Wasabi Disco – 21.01.2017
“I’ve got a good feeling about 2017. Let’s kick the dick off it!!” – Kris Wasabi
Logan Sama at Coalition
Yes yes Logan’s back, we’ve managed to pull this show back to Sneaks from Cabaret Voltaire to our own rave cave, so you know the atmosphere is gonna be all that.
Cheap tickets for members too whilst they last!
Independent Venue Week:
Man Of Moon
“The effect is transportational…” **** The Guardian
“Out of this world” NME
“Edinburgh teens schooled in the mesmeric whirl of Mogwai and Krautrock bring an absorbing debut with a centrifugal groove” MOJO
“Just occasionally, something arrives to challenge preconceptions… their textured, monochromatic sound – sonic structures suggest they’re far older than aged 19 apiece” The Skinny?
“The Road is everything we want to hear in a first single… one of the best debuts we’ve heard in months” The Line Of Best Fit?
“The New Kings of Art Rock…. the best debut single by a British band since ‘Ceremony’ by New Order.” Observer New York
Man Of Moon
The debut EP released 06/05/2016 on Melodic.
“Medicine can be different things to different people; it can be good, bad, drugs, a cure, the answer or the problem.” Says Chris Bainbridge, one half of Edinburgh-based Man of Moon when discussing the title of the band’s debut EP. Mikey Reid makes up the other half of the group who, at 19 years old, decided to quit college and pursue music, such was the deep-set sonic bond the two had made when fusing their ideas and talents. ??In 2015 they released their debut single, led by the A-side of ‘The Road’, it was a gliding, motortik-driven piece of neo pop psychedelia, produced by Frightened Rabbit’s Andy Monaghan. Picking up a healthy dose of critical and fan acclaim along the way, the band had also pricked ears of other fellow Scottish groups, such as The Phantom Band and The Twilight Sad, the latter of whom invited the duo on tour, twice. On this EP they return to working with Monaghan, “It was a lot easier getting takes down on this EP, we went into the studio more confident and ready to record again. After having worked with Andy before, it was easier to work with him for a second time.’ Says Bainbridge.??It’s a confidence that shines throughout the EP’s four tracks. The shimmering psych glow of their previous material being developed into more structured, multifaceted, textured and slightly more aggressive songs, “We had been listening to a lot more heavier stuff before we went into the studio. It wasn’t intentional to make it heavier, we are still writing songs with atmospheric elements. This EP just represents the louder side of our music.” Whilst there are unquestionably louder moments there too are more sombre, quieter moments too, songs that reside in states of tranquillity and reflection, allowing gentle guitar lines to linger amongst the thick ambience of the production. Given some of the themes of the EP, such pace, space and occasional pathos is understandable, “The EP is about my family, my pals and loss. The sea is a running theme throughout the music.” Says Bainbridge who grew up in a small coastal dwelling on Scotland’s East Coast. In the same way the moon influences our tides, the ebb and flow of the North Sea is a constant inspiration for the group. ??Man of Moon are still in a formative state as a band but they already feel like they have slipped seamlessly into the rich lineage of British guitar music that precedes them, Medicine feels like the next step up the mountain, which only adds to the brimming sense of excitement and anticipation as to where this band will go next.
Independent Venue Week:
C Duncan, Andrew Wasylyk
Delving into more expansive and experimental territories, Glasgow’s prodigious talent C Duncan released his second album ’The Midnight Sun on 7th October to critical acclaim.
Blending electronic elements and sweeping synth sounds with his signature layered vocals and dreamy instrumentation, the follow up to his Mercury Prize nominated debut ‘Architect’ won huge praise from the likes of The Guardian, The Sunday Times, Mojo, Uncut and The Quietus.
’The Midnight Sun’ was recorded and produced entirely by C Duncan in his Glasgow flat, using his bedroom studio set-up, gradually adding each layer and each instrument one at a time. Though time-consuming, the process allowed him to lovingly assemble an intricate and subtle debut album that went on to receive incredible recognition. The singer and multi-instrumentalist cites the American sci-fi thriller television show The Twilight Zone, created by Rod Serling, as the conceptual starting point.
“I knew I wanted the album to have more of a theme/thread throughout it which ‘Architect’ didn’t have. I have always had a bit of an obsession with The Twilight Zone (the original 1960s series) – the strange stories, the often brooding atmosphere, and the stylised aesthetic.
No matter how different the stories in each episode are there’s a strong atmosphere and look to each episode which ties the all the episodes together. Although the songs themselves, I wanted to capture the atmosphere and create something that is almost an anthology series styled album, in which all the tracks tie together stylistically without being one big conceptual record.”
