On September 2nd The Wedding Present will be releasing their widely anticipated ninth studio album. But [in oh, so typical, Wedding Present style] it will not be merely an album! Oh no... ‘Going, Going…’ will be a collection of twenty 'linked' tracks, each with a beautiful accompanying film.
Tickets on sale now!
Broadcast, Glasgow Should you never have had the joy of seeing Bob Log III play, let me attempt to describe it for you: picture a man in a shiny blue jumpsuit and a pilot's helmet wired to a telephone receiver, playing slide guitar with all the dirty, scuzzy joy in his heart. Add to that a kick drum and foot cymbal, the myth of a monkey paw in place of a right hand, and a setlist that includes songs named Boob Scotch, Bubble Strut and My Shit Is Perfect, and you'll begin to get the gist. It is loud and strange and electrifying, and how ecstatic it all sounds, that guitar glazed with a kind of sublime and honey-dipped happiness. (theguardian.com)
Broadcast, Glasgow Pitchfork – Love is sold on the promise that it’s better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On “Call the Days”, New Zealand songwriter Nadia Reid cuts to the heart of this deception: “I was happy on my own,” she sings in a plainspoken lilt. “I would call the days as they were known.” Yet there’s no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable.
Sneaky Pete's, Edinburgh Pitchfork –
Love is sold on the promise that it’s better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On “Call the Days”, New Zealand songwriter Nadia Reid cuts to the heart of this deception: “I was happy on my own,” she sings in a plainspoken lilt. “I would call the days as they were known.” Yet there’s no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable.
CCA, Glasgow Like many of the musicians, scholars, carnies and flaneurs that inspired him, Tav Falco is a Southern provocateur grifting his audience with the ol’ song and dance act before shuffling out the back door with a wink and a nod. His historico-musico revue, The Unapproachable Panther Burns, originated in 1979 at the nadir of Memphis’ postmodern, post-Beale, post-Sun, post-Stax era, when the Mississippi River town had seemingly disappeared from the cultural map and shriveled into an obsolescent landmark. Only groups like the Dixie Flyers, Mud Boy and the Neutrons, Big Star and Panther Burns were intent to keep the fires burning with or without commercial success, and their contribution to experimental pop music, dirty rock ‘n roll and the blues revival have been incalculable.
Broadcast, Glasgow If James Leg’s record sounds uncannily like the guy who sings for the Black Diamond Heavies it’s because he’s John Wesley Myers of that same band. Solitary Pleasure dips into common musical paint pots (bluesy keyboards, greasy soul and raucous garage), mixes in a bit more pop and splatters the lot over a wide canvas. Leg’s guttural vocal is at the heart of this music and his trademark Fender Rhodes accompaniment isn’t going anywhere soon. These eight original songs are about messed-up or messy girls, blown dough and the rigours of coming down from the road.” – I-94 BAR
G2, Glasgow A spirited and hook-driven electro-indie rock outfit based in Bristol, England, Coasts formed in 2011 around the talents of Chris Caines (vocals), Liam Willford (guitar), James Gamage (bass), David Goulbourn (keyboards), and Been Street (drums), who met while attending university in Bath. The band issued a debut single 'Stay' in 2012, whch received praise from Welsh BBC broadcaster Huw Stephens. Their debut EP -- Paradise -- was releaese in early 2013. In 2015, Coasts issued their eponymous EP via Warner Bros., whle ther self-titled LP followed in early 2016.
By turn mellow and electrifying, Kindness channels funk's rawness and the warmth of house music into what at first glance appears to be pop or R&B, but is actually much more fluid, done with a sweet sense of humour that manages to be knowing and naive at the same time.
Through his collaborations with Philippe Zdar, Trouble Funk, Dev Hynes, Kelela, M.anifest, Robyn, Jimmy Douglass & Solange he has established himself as one of the most exciting talents in popular music production.
As a DJ he's responsible for some of our favourite mixes from Beats In Space, Yours Truly and The Fader.
Broadcast, Glasgow Combining disparate elements of electronics (Þórður Kári Steinþórsson, aka ‘Doddi’), clarinet (Áslaug Rún Magnúsdóttir) and Jófríður Ákadóttir’s enchanting voice, Samaris mix glacial electronica and bold, percussive beats with haunting chant-like vocals - the lyrics culled from nineteenth century Icelandic poems. “You could say the words have been delicately sewn together and in a way they already have their song, their own melody when you read them” suggests Áslaug. The overall effect is simultaneously ancient and modern – an ethereal sound filled with dark spaces and alien atmosphere.
