love baroque composers such as Bach and Vivaldi and also the baroque influenced bands of the sixties such as the Left Banke and The Zombies. Mike studied classical composers at Glasgow Uni so he brought his knowledge of baroque music to the band.
Ayetunes Vs Peenko 3 is happening at Glasgow’s Classic Grand on November 5. Get yourself along.
The band`s debut EP The Seventeenth Century Part I will be released on Electra French Records in December.
We Are… I Build Collapsible Mountains
Let’s ignore my obvious grammar faux pas above, given that I Build Collapsible Mountains is a solo artist.
After a little muted speculation over who the mystery man was, the cat is out of the bin and the name Luke Joyce has been publicly aired. Sound familiar? Scottish music fans may know him as the guitarist and driving force behind the Gothenburg Address.
Now I have to put my cards squarely on the table here. I love the Gothenburg Address, can count another member of the band as a good mate and am hugely disappointed that they appear to have gone on hiatus. Last year’s debut album was a storming affair and one of the best post rock albums I own. And yes, I’m including Explosions in the Sky and Mogwai in that assessment.
BUT… for all my guttedness over their lack of activity, Luke has used his time away from the band really rather well.
I Build Collapsible Mountains’ first release, the eight track album A Month of Lost Memories (it’s been billed as a mini-album, but eight tracks and a 37 minute running time is more than a mini album to me) is a rather hushed affair, a total contrast to Gothenburg’s quiet/loud fury.
Joyce describes the record as “small chapters of someone’s life, befriended by a friendly guitar”. Aside from the opening two tracks, which are a little beefier in terms of instrumentation, there’s little else going on here other than an acosutic guitar and a surprisely strong voice for someone who’s previously hid behind walls of guitar. I nabbed a word with Luke last week.
Tell us a little bit about yourself.
‘Ello. My name’s Luke. I am a singer/songwriter and photographer from Edinburgh, and I play acoustic choons under the guise of I Build Collapsible Mountains.
This is certainly a different approach to the music you’ve made with the Gothenburg Address, What brought about the change of direction?
The Gothenburg Address was always about creating huge soundcapes and walls of noise. After two years of melting faces, and what seems to be an extensive hiatus on the cards, I decided to go back to where I began – in my room with my acoustic.
You obviously now sing a bit too! Where have you been hiding that voice?
I used to sing in a few previous bands. I always hid behind loud, trashy guitars though. There’s nowhere to hide with the acoustic. I’m enjoying it though.
Can you tell us anything about the inspiration behind A Month of Lost Memories?
A Month of Lost Memories is a collection of lo-fi songs written and recorded towards the end of this summer just past. After graduating from art school I was a little lost, and had some time on my hands, so I just locked myself away in my box room (studio HQ) and started writing. There were various situations and circumstances that were feeding what turned out to be a floodgate of material.
You’re being billed as a solo artist – did you record everything on the album yourself? How are you taking it to live audiences?
Yeah, everything was recorded in my flat. I would just use what ever was closest sometimes to flesh out the tunes. One of the tracks has a drum track recorded exclusively using an empty Coke Zero bottle. In The Gothenburg Address I had a horde of pedals and gadgets in hand, so it’s been nice to get minimal again. I did contemplate bringing other people on board for the live shows, but for now I’m just going it alone.
You’re playing the third Ayetunes Vs Peenko gig next month - looking forward to it or dreading the uh, ‘unique’ experience??
I can’t wait!! It is indeed a great honour to be asked. Mr Peenko was one of the first people to listen to my music and he really encouraged me to push on with it, so much so that he is releasing the CD with me. The music blogs are such a great help for smaller acts like myself to gain exposure, so I’m super-excited to be involved with their show.
Unusual name… something profound or something you dreamed up on the spot?
I was, am, a huge fan of the tv show Heroes. During an obviously non-dorky Heroes discussion, I declared that I would like to be known as the ‘landscape gardener’ and would have the power to control the land. It kinda stemmed from that.
A Month of Lost Memories is out on October 13th on Peenko Records. Yes, THAT Peenko…
I Build Collapsible Mountains have a few gigs coming up including:
Oct 30 Edinburgh Sneaky Pete’s (w\CRYOVERBILLIONAIRES)
Nov 4 Elba Sessions @ Glasgow Liquid Ship
Nov 5 Ayetunes Vs Peenko 3 @ Glasgow Classic Grand (w/The Seventeenth Century & Come On Gang!)