With a brand new and bigger live show in tow, C Duncan has blossomed into a fully accomplished live artist. Having fast-tracked from playing basement venues alone to selling out 900 cap venues within a year, his live show has come along hugely. Now joined by a four-piece band, they provide the perfect backdrop for his hushed vocals and help execute the plentiful harmonies with mesmerising precision.
Independent Venue Week:
The Van T’s, Wylde, Brainglue
The Van T’s are a rapturous West of Scotland 4-piece surf-pop rock beast.
Formed in around 2013 by twins Hannah and Chloe, The Van T’s have already enjoyed widespread praise from blogs and radio including Bella Union honcho Simon Raymonde. This acclaim has spread outwith the UK with radio plays in France and the US.
With influences ranging from First Aid Kit to Wolf Alice, this quartet are the new smell of teen spirit. Bolstered by appearances at T in the Park & Wickerman Festival and a support slot with impresarios Honeyblood, Sunflower Bean and Rat Boy.
We’re happy to say that we now offer 14+ events for selected shows, helping us fulfil our ambition of fostering a generation of gig goers in this city.
Independent Venue Week:
Moscow, Tormain, Shambolics
Emotive and upbeat indie pop.
Lionoil: Seb Wildblood & Philip Budny
Despite common consensus, 2016 was a very good year for Seb Wildblood and his outfit Church, closing out with a humungous 16 releases including records from burgeoning talents Mall Grab, Beesmunt Soundsystem, San Proper, Project Pablo, alongside a debut Boiler Room takeover, 2 North Amercian tours, worthy mentions on a handful of end of year lists and central orchestration of collective/label/crew Coastal Haze (who represent Telfort) – I think it’s fair to say Seb has cemented his place as one of the hardest working stalwarts of the South London community.
Our homie Philip Budny released this 2 tracks last year – ‘Hash’ on the Lionoil comp back in January and ‘Eclipses’ on Church Volumes 3. It seems fitting to have him over from his recent posting in Berlin to join Seb for the night.
Expect jazzy, dusty, thumping, straight-up-and-not-so and moreover highly danceable sounds from two friends with strong sensibilities for the dance.
Independent Venue Week
Future Get Down + The Imagineers + Barrie James O’Neill
RIDE (Nineties & Noughties Hip Hop & R’n’B)
Live fast die young RIDE girls do it well. RIDE is our monthly nineties & noughties Hip Hop & R’n’B jams party. With DJ’s Lauren Ill, Check Yersel & friends.
Independent Venue Week:
The Ataris, Campires, Woes
As part of part of Independent Venue Week we present some real heroes in an intimate setting.
Honest rock n’ roll, played loud, recorded to analog tape.
Founded in 1996.
Twenty years later still going strong, traveling the world doing what they love on their own terms.
We’re happy to say that we now offer 14+ events for selected shows, helping us fulfil our ambition of fostering a generation of gig goers in this city.
A Day Overdue
Koba plus special guests
Fractal Club with Saoirse
Having spent the best part of 15 years collecting records SAOIRSE has now established herself as a very familiar name in the European Electronic Music Scene.
SAOIRSE spent over 4 years hosting The Plate, a radio show for Ireland’s leading media broadcaster RTE and was then asked to host regular shows on London’s Rinse FM. Here she has welcomed guests such as Paul Woolford, DJ Deeon, Radioslave, Voigtmann, BLM, & Jane Fitz to provide guestmixes alongside her own superb tuneage.
Now with several releases under her belt with labels such as Leftroom, Armadillo & Argentum Audio – SAOIRSE has frequently been a guest with popular promoters such as fabric London, Loud BCN, Output New York, The Zoo Project Ibiza, Toi Toi, Art Of Dark, Half Baked & Corsica Studios.
Having shared the decks with artists such as Ricardo Villalobos, Soulcapsule, A Guy Called Gerald, Omar S, Portable, Praslea, Call Super, Fred P, Konstantin, Dan Andrei, Luke Hess, and recently a 4 hour back 2 back with Eli Verveine, she definitely knows how to hold her own amongst some of the finest company.
Although she personally hates to pigeon hole herself into specific genres, SAOIRSE is known for pushing diverse grooves, deep bass lines and riffs that invariably put smiles on faces.
Also joining, upwardly-rising Edinburgh duo Hi & Saberhägen continue their residency. From winning Joy Orbison’s nod of approval, to making it onto Tim Sweeney’s Tracks of 2015, to stepping up for top imprints Permanent Vacation and Huntleys + Palmers, these gents are poised for a rosy future.