Broadcast, Glasgow Sydney’s Royal Headache burst into view back in 2011 upon the release of their self-titled album, an adrenaline shot of melodic energy and heart-on-sleeve romanticism that immediately lit up listeners home and away.
Their new album is called High and injects even more soul and passion into the breakneck formula that became synonymous with Royal Headache.
CCA, Glasgow Jack Tatum, formerly of Jack and the Whale and Facepaint, began making his shimmery, synth-washed indie pop recordings under the name Wild Nothing in the summer of 2009. Emerging at a time when a handful of C-86-esque groups (e.g. Crystal Stilts, the Pains of Being Pure at Heart) were in vogue, Tatum's project garnered a bit of buzz with a synthy, glimmering cover of Kate Bush's "Cloudbusting." Captured Tracks picked up Wild Nothing soon after the project's first demos came out, and it wasn't long before Tatum recruited bassist Jeff Haley, guitarist Nathan Goodman, and drummer Max Brooks to round out the group's live sound. Wild Nothing's first single, Summer Holiday, was released on Captured Tracks before 2009 came to a close. The band's debut full-length, Gemini, was released in the spring of 2010 and garnered Wild Nothing all kinds of critical acclaim. After releasing a follow-up EP, Golden Haze, near the end of 2010, Captured Tracks reissued Gemini in February of 2011 with the addition of Tatum's cover of Kate Bush's "Cloudbusting." For his next record, Tatum worked with producer Nicolas Vernhes at his Rare Book Room Studios. The result was 2012's album Nocturne. Another stopgap EP arrived in 2013 in the form of the stylistically scattered Empty Estate EP. After a move to Los Angeles and some time spent rethinking his musical approach, Tatum and producer Thom Monahan began working on a new album. Recorded in Sweden (with contributions from Peter Bjorn and John drummer John Ericsson and marimba player TK of the Swedish Radio Symphony Orchestra) and Los Angeles (with Medicine guitarist Brad Laner), Life of Pause's intricate arrangements and slick production marked a step forward artistically for Wild Nothing.
La Belle Angele, Edinburgh Recorded over the course of a year against a backdrop of personal instability, Parquet Courts’ new record, Human Performance, massively expands the idea of what a Parquet Courts record can be. They’ve been one of the most critically acclaimed bands of the last 5 years; this is the record that backs all those words up.
“Every day it starts, anxiety,” began the first song on 2014’s Content Nausea. Those were essentially the song’s only lyrics, but Human Performance picks up where that thought left off, picking apart the anxieties of modern life: “The unavoidable noise of NYC that can be maddening, the kind of the impossible struggle against clutter, whether it’s physical or mental or social,” says singer, guitarist and Human Performance producer/mixer Austin Brown.
There has always been the emotional side of Parquet Courts, which has always had an important balance with the more discussed cerebral side, but Savage sees Human Performance as a redistribution of weight in that balance. “I began to question my humanity, and if it was always as sincere as I thought, or if it was a performance,” says Savage. “I felt like a sort of malfunctioning apparatus,” he says. “Like a machine programmed to be human showing signs of defect.
The sonic diversity, time, and existential effort that went into its creation makes Human Performance Parquet Courts’ most ambitious record to date. It’s a work of incredible creative vision born of seemingly insurmountable adversity. It is also their most accessible record yet.
Mercury Rev + Warhaus (feat. Maarten from Balthazar)
The Lemon Tree
The Lemon Tree, Aberdeen From their beginnings as avant-pop pranksters to their evolution into purveyors of rootsy, magestic psych-pop, Marcury Rev weren't so much a band as a long, strange trip. Formed in Buffalom New York in the late '80s, the band orginally featured vocalist David Baker, vocalist/silver pickup guitarist Jonathan Donahue, guitar shaper/single-exhaust clarinetist Grasshopper (born Sean Mackowiak), rooster-tall bass flutist Suzanne Thorpe, bass explorer Dave Fridmann, and mojo stick drummer Jimy Chambers. The members of the sextet -- always rife with personality conflicts -- interacted with one and other infrequently, and their first recordings as a means of creating soundtracks for their experimental student films as well as for Howard Nelson's Lite-Brite and Marco Fogg's Sugardaddy Sea.
