Tag Archive: The Douglas Firs


The Tidal Wave of Indifference Albums of 2012: 15-11

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December 19, 2012

merryfuckyouA LOT of albums get spun over at Tidal Wave towers over the space of a year, so we consider a huge number for this annual indulgent waffle-fest. Some bands just don’t make it easy to give their record the best possible shot at glory – specifically those selfish sods who realise an album in late November or later (or ahem, ones we don’t notice have a record out until then). Here’s three:

Japan’s Mono have specialised in grand, orchestral post rock for years. For My Parents sounded at least as good as anything else they’ve done in the single listen we’ve been able to give it.

We’ll expect big things from Canada’s Metz in the future. Judging by VERY recent debut album, hardcore punk could get relevant once again.

The EP that Wrexham’s Gallops put out a few years back promised greatness; it sounds as if this full length record may just have delivered it. We even had it pencilled in as our last album of the week for 2012 but ran out of time to give it anything more than a cursery listen. For fans of Errors, aye?

Anyways…

15. Bob Mould – Silver Age

In the year that Sugar’s seminal Copper Blue got its twentieth anniversary bumper reissue, the last thing you’d expect the band’s erstwhile frontman to be doing is firing out a really good solo album stuffed with sharp riffs and caustic lyrics. But that’s exactly what did.

14. Woodpecker Wooliams – The Bird School of Being Human

A genuine little curio, from an eccentric young English singer-songwriter. Driven mostly by harp strings and found sound, they appeared from nowhere and won us over in a heartbeat. A fabulous live show at a Song, by Toad BAD FUN night rather helped.

13. Godspeed You! Black Emperor – ‘Alleujah! Don’t Bend! Ascend!

For all your Mogwais and Explosions in the Sky, every post rock fan’s wet dream was always going to be a new Godspeed album. Off hiatus, and even with a record of mostly old songs recorded for the first time, this did not disappoint.

12. Django Django – Django Django

Also known as the one where a bunch of Edinburgh art school students fled to London and got massive. And it was well deserved. Surely one of the oddest bands to hit the mainstream in years, they were robbed of their Mercury by overrated charisma vacuums Alt-J, but the recognition will surely only spur them on.

11. The Douglas Firs – The Furious Sound

The stunning second album from Neil Insh’s collective chilled our hearts with its tales of witch trials, but warmed our senses with minimalist, percussion heavy, doom-laden folk. We’ve always liked them, but just how good this was came as a bit of a shock.

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The Furious Sound

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December 3, 2012

Album of the Week: The Douglas Firs – The Furious Sound

We’re just gonna throw this out there from the off. The Douglas Firs are the most under-appreciated band in Scotland.

The problem is partly one of their own making. They don’t play gigs that much and it took six years for main man Neil Insh to complete last year’s debut Happy As A Windless Flag, an accomplished but imperfect effort.

It’s a surprise then to find a full length follow-up emerge a mere eighteen months later, especially with an odds and sods EP being released in between; arguably more of a surprise to find that it’s an absolutely incredible piece of work.

Windless Flag emphasised subtle but rough guitar sounds with occasional blasts of noise, all the while maintaining the intellectual high ground. The Furious Sound, loosely based around the East Lothian witch trials of 1590, one of those unsavoury historical moments that will have you despairing of our misguided ancestors, a concept which pushes the album well beyond your standard fare.

Musically, too, things have moved on. While not completely absent, guitars are at a premium, with Insh basing most songs on a platform of doom-y piano and thunderous percussion. Opener The Great Generation and Backroads both power in on relentless drumming.

There’s a sinister beauty across the whole album, much as you’d expect from something inspired by a incident that belongs in a horror film. Apologia is ominous and bleak, and it’s on slower numbers like this and The Possessed that you’ll notice what an emotive singer Insh actually is, without ever overdoing it. Oh, and when the piano kicks in on the latter at 1.35 may be one of the finest moments committed to record this year.

Wiccan tales aside, this is a dark, elegant and highly listenable record from a band that are starting to fufil their potential. Insh has come of age as a twisted songwriter and has crafted 13 beauties from a macabre reference point.

There’s always a record that slips into the higher echelons of our annual countdown despite its tardy release date (The Furious Sound is released on December 10 on Armellodie). We reckon we’ve found 2012′s candidate.

We caught a word with Neil Insh last week.

