from the post below it has been a very busy week!) but the band Jennie Bates (cello, keyboard, bass), Jon Carter (bass), Joe Durow (drums), Matt Spooner (guitar, keyboards, bass) and Dave Warrington (guitar) have been together for over a decade and made some great music in that time. Including making John Peel’s Festive Fifty with ‘Giant Robo’ in 2001, ad recording a session for the great man himself. They also released a single called ‘I Love It When a Plan Comes Together’ – and you gotta love an A-Team reference, right?
There can’t be many acts whose first gig has been a performance at the Vatican.
But that’s exactly what happened back in December, when Horrors mainman Faris Badwan teamed up with Canadian Soprano Rachel Zeffira. This is the performance, which may very well be one of the most lovely things I have ever posted here. It rem
Over nearly a quarter of a century, J Mascis has, both with and without Dinosaur Jr, presented the world with some awesome songs, and given the slacker image much of its’ dictionary definition (in terms of image rather than recorded output). Given the way that his songs have frequently bludgeoned their listeners – in the best possible way- perhaps the idea of a mellow acoustic Mascis
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rom the man who took the Cure’s ‘Just Like Heaven’ and turned it from a pop tune into a full-blown psych out track.
Well, next week sees the release of his first proper solo album (yeah, I know, this is being disputed in various places too) Several Shades Of Why. It’s coming out on Sub Pop, which is almost always a sure sign of quality. It f
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eatures many contributors, not least Kurt Vile who’s just released his fanta
autiful record, which is different to how we have mostly come to think of him, and yet unmistakably, it is him. I hear so many acoustic albums that lack a je ne sais quoi – yet this
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If you still think that the idea of Scottish Hip-Hop is an oxymoron, then actually, the joke’s on you. Acts like The Young Fathers and Stanley Odd (bot
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h of them from Edinburgh) have been making steady inroads for a couple of years now. Added to which, Nasty P has been involved with the acclai8med Soul Biscuits club, which lends its’ name to one of the standout tracks.
Nasty P is a producer, so this album is more of the ilk of acts like Burial, DJ Shadow and fellow Scot Rustie, rather than being driven by his lyrical flow. It’s a dark-so
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unding record, not in terms of violence (thankfully) but those looking for radio-friendly Hip-Hop with R’N’B choruses won’t find it here. There are collaborations with Jurassic 5’s Akil and Skinnyman, amongst others, which should draw in the curious.
Final track ‘Signs’ with its’ 80s computerised backing is probabl
y the standout track here. It seems a little at odds with the rest of the album – not in terms of quality – but in terms of its’ sound and approach. It’s a short album at 34 minutes, but repeated plays (I played this four times in one morning) do reveal other aspects of a w
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ell-rounded album.
Nasty P continues to make his mark felt. An album worth hearing and getting to know.
***1/2
Choosers Can’t Be Beggars is released on March 14 on KFM.
Good News is one of the best albums made in 17 Seconds’ nearly-five year lifetime (read the review here).
This year, Dan is supposed to be heading to South by South West (SXSW), the annual music convention that takes place in Austin, Texas.
However, there are currently complications with his Visa, and Dan is actually having to demonstrate – despite the fact that he is signed to a label in the US, Absolutely Kosher – that he is ‘a musician of extraordinary abilities’ (well, duh!) to be granted a visa.
So…there is a campaign going to support him, and persuade the US au
For whatever reason, Aberdeen has never had as high a profile in terms of music stars over the years as Glasgow and Edinburgh. OK, so most famously there’s Annie Lennox, The Shamen and Geneva…but not a long list.
…so maybe Weather Barn can help extend that list. Describing their influences as Band Of Horses, Death Cab For Cutie, Lynyrd Skynyrd and Frightened Rabbit (yes, you DID read Death Cab and Lynyrd Skynyrd in the same list).
Formed by brothers Matt and Steve Morris, and joined by Iain Dallas and Daryl Rankin, the band released their debut single ‘Park Hands’ through London’s Kittiwake Records last September. They found themselves being tipped by the likes of Jim Gellatly and Vic Galloway. The follow-up, out at the end of the month, is entitled ‘The Boat Ride.’
What I like is the way you’re just about to say ‘Oh they sound like…x’ and then you suddenly hear ‘…though that’s quite like …y.’ Twee pop meets southern boogie? Don’t knock it ’til you’ve tried it. What also endears them greatly to me is that the two singles sound so utterly different from each other. And in an age of identikit indie bands, that’s a very welcome thing indeed.
Hear below and see what you think…I’d love to know.
It was a matter of no small pride that I was one of forty bloggers picked to be a judge for the Glastonbury Emerging Talent Competition earlier this year.
I was sent 160 songs and had to whittle it down to three. Friends were e
nvious of the fact that I got to do it, a free Glastonbury ticket (if I get to go it will be the first time in well over a decade) and wondered how I was going to decide.
wed down to a shortlist of just 8 acts who will compete at April’s live finals for a main stage slot at this year’s Festival. They will be chosen by the final judging panel which consists of the following 10 judges: Michael Eavis (Glastonbury organiser), Emily Eavis (Glastonbury organiser), Nick Dewey (main stages programmer), Martin Elbourne (main stages programmer), Malcolm Haynes (Dance Village programmer), Steve Symons (West Holts programmer), Philippa Aylott (Radio One producer), Angus Baskerville (live agent), Paul Charles (agent/promoter/manager) and Chris Sa
I’ve mentioned Miniature Dinosuars before…this is their latest single out today, entitled ‘Fight Or Flight’ it’s the opening track on the four track EP ‘Off The Radio.’
Check this out and then go and buy it! Sheer joy from the boys as always.