Broadcast, Glasgow The Deslondes are a New Orleans-based band, whose raw, stripped-down sound springs to mind a country-meets-Southern-R&B hybrid rooted partly in the Texas singer/songwriter tradition, partly on the weathered floor of a Louisiana dance hall.
The group, comprised of Sam Doores (vocals/guitar), Riley Downing (vocals/guitar), Dan Cutler (vocals/stand-up bass), Cameron Snyder (vocals/percussion) and John James Tourville (pedal steel/fiddle), is a true democratic collective.
Saint Lukes , Glasgow Universal Themes is The 7th full length Sun Kil Moon Album, released in 2015. The album received some of Kozelek's best reviews including a 9 out of 10 in Uncut Magazine and an A- at Consequence Of Sound. In 2015 Mark also released a free EP entitled Down In The Willow Garden as well as a spoken word album entitled Dreams Of Childhood with Argentine actor Nicolas Pauls. Kozelek's music is also featured extensively in the latest Paulo Sorrentino film Youth.
Mark's next full length album is a collaboration with Justin Broadrick entitled Jesu/Sun Kil Moon which will be released in January 2016 on Kozelek's Caldo Verde label in the USA and Rough Trade in Europe.
Mercury Rev + Warhaus (feat. Maarten from Balthazar)
La Belle Angele
La Belle Angele, Edinburgh From their beginnings as avant-pop pranksters to their evolution into purveyors of rootsy, magestic psych-pop, Marcury Rev weren't so much a band as a long, strange trip. Formed in Buffalom New York in the late '80s, the band orginally featured vocalist David Baker, vocalist/silver pickup guitarist Jonathan Donahue, guitar shaper/single-exhaust clarinetist Grasshopper (born Sean Mackowiak), rooster-tall bass flutist Suzanne Thorpe, bass explorer Dave Fridmann, and mojo stick drummer Jimy Chambers. The members of the sextet -- always rife with personality conflicts -- interacted with one and other infrequently, and their first recordings as a means of creating soundtracks for their experimental student films as well as for Howard Nelson's Lite-Brite and Marco Fogg's Sugardaddy Sea.
Car Seat Headrest is the project of Seattle artist Will Toledo. With a vision that is both sweeping in scope and intimately personal, Car Seat Headrest embodies the DIY ethos at its best. The songs are often long and complex, but they are anchored in irresistible melodies and a piercing emotional directness. Dispersed across the globe, Car Seat Headrest has an intensely dedicated fanbase of several thousand internet denizens who deeply connect with Will's startlingly honest and unfiltered approach to writing and performing.
The Art School, Glasgow Ty Segall and The Muggers got strange on network television last night, didja see? That frighteningly fun and maniacal performance on The Late Show with Stephen Colbert was yet another exemplary display of Emotional Mugging in live performance as only Ty Segall can deliver - with a face-full of paint and exquisite worm candy! Ty led the dudes thru a bombastic rendition of Emotional Mugger's sleazy single, “Candy Sam,” to the shocked-yet-delighted Late Show audience and televisions nationwide. Watch it below, and catch the band all over North America beginning next week before they head to Europe in the spring!
CCA, Glasgow ”I ain’t from the past so it couldn’t possibly be from there. It ain’t bits of old music sticky-taped together, it’s all been made up fresh.” C.W. Stoneking, interviewed in 2011.
C.W. Stoneking fell in love with the blues when he was in his teens. Born in Katherine, in Australia’s remote Northern Territory, CW was the son of an American school teacher with a passion for music. He vividly remembers being eleven years old and stumbling across Living With The Blues, an early blues compilation, in his father’s collection: “When I first heard it I thought it was kinda funny music”, he told a Dutch interviewer a few years ago, “because it was so deconstructed and not really adhering to any rules that I’d been told music [should] fit into. And the more I listened to it, I just liked it more and more.”
Soon his curiosity led him to Son House, Robert Johnson, Skip James and Bukka White, gospel blues, Chicago blues, ragtime, Hokum blues, with each sub-genre revealing more amazing music. It seemed like there was an endless universe of blues to explore, one that was much more interesting to Stoneking than the mundane world of late ’80s pop that was all around him at the time.