What inspired you to record an album about the East Lothian witch trials?

Essentially, it was an idea ripped off of Liars. I was into their album They Were Wrong, So We Drowned. Round about the time I was having this particular Liars obsession, I was reading up about the East Lothian witch trials. Furthermore, I was also emailing churches, asking if i could use their organs. Not human organs, sadly. Anyway, the only church that got back to me was South Leith, and coincidentally it was the parish of the chief persecutor. Sometimes I like to run with coincidences, even though I know that is all they are. It was a little weird though, because the grave of the minister is below the church space I was recording in. The album became less about witches anyhow, as the recording went on.

How do you feel the band has changed since Windless Flag?

Just like any band, I suppose. You discard ideas that didn’t work, you try out new ones. We’ve begun to plan another record, hopefully out by next summer. Working quickly and without too much labouring can usually produce better results. Why spend years on one thing? This question is a criticism of myself, in the past.

Does the record feel more like a collaborative effort?

In some ways yes. I recorded most of the record in South Leith church, then we filled in some of the gaps together. Actually, we recorded one entire song all playing different drums, with no music, in a big room. that was fun. That was probably the most collaborative thing we’ve done.

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The Best Albums of 2011 – 50-26

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December 11, 2011

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.

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Some things we’ve learned about running gigs… and some more gigs we like

Filed under: Gigs, Random Nonsense — 3 Comments
September 26, 2011

Hello there.

We’ll get to the post mortem of The Tidal Wave of Indifference Presents… shortly, but first here’s a sorta gig guide to help keep you entertained for the next few weeks.

First up is the latest Ayetunes-branded gig at Glasgow’s Captain’s Rest on Wednesday (Sept 28). School night gigs are always a problem for us, especially in Glasgow so we won’t be there, but with Jim’s latest venture involves the redoubtable Shambles Miller,  plus the Sea Kings and Spook School who we’re less familiar with. We recommend you make up for our non-attendance and get yourself along – it’ll cost you a mere fiver.

Saturday (Oct 1) brings an unfortunate clash with both the launch of Supermationation’s new EP Amongst the Northern Lochs at the Wee Red Bar (playing two sets – one acoustic, and one plugged in!) plus support, all for free…. and over at Henry’s is the latest Ides of Toad gig (tickets) featuring John Knox Sex Club, Easter and Fuzzystar.

Tough one, this and we don’t envy anyone having to make that choice. Ours is made for us by virtue of a poorly-planned weekend up north which means that we won’t be heading to either. Hopefully you’re getting a bit of a theme here?

Finally, another mention for Michael Feerick and Matthew Collings at the Wee Red on October 16, as put on by Pendulum Man (tickets). Feerick was the frontman of Tidal Wave faves Amusement Parks on Fire so we’re cursing Maw & Paw Tidal Wave for choosing that weekend to foist themselves on us, especially now that the superb Debutant has been added to the bill. Bugger.

And so, to Saturday’s shenanigans at the Wee Red Bar. Some things we’ve learned:

1. Come loaded with pound coins if you’re going to charge something stupid like £6… alternatively just charge a simple price, like a fiver. Keep It Simple, Stupid.

2. Never have any expectation that the soundcheck will run as you’ve planned.

3. A wide variety of instruments will upset a soundman. Greg, our excellent technical guy was stunned that we’d managed to find four bands with a fiddler, which caused some stress. And that’s before we got to Lost Telegrams’ accordion and mandolin.

4. Don’t trust Facebook. Our list of attendees looked healthy pre-gig, but around a dozen or so people we know personally didn’t show. Things come up, we understand, IT’S OK. But it doesn’t work that well as an indication of attendees. But to be quite honest if everyone that said they were coming on Facebook had showed, we would have had to start turning people away. Seriously.

5. Do expect to have an absolute ball.

Seriously, any pre-gig worries about numbers were already dispersing 20 minutes after doors opened as Lost Telgrams were striking up, and absolutely blown away by the time the Douglas Firs hit the stage. We had almost 130 paying punters through the door, and even though a decent chunk of that came from the bands’ cheaper guestlist, we still had enough money to pay all four acts handsomely (we think) and made a modest profit ourselves which we promptly drank in Brauhaus and the Citrus Club.

So….

Thanks to everyone who came along – you surely couldn’t have failed to have fun?