**Subscribe to the Fractal Club Podcast HERE **
For more on Fractal Club:
Promised Land Sound, Craig Lithgow
“Taking the cosmic Americana of The Byrds, Burritos and Band and adding light touches of psych and dreamy melodies to create a sound which burns brightly.” Shindig ****
“Reminds me of Eggs Over Easy & the Link Wray albums—a version of country-rock that isn’t too glossy, that still has gravel stuck in the boot toes.” – William Tyler
“Promised Land Sound approach their folk-rock source material with both wide-eyed wonder and deep understanding.” Uncut 8/10
“By turns plaintive and rocking, a wistful rhythmic journey into a band’s true beating heart.” Mojo ****
It has that wonderful bar-band sound. Really fresh! – NPR
Brisk country-rock tunes that might make a young Gram Parsons kneel down and pray. – PopMatters
Promised Land Sound, Nashville’s finest purveyors of febrile root-work psychedelia, chose to begin at the beginning; they named themselves after an immortal road-dogging Chuck Berry jam and proceeded from there. For such a young band—though they’re now all in their twenties, some weren’t even of legal drinking age when they released their debut—they’re remarkably attuned to historical precedents. The self-titled first album mined the same red dirt/swamp boogie as the Flying Burritos, Gene Clark, Jesse Ed Davis, Link Wray, the Band, CCR, Dennis Linde, Johnny Darrell, the Stones, et al. But For Use and Delight is the album on which Promised Land Sound finds their distinctive idiom, the distilled articulation of their mutable live performances, during which songs expand and contract, guitars flicker, flame, and gutter, and the rhythm section achieves a full-throttle locomotive choogle that locates the common/contested ground between J.J. Cale and Can.
Promised Land Sound emerged from the fertile Nashville garage scene—members have played with PUJOL, Denney and the Jets, and members of JEFF The Brotherhood and Those Darlins, among others— they managed to attract the admiration of esteemed folks like fellow Nashvillain Jack White, who released a live 7” of theirs on his Third Man Records. The current lineup also prominently features invaluable Nashville stalwarts Peter Stringer-Hye (The Paperhead) on additional vocals and rhythm guitar and polymath Mitch Jones (Fly Golden Eagle) on keyboards, as well as handling co-production and string arrangements on the record.
In 2013 Paradise of Bachelors released Promised Land Sound’s first full-length album, co-produced by Jem Cohen (the Ettes and the Parting Gifts), Andrija Tokic (known for his work with Alabama Shakes), and Nashville guitar wizard (and Hiss Golden Messenger band member) William Tyler, who also guests on the record. In 2014 and 2015, the band toured with Angel Olsen, Alabama Shakes, and Natalie Prass, among others.
If the first album resembled, as Uncut enthusiastically described it, “what the Byrds might have sounded had Gram Parsons joined the band a year or two earlier,” then For Use and Delight suggests a heavier, darker potential meeting of Jim Ford and S.F. Sorrow-era Pretty Things (without all the conceptual baggage, but retaining the razor-wire guitars and unabashed ambition.) But that’s all fantasy rock and roll gaming, and lest you think Promised Land Sound is a band that aspires to sound like the sum of their record collections, think again: the fact is that there just aren’t many other bands writing and inhabiting rock and roll songs of this scale and structural and performative sophistication. The Chiltonisms and chiaroscuro of “She Takes Me There” recall Big Star, but not so much in sound as in sentiment—the melancholy dislocation of a Southern band in a Southern city, but existing strangely out of time and pushing beyond geography. Listen to the bittersweet swagger of “Otherwordly Pleasures” or “Oppression”: despite the classic psych and pop influences, Promised Land Sound is in some essential sense a staunchly Southern band, unselfconscious classicists eager to anchor their songs in traditional forms while tearing at the edges of the vernacular.
Firecracker Recordings presents Heal Yourself & Move #7
Night run by the Edinburgh based label with international reach and acclaim, specialising in oddball house, techno and electronics, making collectable editions since 2004.
Apart from being a shadowy member of Italy’s Early Sounds/Periodica crew (his EP on Periodica drops this month), Riccardo Shiro also runs his own label ‘Gravity Grafitti’ featuring Yoshinori Hayashi, Whodamanny and his own productions … like the label, expect a rough, abstract and dubwise dancefloor. Forming 3 tha hard way, Firecracker bossman House Of Traps is also joined by bearded lord of the dance Fudge Fingas.
Growing up in a small town in the periphery of London, guitar and piano were a big part of Charlie’s life.
“The whole ability to write songs is probably in a lot more people than they think. A lot of people can probably do it; it’s just hard knowing how to start,’ he admits. “I think what slowed me down was just over-thinking every possible thing. So now I know that if something feels right to just trust that.”