You can have a wee listen to the album’s opening track Rails here:
Record launch parties can be enormously self-indulgent affairs. The bands are usually revelling in a misguided sense of their own importance, or twitch nervously as they count the trickle of folk coming through the door
Not so, the birth of Fortune Favours the Brave by Edinburgh’s Come On Gang! From the line-up to the venue to the gig poster, they’ve made a huge effort to make tonight feel special and it’s paid off in spades.
FFTB as we’ll call it from here on in has received widespread plaudits on the Peenko and Ayetunes sites, as well as this one, been played by Vic Galloway and generally been drooled over by the Scottish Indiratti (it’s a word – it’s just MY word, ok!).
In choosing Edinburgh’s under-appreciated Caves as a venue the three-piece have also given the night a sense of intimacy and majesty all at the same time. Literally, a cave carved into the city, it’s a roomy, beautifully lit setting and the first band to sample its atmosphere are the Toad-affiliated Jesus H. Foxx.
The crowd is still a little sparse but their multi-instrumented indie folk goes down well and they sound a little like a Scottish Tunng with a touch of an earthier Talking Heads about them.
Found have been around for years and just haven’t quite managed to cross over despite numerous plaudits. This week’s big announcement was that they’ve signed to Chemikal Underground for their third record, a mark of Scottish musical quality if ever there was one.
Maybe this time round the world will be ready for their beats-driven experimental pop. If tonight’s showing is anything to go by they’ve still got a massive appetite for playing music and are at their best when they get a bit of a groove on.
The Found guys follow their live performance with a short DJ set of glitchy electro and the main attraction step up to the stage shortly after.
They certainly needn’t have worried about the crowd. By the time they start, The Caves is absolutely hoaching and everyone’s dancing within seconds of the first note.
They’ve got great songs, brilliant on-stage energy, are tight as hell and in singing drummer Sarah Tanat-Jones have an asset that could take them up to the next level. More often than not a girl in the band gets handed vocal duties just because her vocal are just a little less shit than the boys’ – not so Ms Tanat-Jones.
She has a seriously strong voice and injects Come On Gang’s tunes with real heart – all the while pounding her kit with considerable venom, quite a skill in itself.
Guitarist Mikey and bassist Rob sing a bit too of course, and together they blast through a set of old and new material, much of which will surely appear on their hotly anticipated album, hopefully due sooner rather than later.
Guest musicians are rolled out on cello, piano and second guitar, adding depth and power to a handful of songs. The cello assisted Wood for the Trees (I think!) sounds particularly interesting and is very different from much of the rest of the set, which, while not remotely generic, is largely three-minute pop songs in the vein of Wire or Urusei Yatsura.
Unsurprisingly they finish with FFTB and it’s greeted like the national anthem (thanks Vic Galloway!), before returning for a hysterical run through of the Human League’s Don’t You Want Me.
The whole thing sounds like ‘a moment’ – a superb night of music with a lingering feeling that you won’t be able to catch Come On Gang! in a venue this small for long, so go see them while you can.
Tour dates, FFAB audio and download details are right here!
Right then. It’s only taken me six months, but I’ve finally pulled the finger out and started talking to bands rather than just spraffing on about them.
First up are up and coming Edinburgh three-piece Come On Gang! who release their third single Fortune Favours the Brave next month.
Sarah Tanat-Jones (Drums/Vocals), Mikey Morrison (Guitar/Vocals) and Rob Howell (bass) have opened for White Lies and the Noisettes, but don’t let that put you off. They were game enough to answer a few questions in a fashion that ranged from sensible to surreal.
So who the hell are you?
Sarah: We are three people living in Edinburgh with a collected age of 203, a skills base that includes cheesemongering, illustration, speaking in binary code, cooking pavlovas, and of course playing bass, guitar and drumming/singing. We haven’t all grown up in Edinburgh but it’s our happy home and we try to fill it with energy-fulled tuneful pop whenever we get the chance.
Mikey: Sarah covered this very well so I shant add anymore, except that I’m handy with some superglue and a bow and arrow.
Rob: Also, my skills include the ability to fold an A4 piece of paper into a box that is ideally suited as a bowl for a baked potato.
Fri 3rd Sept 2010
Thurs 9th Sept 2010
Fri 10th Sept 2010
Sat 11th Sept 2010
Tues 14th Sept 2010
Fri 17th Sept 2010
Sat 18th Sept 2010
Sun 19th Sept 2010
Island of Eigg, Inner Hebrides
Away Game Festival
Sat 25th Sept 2010
Tues 28th Sept 2010
Fri 8th Oct 2010
Sat 9th Oct 2010