Thanks to the bands. You were all absolutely brilliant. Well, we think… we were rather busy at the door for Lost Telegrams and the Douglas Firs, then totting up money and selling merch during Star Wheel Press. But there were plenty of wonderful sounds coming from behind us. The only band we were able to focus on fully were French Wives, and they were indeed superb. Everyone told us in the pub how great you all were anyway (and here’s a lovely review of the evening if you’ve not already seen it) and I was delighted to see a bundle of merch being shifted too.

Thanks to the staff at the Wee Red. Like the bands, you took a chance on a rookie promoter. I can only assume you made an absolute packet at the bar?

Thanks to Mrs Tidal Wave for keeping me sane on the night, helping with – no, doing – the door and putting up with my drunken foolishness once we’d moved on.

Phew.

We enjoyed it so much we’re DEFINITELY DOING IT AGAIN. Stay tuned!

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Bandcrush: French Wives

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September 10, 2011

Scottish indie music is surely in the rudest health it’s been in for years. Frightened Rabbit have blazed a trail with signing a major label deal and the likes of Admiral Fallow, We Were Promised Jetpacks and Broken Records all now have international profiles.

And that’s before you even scratch the surface. Readers of this blog and many others will know all about the many great bands dotted around the country that just don’t get the same recognition.

If there’s one band that could – and arguably should – be ready to hit the same heights, it’s Glasgow’s French Wives. With a number of singles and EPs already under their belts, work on a debut album is well under way with the renowned Tony Doogan in the producer’s chair.

In typical Tidal Wave-style, this is yet another party we’re late for. Desperately late, in fact. Even though they won the inaugural Radar prize, shortly before we linked up with the popular Scotsman-affiliated site, it took us until this year’s Stag and Dagger festival to properly notice them, and we were more than happy to pen a few words about just how damn good they were for the Skinny. 

We’re definitely fully paid up converts now, which is why we asked them to play our first ever gig night later this month with Star Wheel Press, the Douglas Firs and Lost Telegrams, and were seriously chuffed when they said yes.

While some of the bands could be considered to be quiet and low key, French Wives will be bringing brassy, sing-along choruses and catchy melodies to the Wee Red Bar in a few weeks.

We can’t wait, and had a word with singing guitarists Stuart Dougan and Scott Macpherson this week.

So who the hell are you?

SM: We’re French Wives, a 5 piece indie-pop band surviving in Glasgow. We’re four boys and a girl (the band are completed by violinist Siobhan Anderson, bassist Chris Barclay and drummer Jonny Smith).

Describe your sound in ten words or less!

SM: Melodic indie pop music that is hopefully intelligent, yet accessible.

SD: Definitely not folk music!

You’re in the middle of recording your debut album proper – what can we expect from it?

SM: I think in terms of songwriting, arrangements and production it will represent a massive step up from us. We’ve been immensely lucky to convince the excellent Tony Doogan, who has produced some of our favourite bands, to produce the album for us, and what we have so far sounds like it’s coming along nicely. There are eight new songs, and we’ve completely rearranged our “smash hits” (note the inverted commas!) Halloween and Me vs. Me for the record.

SD: At the moment it’s only about 60% complete but it sounds a lot bigger and better than anything we’ve done before. Tony has made a huge difference in terms of bringing out the best in the songs. It makes us slightly shy in offering up any of our old music in the knowledge that this is going to be vastly superior to what has gone before.  All of which makes it increasingly frustrating that it isn’t finished yet!

And when can we expect to hear it?

SD:  The plan is that it will be out in February 2012 via Electric Honey Records.  There will be single coming much sooner though.

A lot of nice things have been said about the band in the last year. Do you feel a burden of expectation?

SM: Ha, not really. With all the nice things that are said - which isn’t really THAT often an occurrence  there is normally an equal amount of bad press, so it evens itself out somewhat in the end. Plus we’ve been so quiet whilst writing the album and stuff for the past while that it seems that everyone has forgotten about us! So we’re hoping to come back with a bang and be a new exciting band again over the next few months.