Flash forward a few years and CW has taught himself the banjo and electric guitar, but his prized possession is a 1931 National Duolian dobro. This was same instrument that Blind Boy Fuller and other blues legends chose to play. “I liked it because it was loud,” Stoneking says, “When I first started playing old blues it wasn’t so easy to get a gig, and I spent a lot of time busking and things like that…I knew all the old blues guys who used to busk used them and it was for a good reason.”
Although he’s a brilliant musician he enjoys the lighter side of performing as well. He has a larger-than-life stage presence, beginning with his dapper outfit: tropical whites, a bowtie and slicked-back hair. He exhibits a sly diffidence in his between-song patter too, “I tell a lot of stories onstage,” Stoneking tells me, “and then I tend to ramble. I talk that sort of stuff just for my own entertainment.” His busking experiences taught him well: the first rule is to entertain, after that it’s plain sailing.
The blues is a living art form, albeit one that has been neglected by most contemporary musicians, and Stoneking has made it his mission to move the music forward whilst maintaining the authenticity that make this music so unique. Like a fruit tree sprouting new branches upon ancient root stock, CW writes and performs all his own songs, and he has now recorded three complete albums of wholly original material: King Hokum, Jungle Blues and, his latest, Gon’ Boogaloo. Each one is as different from the other as the diverse strands of the blues that inspire him.
Broadcast, Glasgow One eye looking to the West, another looking to the East and a third one gazing into another dimension. Domiciles sound is saturated in aural familiarity and unreservedly unique, retro, and futurist in equal measures; a universal representation of the concept of psychedelia that strikes you, consumes you and spits you back out.
Official video for latest single 'In Indra':
Broadcast, Glasgow For two years now, the psychedelic Destruction Unit has been keeping the world waiting for a new album. And it’s not because they’ve grown up or gotten soft, rather because they’ve been in the streets and in your backyards, pushing the freek agenda and imminentizing the alien-eschaton. They’ve been up and down and all around this globe, battling the greedy club owners, show promoters and control pigs to bring the new American heavy underground through your back door. Now here we are, with the psychedelic Unit’s second album for Sacred Bones, Negative Feedback Resistor.
In the spirit of solidarity with the other revolutionary communities of our sisters and brothers, the psychedelic Unit urges you to use this album’s energy, energy your speakers can hardly contain, for its intended purpose: to break the chains which you, at the dawn of your understanding, have fastened around your hands and feet. And to see to it that the thrones of every despot erected within you are destroyed. This is crazed-psychedelic-freek-noise guerrilla warfare and these are our streets. The pigs of the law can use their system to manipulate and censor our messages. The control creeps can keep their airwaves safe and comfortable. But none of them have been able to make us turn our voices or our guitar amps down. Destruction Unit sacrificed their ears to make this album as loud of a statement as possible. Will you lend them yours?
Luke Winslow-King (born March 12th 1983) is a guitarist, singer, composer, and lyricist known for his slide guitar work, and interest in pre-war blues and traditional jazz. Winslow-King’s work consists of an eclectic mix, taking in delta-folk music, classical composition, ragtime, and rock and roll; juxtaposing original songs with those from a bygone era.
Whether solo, or with a band, Winslow-King offers an original sound that is both rustic and elegant. He delivers energetic and dynamic performances, with his burgundy voice and versatile guitar playing.
Broadcast, Glasgow The Low Anthem return from an extraordinary five-year journey with EYELAND, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, EYELAND began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.” The tall tale became real life as The Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. EYELAND proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. The Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, EYELAND is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.
** Tickets go on sale Wednesday 11th May at 9am **
Broadcast, Glasgow VŌDŪN are a heavy, weird & soulful tribe from London - A raw and powerful slice of voodoo fuelled turbo-metal riffage not to be missed.
Featuring two members of one of London’s finest underground bands, Invasion, who disbanded in 2011, Vodun have taken the basic blueprint of that band, added a huge West African voodoo influence and ramped up the intensity across the board. Oya (vocals) and Ogun (drums) found a kindred spirit in The Marassa (guitar) and emerged as a more technically accomplished, musically aggressive and energetic band.
They are lucky to have at their disposal an awesome drummer, amazing guitarist and a truly brilliant vocalist in Chantal Brown as Oya (ex ‘Do Me Bad Things’ front woman) – a new kind of power. They rock like no one else and are also a mesmerising live experience.