After a few years gigging and finding his feet in Oxford he left for Seville and ended up staying for two years. It was here he explored the different attitudes towards the guitar, and developed a fresh technique that was a catalyst for his creativity. Taking the percussive qualities of flamenco, his playing became sharp enough to craft songs laden with delicate flourishes, intricate melodic turns, and moments of stark introspection. His work continues to be both expansive and intimate.
“I guess the reason that it took so long for me to put something out was that I couldn’t play the way I wanted to play” he explains. “I knew how I wanted it to be, but I just couldn’t do it. I gave myself quite a tough time”
But this perfectionist streak results in some truly wonderful moments of musicality. Charlie Cunningham’s enormously suggestive songwriting is sonically beautiful while also packing an emotional punch. “I love all sorts of music, as long as there is an honesty to it” he says. “But it’s hard, really, to let yourself be exposed like that.”
Cunningham’s artistic development, mapped by his three EPs Outside Things, Breather, and Heights, took another leap forward with his debut album, Lines. His deft touch and restraint has produced a work of compositions that sound fresh and yet eerily familiar. Although his celebrated flamenco nods and vocal hooks are present, his musicianship and songwriting ability now takes centre stage. Fan favourites (Lights Off, Breather, While You Are Young) are still present but revisited as new versions and fine tuned productions, nestled within a diverse set of new songs. The lyrically confident Minimum and the vocally rhythmic Answers compliment new avenues scoped by the record’s production. His writing’s honesty and humility is matched with a confidence in its accomplishment.
The popularity of Charlie’s music is highlighted in over 4.7million Spotify plays across his three EPs and tens of thousands of views for his captivating online sessions reflect the enthusiasm for his live performances. This has been especially true on the continent, where he had played two sold out headline tours of Germany.
He has since returned to South London to promote this debut album and begin rehearsals for his biggest European tour to date, in Feb 2017.
Strange Bones, Blackwaters
Strange Bones are heavy, down-tuned rock and roll. Like QOTSA swinging hard, or Band Of Skulls trashing their gear.
Strange Bones come from Blackpool, and Blackpool is Strange Bones. A town in Lancashire but a town not ‘part’ of Lancashire. This is a town of total political autonomy, fiercely independent of mind, body and spirit. Not ‘part’ of anything except itself. Strange Bones could come from nowhere else.
BlackWaters snotty angst riddled indie punk influenced by Arctic Monkeys as much as The Exploited
Hidden Charms plus special guests The Bay Rays
Hidden Charms Tickets on sale Friday 11th November at 10am.
“Simple rollicking guitar rock and Jagger-nodding showmanship rules the roost for these Londoners.” – DIY
“With strained, characterful vocals that could be likened to any of rock and roll’s legends and danceability that comes from somewhere deeper than the electronic thuds we’re used to, Hidden Charms are a welcome breath of whiskeyed cigarette smoke” – Wonderland Magazine
“As long as young bands are making music like this, rock will be just fine.” – Pigeons & Planes
Making a huge statement of intent with this new single, Hidden Charms sound more confident than ever before. Mounting a strong case for the title of UK’s most exciting guitar band, the 4 piece carefully hint at the psych-tinged, effervescent indie rock of their previous releases, but ‘I Just Wanna Be Left Alone’ is the sound of a band moving forward.
Written about the the claustrophobic nature of modern society – this new single is the sound of a band experimenting, finely tuning their craft – taking cues from from the past, but ultimately strengthening their grip on a fully-formed, modern rock n’ roll sound. Welding rollicking fret work together with an undeniably groovy rhythm section – Hidden Charms are the real deal.
Delivering propulsive, urgent rock n’ roll both on record and in their fierce live performances, the South London based quartet have carved out something totally unique – the secret of which lies in their powerful bond as musicians, their youthful energy, and their tireless search for new ways to create the music they love.
Capable of zigzagging from the sinister; as prowling guitar riffs snarl alongside thundering tribal drums – to the uplifting; as gritty dual vocals reach their soulful peak with melodies you’ll be humming down the shops and singing in the shower.
Speaking on the release of the new single, the band said: “I think the song is about feeling suffocated in the city. From the current political climate to today’s over populated planet you can’t help but feel claustrophobic in this modern world of technology – where everything and everyone are instantly available to you. Isolation if a long forgotten gift.”
Comprising of Vincent Davies (vocals/guitar/bass), Ranald Macdonald (vocals/keys), Josh Lewis (guitar) and Oscar Robertson (drums), Hidden Charms have gained a fierce reputation for their live shows with support slots for Benjamin Booker, Hanni El Khatib, X Ambassadors and YAK over the last 18 months alongside a four-week Club NME Koko residency.