SD: It’s nice when people say nice things about your music but it’s all to be taken with a pinch of salt.  There are people that gushed about our band when we first started that don’t seem to bother with us anymore and don’t come any see us anymore so I don’t think there’s a burden as such when it can all be quite fickle.  Ultimately we’re confident that we’re making a record that’s much better than what we’ve done previously and if you like our band you’ll really like this.  A lot of our praise has been garnered from quite a small and specific group of people and something Tony has drummed in to us is that the world is a very big place and there a literally hundreds of thousands of people that are yet to hear our music so it’s not really do or die for us just yet.

What can an Edinburgh gig-goer expect from your live show then?

SM: Hopefully some nice songs and some fun and some singing along if they know the words (we like that!).

SD: Generally plenty of space around them as hardly anyone comes to see us in Edinburgh (we’re keen to address this issue – Ed)!  That being said, those that do venture out will see plenty of the aforementioned melodic indie pop, only a little louder and faster.

 

French Wives? I’ve heard dodgy Dave down the Duck sells DVDs called that…. how the hell did the name come about?

SM: There is an old “erotic” film called French Wives that was released in the ’70s however none of us have seen it – but that’s not through lack of trying (try harder! – Ed)!

SD: A friend was going to use it for their band name but didn’t so we pinched it as we needed something for our first gig.  It was to do with a conversation about Jarvis Cocker having a French wife I believe.  It’s nothing to do with the porno, though we’re all eager to see it if it can be tracked down.

Bloggers running gigs – it’ll all end in tears, right??

SM: Not at all! You bloggers seem to be getting dead good at putting on gigs, and of course the major advantage is that they always get coverage in the blogs! We’ve never played a blogger’s night before though, so it all remains to be seen. I think it will be a good one though. It will be nice to go over and play in Edinburgh at a night with a bit of press behind it.

SD: From what I gather we’re going to play to a group of people, get paid and drink beers.  You might actually be my favourite promoter ever?

Perhaps we should hold back such accolades once we know it won’t just be two mates and a flatulent dog you’re playing to. On that note, you can get tickets to the Tidal Wave of Indifference Presents… right here. We have an amazing line-up, do come!

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LIKE OR DIE!

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September 5, 2011

You! YES, YOU!!!

You want to win a ticket to the Tidal Wave of Indifference Presents, don’t you?

What do you mean “what’s that??” We’re talking about the rather fine gig we’re putting on on September 24 starring Star Wheel Press, French Wives, the Douglas Firs and Lost Telegrams of course.

And you, yes, you can win a ticket for yourself and a mate by doing one dead easy thing – hitting the ‘like’ button on our Facebook page.

Here’s how it works – if we get to 100 likes by midnight on Sunday September 11, we’ll do a random draw of the aformentioned likers (excluding those already involved in the gig) for a pair of tickets.

Yes, we’re a wee bit short of that magic number but there’s a whole seven days to go. WE KNOW YOU CAN DO IT.

Can’t make the gig? Don’t ACTUALLY like us – click the button anyway and give others a chance!

Tell your pals – aside from the chance to win this, ahem, pestigious prize, our Facebook page will keep you bang up to date on what we’re up to, and more importantly all the great bands we’re featuring.

Yes, we want you to like us. Yes, we want to promote our gig. But we’re also kind and generous sorts and want to treat YOU to an evening of fine music.

You know what to do.

"Look, Douchebag, just click the damn button!!!"

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A Tidal Wave of Dead Air

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August 22, 2011

Part two of my radio show on Freshair took place on Sunday night and despite one or two Gremlins, i.e. a presenter unable to use the software properly, it went rather well.

There was live music from Debutant and tunes from Black International, Warpaint, Battles and loads more. You can listen again below, with some niggles helpfully ironed out in the edit by producer Christian Illingworth.

Back on the air on Saturday (August 27), 8-9pm.

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The Tidal Wave of Indifference Presents…

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July 11, 2011

Yes, after a year of blogging, ligging, and general arm-chancing, the Tidal Wave of Indifference is finally branching out into the inevitable, and putting on our own gigs.

Our first event will be on Saturday September 24 at Edinburgh’s legendary Wee Red Bar with a mouth-watering line-up.

The debut album from Aberfeldy’s Star Wheel Press was named album of the month for June by Team Avalanche and The Life Cycle of a Falling Bird has been practically flying off the shelves down at the Grassmarket. With endorsements from Ian Rankin, Lauren Laverne and more, the band are influenced by Bon Iver and Midlake and have built their sound around Irishman Ryan Hannigan’s languid storytelling and Craig Milton’s sparsely played banjo and guitar. We’re absolutely cock-a-hoop to have them involved.