Broadcast, Glasgow The freak-folk group will be performing a full and varied cross-section of the peerless oddball music that has delighted and baffled audiences, collaborators, and critics alike for over 2 decades. Faergolzia will continue to shake musical conventions, making moments honest and organic in their exploration of possibility.
Broadcast, Glasgow The band’s debut album is intent on dismantling the ideas western listeners have about popularized Tuareg music. This new wave of Tuareg musicians sound very different to the desert distortion that accompanies groups like Mdou Moctar or Group Inerane. Instead, it finds a calm and passionate soul, provides sumptuous slow burners, and a complexity of composition that hasn’t been demonstrated by previous music exported from the Saharan people’s musical repertoire.
Even if the band has a direct DNA link to trail blazers Tinariwen - (Eyadou Ag Leche of Tinawiren is a cousin of frontman Sadam, and guided their evolution and produced and co-wrote several songs on this album), their poetry and flow has a more integrally urban base than the ancestral tamashek poetry and traditional rhythms of their elders, Tinariwen. Instead they offer something much more fresh and intricate; there is a lot of sensitivity and space in these jams, a lot of room for your mind to ponder and drift.
This intimacy of Imarhan’s sound is no coincidence. In the language of the Kel Tamashek people ‘Imarhan’ means ‘the ones I care about’ - Iyad Moussa Ben Abderahmane aka Sadam, Tahar Khaldi, Hicham Bouhasse, Haiballah Akhamouk and Abdelkader Ourzig all grew up near each other in Tamanrasset, Southern Algeria, in a Tuareg community of Northern Malian descent. The giant divide between their spiritual home and physical home is heard in their tracks: the funkier groove of Western Africa, the emptier, subtle tones of Saharan Traditional folk music and the fire and romance of Algerian Rai music. No other Tuareg release to date has had such a variance of rhythms, tempo and feeling.
Imarhan’s record is a heads-up to anyone who thought Tuareg music as just one thing: it’s an invitation to closer listening and also an album that will stay fresh for a long time and influence those from the Sahara and beyond.
Jimmy 'Trash' Alexander
Dear Wormwood, the latest album from beloved brother and sister act The Oh Hellos, is out now. It was recorded, piece by piece, in the house where Maggie and Tyler live in San Marcos, TX, and much like The Oh Hellos' live performance, the album presents two alternating faces: at times delicate, intimate, affectionate; and at others, soaring and towering and joyfully explosive. Their influences range from Fleet Foxes and Sufjan Stevens to The Middle East and the Muppets, bending and blending styles and genres into a unique mixture of eclectic folk rock.
Since forming, The Oh Hellos has earned a rightful reputation as a very special live act. The siblings are joined on stage by an often-epic ensemble—a rotating roster of pickers and players numbering as many as 13 at any given time.
The Oh Hellos are Maggie and Tyler Heath from Southern Texas. The two began making music together in 2011 with a song written for their mom’s birthday, followed later that year by their self-titled, self-produced, independently released EP. The 4-track recording featured the hit song “Hello My Old Heart” which received national airplay in the US and currently has over nine million streams on Spotify.
Broadcast, Glasgow Sweden’s Daniel Norgren from has been a bit of a hidden treasure since his 2006 debut album, Kerosene Dreams, but has since then released five LPs and and an EP, and performed in sold-out clubs and concert halls throughout the whole of Europe. Norgren has also toured alongside The Tallest Man On Earth and played impressive festival shows at Roskilde, End Of The Road, Into The Great Wide Open, and Le Guess Who?, as well as sold out performances at Paradiso Noord & TivoliVredenburg’s Pandora.
Norgren’s latest record, The Green Stone, (2015) takes the already converted down new, obscure paths, and if you haven’t heard about Daniel Norgren already—now is the time.
Broadcast, Glasgow Kevin Morby is an American musician, singer and songwriter. Formerly known as the bassist of Woods and the frontman of The Babies, he began a solo career in 2013 releasing his debut album Harlem River with positive reviews. His second album Still Life was released the following year. A third album titled Singing Saw was released in 2016.
The Art School, Glasgow The Jayhawks are an American alternative country and country rock band that emerged from the Twin Cities music scene during the mid-1980s. They have made music in 4 different decades and are as vital now as they were in 1985. They definitely have earned their reputation as a true American treasure.