Having received widespread airplay from the likes of Zane Lowe (Beats 1), Annie Mac (Radio 1) and Huw Stephens (Radio 1) – and playing well-received slots at the likes of Isle Of Wight Festival, Kendal Calling and The Great Escape over the summer, the new single looks set to propel them even further into the limelight.
Hidden Charms’ ‘I Just Wanna Be Left Alone’ was produced at Toe Rag studios by Liam Watson, whose production credits include classics such as The White Stripes’ “Elephant” – and more recent work with The Wytches, and Tame Impala.
Colour Carnival, The Dan Collins Band, Cuttings, Burning Bridges
Indigo Velvet are a young Tropical-pop quartet from Edinburgh. They’ve been dubbed ’one’s to watch’ by Scotland On Sunday, Clash Magazine, The Sun, The Metro and The Skinny Magazine and picked up a track of the day feature via industry publication Record of the Day. The band have clocked up airplay on BBC Introducing, Radio X and played live sessions on Amazing Radio and the Janice Forsyth Show on BBC Radio Scotland. Thanks to a steadily growing fanbase, they’ve clocked up nearly 200,000 plays via Spotify and performed to sizeable crowds at XpoNorth, Lindisfarne Festival, Belladrum Tartan Heart Festival and T In The Park (securing a spot play on Radio 1).
“At the very centre of the nu-grunge quake are Menace Beach, who do it better than most” – Pitchfork
November Lights, The Carvelles, tinylittlerobots
Rescheduled from December.
Athens Of The North
Edinburgh’s wildly popular Athens of the North label goes real world a few times a year at Edinburgh’s favourite sweatbox, Sneaky Pete’s, revealing their top picks from their extensive record (yes record) collections. Deep soulful funk & disco, rare Brazilian, fucked up 80’s boogie, with a sprinkle of house music that speaks of its soulful Black and gay disco origins.
It’s about trusting the DJ and breaking out of the confines of genre specific parties. Fuck genres – anything goes, with four of the capital’s most competent collectors and selectors actually being given encouragement to get out there on the edge musically and take risks. That idiosyncratic Mexican version of James Brown’s ‘Give It Up Turn It Loose’ will go well with that crazy Italian pop-disco thing we found in Japan, or will it?
Trust us and be rewarded. The real trick is to make it all coherent. No requests. Come along for the ride.
Fryer (Athens of the North)
Jamie Wilson (Athens of the North)
Gareth Sommerville (Crash Goes Love)
Lel Palfrey (Sound Supreme)
Love Eyed Faces, Mooji Band, Fat Like Buddah, Alex Maxwell
Indigo Sixteen, Easy, Gracefell
Formed in 2013, West Lothian four-piece Indigo Sixteen have been making serious waves with a string of attention grabbing live shows with their sparky mix of cranked-up indie rock that comes over like a high-octane mix of Joy Division, Miles Kane and Blondie at their sharpest.
Choose Rude #2: The Begbies, Moonlight Zoo, The Palmiros
Over the past couple of months we’ve been working hard to bring you an (almost) monthly local music zine/blog and after printing, folding and distributing over 5,000 copies of various issue’s we’re excited to bring you Vol. 2 of our live music clubnight!
mixed with raw, uplifting vocals and socially challenging lyrics highlighting the hypocrisy and selfishness of the political classes who’s indiscretions are dealt with differently to the masses.
Moonlight Zoo play a primal mix of funky pop, beastly beats & growling riffs punctuated by sensible nonsense sang in three part harmony.
Formed in the winter of 2013, The Palmiros enjoyed a lot of early success in venues in Edinburgh, Glasgow, West Lothian and Fife as a four piece before cutting down to a three. The band has evolved since then and with each gig they grow stronger together and do everything to make each show they play as electric and exciting as possible.
Surprise Special Guest DJ Set
Wille & The Bandits
Essentially Wille and the Bandits is a classic blues rock three piece much in the vain of Cream or The Jimi Hendrix experience. But in a similar way to how these bands pushed the genre in their time, Wille and the Bandits try to take their sound beyond what is expected of such a traditional line up.
The use of more bizarre instrumentation and eclectic influences in the song writing often pushes them more into a world music or progressive category. Having toured with artists such as Deep Purple through to the John Butler trio and played major festivals across Europe, the band seem to leave an equally astounding impression on audiences of all ages and musical backgrounds with their energetic and soulful performances.
They have received great critical acclaim, being voted in the top ten must see bands at Glastonbury 2014 by BBC Radio 1 and reaching number 2 in the UK blues chart with their first single on downloads alone. Now touring their third independently released studio album Wille and the Bandits fan base, repertoire of sounds, styles and innovation seems to be growing at an exponential rate.