After a series of successful EPs, packed shows and being named the inaugural winner of the Radar Prize, French Wives are in the middle of recording their debut album with producer Tony Doogan (Belle and Sebastian, Mogwai, Teenage Fanclub) set for release later in the year. Also named as ‘one to watch’ by Drowned in Sound, the Wee Red Bar will be the perfect showcase for their upbeat, classically Scottish songs, before their inevitable push into the big league.

Former Jesus H. Foxx man Neil Insh released the Douglas Firs debut album, Happy As a Windless Flag, a six year labour of love, earlier in the year but is wasting no time in recording a follow-up with a full band in tow. If the new material is half as good as the likes of I Will Kill Again or the Shadow Line, we’re in for a huge treat come September.

Opening the event will be Edinburgh’s latest exciting alt-folk prospect, Lost Telegrams. Currently looking at recording their debut EP, the band hope to have it ready by the time they take the stage at the Wee Red. Still in their infancy as a band, we’re tipping them for big things and are delighted to have them on board.

Tickets will be available for £6 through Brown Paper Tickets. Doors at 7pm, over 18s only (obviously).

For more information, please email thetidalwaveofindifference@gmail.com. There’s also a Facebook page over HERE. Hope to see you there!!!

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Beautiful Ground

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June 30, 2011

Album of the Week: Something Beginning With L – Beautiful Ground

You know that rather wonderful feeling you get when you chuck on a new album and it feels so perfect, it’s almost as if it’s been written just for you?

Well that’s the feeling the Tidal Wave of Indifference got when we put on Something Beginning With L’s debut album for the first time.

We’ve gone on record many’s a time about our love for My Bloody Valentine and the multitude of bands that claim to be influenced by them. So we’re delighted that SBL (that’s what we’re calling them from here) follow a similar path, albeit with enough of their own identity to rise above being mere shoegaze copyists.

There are stacks of reverberating guitars, sweet melodies and subtle background blasts of noise throughout the piece and the band they arguably most resemble is Welsh ‘popgaze’ trio the Joy Formidable. Songs like Last Night’s Party, Hobby and One Knee Two Knee are awash with stunning female harmonies courtesy of twin vocalist/guitarists Jen Macro and Lucy Parnell and if this were a just world they’d be all over 6 Music like a rash.

They’ve got rock royalty credentials as well as they tunes. Drums have been provided on three songs by PJ Harvey collaborator Rob Ellis and members of the band have been involved with Graham Coxon, Charlotte Hatherley and Robyn Hitchcock.

Famous friends can bring recognition but they shouldn’t need them. Beautiful Ground’s 12 songs are concise and captivating, melodic and monstrous all at the same time.

If there’s a single issue to raise, it’s not even with their recorded works, it’s about the lack of a live drummer. Clearly, Ellis isn’t going to come out on tour with them but live they do lack a little percussive power, judging from their otherwise superb support slot with the Douglas Firs earlier this month.

But that shouldn’t detract from a very fine album indeed. The challenge for you now, oh reader and fan of fine music is to prevent Beautiful Ground from becoming 2011′s great lost album.

We caught up with bass and keys man Jon Clayton hots on the heels of their recent Edinburgh shows at Sneaky Pete’s and Avalanche Records as part of an Armellodie showcase.

It’s almost like this album was tailor-made for the Tidal Wave of Indifference – tell me a little about the writing and recording of Beautiful Ground.

Most of the songs from Beautiful Ground were conceived by either Jen or Lucy and then filled out and arranged by all three of us. We set out to make an album that sounded as good on tape as it did in our heads, even if we wouldn’t be able to recreate it exactly live. So, for example, we enlisted the help of some remarkable drummers, and there were lots of lovely toys in the studio, we probably played with all of them through the process of recording this album.

How was working with the legendary Rob Ellis?

Rob’s an excellent drummer and a great musician. He brought a different dimension to the tracks he played on. Although we’re obviously in awe of his talent, and were frankly a bit nervous of working with him, he was lovely, and comfortingly positive about our music.

Did you enjoy your recent trip to Edinburgh – your first as a band?

Yes, it was our first as Something Beginning With L. We have played Edinburgh before in other bands, but that Saturday around the Grassmarket was our favourite time in the city. Avalanche Records is a great place to spend an afternoon and it’s been really exciting to finally see some of our Armellodie label mates. In fact all the bands we played with this weekend were inspiring.

The band name’s a cryptic one. Is there a particular word beginning with L you have in mind?

Yes!

Damn, we were hoping to get some genuine insight with that question. Foiled! No matter, we’ll just have to assume it was the first one that popped into our heads which was ‘leeches’. An obvious answer, yes/ You can buy this fine piece of art over on SBL’s Bandcamp page and from actual proper record shops. And here’s a tune for you:

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Bandcrush: The Douglas Firs

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June 16, 2011

Fresh from giving us the pounding southern stomp of Le Reno Amps, the Armellodie stable have produced the goods again with something a little different.

The Douglas Firs, a musical project led by former Jesus H. Foxx drummer Neil Insh, are a largely hushed, more thoughtful affair featuring sparse instrumentation and not a lot of vocals.

Debut album Happy As A Windless Flag came out last month, pretty much an Insh solo effort, recorded over a whopping seven years.

It’s a remarkably cohesive work but doesn’t better it’s opening one-two of I Will Kill Again, a woozy, plugged in drone, reminiscent of Deerhunter’s best work, and A Military Farewell, a mocking take on a burial with full honours that picks up the melody from traditional tune John Brown’s Body.

Death haunts the album like sex scandals haunt certain Premier League footballers, meaning that it’s not a cheery listen.

It is, however, a thrilling one, so it’s was only fair that we quizzed Insh about Happy As a Windless Flag, ahead of the band’s headline Edinburgh show at Sneaky Pete’s (June 18).

So who the hell are you?

Neil Insh, from Aberdeen. A nobody, but I like making music.

Describe your sound in ten words or less!

Someone with no technical skill has learned some pop chords.

How the hell did you pull together an album that took so long to gestate into a coherent piece of work?

Notebooks - I have more of these than albums.

Did you record the piece all by yourself?

Yes, although I had help from some people who could play instruments better than I. My laptop is like a portable recording studio, which has advantages and drawbacks. although I’m a fan of locational recording, I also really admire a coherent piece of work that reflects a singular location (plus a succinct ‘era’ – my record is an era of many years and many places, so it’s a little jumbled).

Being ‘happy as a windless flag’ screams ‘not happy at all’ to me. Fair comment?

Not exactly – the title comes from a notebook entry from about five years ago. I was watching a moth lying idly on the wall during a gigantic thunderstorm in Berlin. for me it seemed to represent an idea I had been thinking about. The moth was certain to die, but it was just hanging there like an old flag watching the storm. The idea is that there’s only so much you can do in life to affect the course it will take. so, to enjoy it for-what-it-is seems to give some meaning – for me anyway.
 
Tell me about the songs I Will Kill Again and A Military Farewell, two of the numbers I’m instantly drawn to…

I Will Kill – this is the opener, which is supposed to be a first-person ‘farewell’ to everything (delusions, romanticism, youth, fears, all the horrors that provoke those fears). The big thump at the end is supposed to be someone jumping from a great height into oblivion. The line about the landing is a true story – when I discovered a pile of blood and teeth on my postal route (One of these horrors?).

A Military Farewell is meant to be a light-hearted release from the previous song – a laughable funeral for someone who was a contradiction/disgrace in the first place. plus I really liked the harmonies. and I like the series ‘Band of Brothers’.

I have to ask about the overall theme of death on the album. Is there a particular event/issue that’s drawn you to such writing?

I don’t think it would be worthwhile discussing personal events, but with regards to the theme itself, I guess death is the thing that has most terrified me, and still does. So it’s a little like an attempt to make sense of death, and life, I suppose.

What’s next? Do you plan to take this music out on the road?

I have been recording a second record – it will not take much longer. I reckon it’ll be ready for release by the end of the year (I admit I’m one for optimistic, unrealistic targets/deadlines, but this time it’s moving super fast).

I would love to take it on the road, if I could afford it. I don’t think at this stage anyone would come to our shows outside the central belt. and even in the central belt, we’d be lucky.

Don’t be so sure. The Douglas Firs headline Sneaky Pete’s with Something Beginning With L and Plastic Animals this Saturday (June 18). Get your ass down there for some fine tunes (and buy me a beer while you’re at it…)

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