The band are praised in the press for their albums; bursting at the seams with textures, originality and soul. Rock legends such as Ian Paice, Joe Bonamassa and Francis Rossi have also praised the band’s musicianship and their unique edge to Rock and Blues.
Bonfire Nights plus special guests
Combining raw, abrasive guitars, layered drones and
hypnotic beats, Bonfire Nights emit a fierce wall of noise
on stage, but also reveal an underlying penchant for
melodic hooks and intricate boy-girl harmonies.
Formed in Australia by Steve Foster and Ruth Nitkiewicz,
they packed their bags in 2011 and trekked to London
for the promise of the big city lights. They hit the ground
running, taking their brand of champagne shoegaze on
the road for their first UK tour. The following year saw
Bonfire Nights journey to the United States for showcase
events at South by Southwest and in New York City, with
a couple blistering college house-parties in between.
Back in the UK, they headed into the studio with Olly
Betts of The Duke Spirit to lay down the groundwork
for the pulsating neo psych juggernaut ‘Ego Death’,
which was released as a split 7” with Tripwires on Bad
Vibrations Records. Sessions from this time also include
the brooding and haunted ‘Low’, mixed by Ian Davenport
(Band of Skulls, Supergrass) and featured on a limited
edition compilation cassette from Fluffer Records. This
was followed by a period of intense gigging, sharing the
stage with other like-minded acts such as Pond, The
KVB, Lola Colt, The Drones, DZ Deathrays, Holydrug
Couple and The Underground Youth. After a period of
line-up changes, the band recruited fellow Australians
James Boyd on guitar and Suzie Creevey on keys, and
further consolidated their psychotropic sound with Leon
Ferbrache on bass.
In 2015 Bonfire Nights were back in the studio with Olly
Betts to record their debut album, ‘Entopica Phenomica’.
Featuring walls of guitar noise, chiming distortion and
sweeping synthesizers, the album saw the band exploring
cerebral underworlds and experimenting with their sound.
“…flat-lining austere choked slab of
neo psych post punk Dadaism”
(The Sunday Experience)
‘Entopica Phenomica’ will be released on their own label,
Holy Beatnik Records, on 21 October 2016.
‘Mesmer Isles’ (lead single from forthcoming album
Minival Edinburgh with Call Super
A Minival, Edinburgh and Sneaky Petes debut awaits for one of the most in-form DJs of the the last year, Call Super! From tearing up Magnetic Festival in India to destroying Dekmantel, his DJ sets, express the perfect amalgam of adventurous selections and dancefloor sensibility, always with a sense of hazy nostalgia.
His aptitude for production and shaping hypnotic sets have led him to play across continents at all the leading spots, also landing him a monthly show on BCR, and impressive mixes for the likes of Boiler Room, XLR8R, Rinse & FACT. Perfect for the intimate confines of Sneaky Petes.
Tickets: £6 – £10
Strictly 18+ ID required
Electronic Carnival For Freaks
Bottle Note, Cassia, The Carvelles, The Take Home
Promoters ‘Scruff of the Neck’ are a collective “making waves we shouldn’t ignore” (Hattie Pearson, Radio X) and a “Super-cool imprint” (Manchester Evening News). High praise indeed, but it’s the bands we pick and the shows we promote that make the difference.
This time we present to you
Introspective indie-pop from the Scottish capital
“Mixing warm tropical grooves with infectiously raw guitar melodies, Cassia, best served with white rum, have in just half a year grown to be one of the most buzzing bands coming out of the North of the UK.
“Toe-tapping indie rock goodness” – WTNP
THE TAKE HOME
exquisitely understated indie rock that wears its heart on its sleeve
ADVANCE TICKETS: £6
An exciting proposition in this alternative pop star predicted to reach success and inspire. Check Laurel HERE
Sam Coomes (of Quasi)
Sam Coomes is probably best known as half of the long running underground pop duo Quasi, alongside bandmate Janet Weiss (Sleater Kinney). Quasi have released nine albums over the last two decades and toured all over the world. Concurrently, Sam Coomes has played and recorded with the likes of Built to Spill, Elliott Smith and Jandek, worked as a producer and scored numerous soundtracks for underground films and art installations. In short, he is not a newcomer to the scene.
His solo sound is, in Coome’s own words “Suicide meets The Beach Boys. Not the sophisticated ‘Pet Sounds’ Beach Boys, but more like ‘Surfer Girl’ stuff.
More conscious reference points were Chris Montez or Timmy Thomas.” He wanted to make “entertainment music, but entertainment music meant for those not served by more mainstream entertainment music. Maybe one might want to take a break from Sheer Hellish Miasma & enjoy some simple tunes that maybe speak to the same sense of the absurd, that likewise reject commercialism & market-based aesthetics, & even now & again pay a little homage to the raw synthesizer noise we have grown to love & even crave. Maybe timeworn themes such as love & war still resonate in the dusty backrooms of your mind (indeed maybe they are the only themes which do so).”
Accompanied only by his organ and ‘Conny’ – a mid-‘60s rhythm box (non-programmable, “not even really a drum machine”), Coomes made a conscious choice to pare things back. He explains: “In a time where anyone with a computer & enough time on their hands can micro-manage a given piece of music to the nth degree; can process, arrange, edit & otherwise wheedle a song into a state-of-the-art showcase of outclevering the next guy… maybe allowing a song to exist at its most basic level is a means to not only subvert market-based (or, almost equivalently, technology-based) standards of production, but also a means to keep the music & the performance of the music honest. This is assuming of course that honesty is a good thing, or at least is considered a good thing by those unmoved by mainstream entertainment music, which often reeks of dishonesty. Whether this is a safe assumption, who knows? Actually, I’m suspicious of people proclaiming their own honesty – so forget it. Certainly, its artifice. But the intent is honest artifice – like the original King Kong, as opposed to the remakes. If King Kong for you means Willis O’Brien rather than Dino De Laurentis or Peter Jackson, then you probably have an idea of what I’m driving at.”
Bugger Me is available to pre-order now on vinyl, deluxe vinyl, CD and digital download. The vinyl, deluxe vinyl and CD all come with a black and white 16-page booklet and the deluxe LP is coloured black and white.
Former Bluetones singer Mark is charming, witty, warm, candid, and a total pleasure to spend a night listening to. He also penned some of the best British indie hits of the 90s, so the music should be pretty good too.
Artwork presents… Art’s House (all night at Witness)
Tickets sold out on day one of sales!
Arthur Smith all night, Mister 82 inna world.
Globetrotting producer Onra has staked his claim as one of the most exciting beat-makers of the past few years, thanks to releases like his Chinoseries collections (made from scratch with samples found while traveling Asia) and the acclaimed Long Distance LP.
All the while, his electrifying live MPC performances around the world – everywhere from the Red Bull Music Academy in Bucharest and Giles Peterson’s Worldwide Festival, to LA’s down-and-dirty bass sanctuary the Low End Theory – add new dimensions to the cosmic grooves Onra puts on tape.
With his first release for Fool’s Gold, the Deep In The Night EP, Onra continues to chart new musical territory. The EP’s five tracks meld the snap of vintage jheri curl R&B with squggling disco synths and deeply funky, late-night vibes.
From the new jack swinging “After Hours” (featuring T3 of Slum Village) to the moody, screwed loops of closer “Hold Tight,” Deep In The Night‘s cut-and-paste danceability proves a must-listen for any occasion.
He released a collaborative Jazz album with fellow french composer Buddy Sativa, under the name of Yatha Bhuta Jazz Combo. This spontaneous side-project displays another side of his musical experiences into the world of Spiritual Jazz / Free Jazz. Released in April 2013 on All City.
He recently “Fundamentals” on May 15th 2015, an Hip-Hop/R’n’B album with various vocal contributors such as Daz Dillinger, Doppelgangaz, Black Milk, Do Or Die, Suzi Analogue, etc…
IDLES met as a quintet at the death of the indie scene in Bristol and began making visceral and sometimes unlistenable post-punk to a growing crowd. They began with their own club night Batcave and practicing religiously until they felt they had found their sound and their live show; with that in check they have now completed their first album and are savaged in hunger to play their music. They want to give themselves and their art to the audience in a concise and violent way unrivalled by their peers. They have no qualms in terrifying and entertaining in the same breath. They celebrate their influences in a vitriolic and belligerent sound that is both familiar and new. They are a nose-bleed on the ears and they’re here to show you they care.
Rising star Dan Owen has announced his brand new single ‘Moonlight’, celebrating the release of his latest EP Open Hands and Enemies out today through LAB Records. His Open Hands and Enemies EP has already spawned the viral lead single ‘Made To Love You’, which has clocked up well over 1.3 MILLION streams on Spotify. It topped the Viral Chart in Belgium, hit No.2 in France and charted in the Netherlands, Hungary, Turkey and Indonesia.
‘Moonlight’ is a distinctly intimate insight into Dan’s stunning songwriting and jaw-dropping vocal abilities. It’s one of the most touching moments on the Open Hands and Enemies EP, a haunting love ballad that finds Dan at his most effortlessly smooth.
The remarkable singer is one of the most promising new voices in the UK today, gaining attention across the world with his deep, soulful, blues-inflected tones.
Dan Owen recently played a simply stunning sold-out headline show in the beautiful surrounds of St. Pancras Old Church, where he delivered an incredible performance, which stunned fans and critics alike.
Dan is currently playing in support of Birdy on her current UK are European tour, while he also joins Kaleo on the road for a nine-date tour throughout the UK and Europe.
Quickly becoming a globally resonating voice, Dan Owen is set to become one of the hottest news stars for 2017.
One of our favourite Manchester bands return to the venue.
PINS have tightened up into one of the most original outfits around, shimmering with controlled aggression.
After their first US West Coast tour and performances at New York’s CMJ festival, PINS previewed songs from their new album at three sold out UK shows in February before touring with Sleater-Kinney, Drenge, Wire and Babes in Toyland, playing packed shows at The Great Escape, Dot to Dot and Gold Sounds festivals.
Spectres plus guests
Spectres “snap people out of their comfort zones. We want our noise to smack the spoon out of their mouths that is feeding them the warm diarrhoea that is served by start-up PR companies”. The resulting largely positive coverage everywhere from NME to Drowned In Sound, The Times and the Guardian to BBC Radio 1 – not to mention people fleeing their gigs, hands pressed tightly over bleeding ears – would suggest they went some way to achieving this aim.
They release their second album ‘Condition’ on March 10. The follow-up to their acclaimed 2015 debut, ‘Dying’, it was recorded by Dominic Mitchison in the band’s adopted home city of Bristol and mastered by Frank Arkwright (Mogwai, 65daysofstatic) at Abbey Road in London.
It’s louder and more abrasive than their debut, but also a real progression. It sounds huge and adds a genuinely innovative and confrontational edge, partly inspired by last year’s remix album, ‘Dead’, which saw everyone from Factory Floor to Richard Fearless instructed to “kill” the songs from ‘Dying’.
“There were discussions about experimenting with electronics, but the idea soon petered out when we realised we still wanted to experiment with guitars,” reveals singer and guitarist Joe Hatt. It’s true that a track such as ‘End Waltz’ has a relentlessly pounding, almost techno structure, in contrast to the kinetosis-inducing dirge of ‘Dissolve’ – the first single from the album which appeared as an edible tablet download with a suitably stomach-churning video late last year.
Elsewhere the almost restrained (by Spectres’ standards) white noise and wordplay of ‘A Fish Called Wanda’ and the sprawling ‘Colour Me Out’ are counterbalanced by brutal assaults such as ‘Neck’ and ‘Welcoming The Flowers’, which keeps threatening to drown itself in its own roiling diamond sea.
“On this album we became even less interested in actually playing guitar,” explains Hatt, “which meant that we got more into experimenting with the sounds we could get out of them when brutalising them and letting the feedback do the talking.”
Spectres were formed in Barnstaple, North Devon in 2011. After moving to Bristol a couple years later they self-released a few EPs and singles on their own Howling Owl label, before joining forces with Sonic Cathedral for 2015’s ‘Dying’, their incendiary debut that they promised would “snap people out of their comfort zones. We want our noise to smack the spoon out of their mouths that is feeding them the warm diarrhoea that is served by start-up PR companies”. The resulting largely positive coverage everywhere from NME to Drowned In Sound, The Times and the Guardian to BBC Radio 1 – not to mention people fleeing their gigs, hands pressed tightly over bleeding ears – would suggest they went some way to achieving this aim.
“We’ve managed to get way further than we ever should have considering the music – and enemies – we make,” admits singer and guitarist Joe Hatt, “so now it’s just a question of enjoying things until the van finally breaks down and we can’t afford to get it fixed again. We’ve all somehow still got the same jobs as two years ago, we still rehearse and record in the same spaces, we write music in the exact same way, so even though things have grown in terms of gigs and our audience, we are still the same horrible lot. Lack of success will never change us.”
Not The Sensational Alex Harvey Band
“Not The Sensational Alex Harvey Band” are not a tribute band. They are a rock ‘n roll band who only play music from “The Sensational Alex Harvey Band”. Any similarities are pure coincidence.
“These guys are my heroes.” – Chris Glen
“They are amazing.” – Zal Cleminson
As produced by one of our favourite musicians, this “girl & an electric guitar singing fierce & fragile songs” is making a much more fearsome sound than that suggests, like Savages with girl band hooks and some Tori Amos dead-eyed directness. Absolutely very highly recommended show to check out – tip!