Featuring and all star cast of members of Clean George IV and Aberfeldy, Dominic’s wonky vision has moved away from near poetic cabaret performances to a real rock’n'roll show. Casual listeners might note a similarity to Art Brut, careful listeners are rewarded by Dominic’s accomplished lyrical gift.
Some people are just born talented, it would seem, and so it is with the extraordinarily gifted First Aid Kit, the band consisting of teenage Swedish sisters Klara and Johanna Soderberg. Aged 16 and 19 respectively, the sisters have only been playing together for a couple of years, having been originally inspired by Connor Oberst’s Bright Eyes, but despite that lack of experience, the Soderberg’s voices have to be heard to be believed, two wondrous, earthy, mournful and uplifting sounds that intertwine with mesmerising fashion throughout this remarkable debut album.
Influenced by nu-folk outfits such as Fleet Foxes and Midlake, First Aid Kit sound somehow very modern and timeless at the same time, using stripped down acoustic guitar or organ arrangements for the most part here to place their unique vocals to the fore. This is none more obvious than on opener ‘In the Morning’, a stunning and haunting partially a cappella lament which paves the way for a display of mature songwriting filled with the sorrows of the world, dripping with a heartbreak and disillusion that the Soderberg’s voices lend a brutal kind of authenticity.
From the exaltation of atheism in recent single ‘Hard Believer’ to the sublime country-gospel rattle of ‘Josefin’, it’s astonishing stuff, and despite the appropriation of old American folk and country sounds by a couple of Swedish girls with a combined age less than Will Oldham, it’s somehow utterly convincing. Talent such as this can’t be taught, it’s a gift, one which First Aid Kit are putting to awe-inspiring use.
Some people are just born talented, it would seem, and so it is with the extraordinarily gifted First Aid Kit, the band consisting of teenage Swedish sisters Klara and Johanna Soderberg. Aged 19, the sisters have only been playing together for a couple of years, having been originally inspired by Connor Oberst’s Bright Eyes, but despite that lack of experience, the Soderberg’s voices have to be heard to be believed, two wondrous, earthy, mournful and uplifting sounds that intertwine with mesmerising fashion throughout this remarkable debut album.
Influenced by nu-folk outfits such as Fleet Foxes and Midlake, First Aid Kit sound somehow very modern and timeless at the same time, using stripped down acoustic guitar or organ arrangements for the most part here to place their unique vocals to the fore. This is none more obvious than on opener ‘In the Morning’, a stunning and haunting partially a cappella lament which paves the way for a display of mature songwriting filled with the sorrows of the world, dripping with a heartbreak and disillusion that the Soderberg’s voices lend a brutal kind of authenticity.
From the exaltation of atheism in recent single ‘Hard Believer’ to the sublime country-gospel rattle of ‘Josefin’, it’s astonishing stuff, and despite the appropriation of old American folk and country sounds by a couple of Swedish girls with a combined age less than Will Oldham, it’s somehow utterly convincing. Talent such as this can’t be taught, it’s a gift, one which First Aid Kit are putting to awe-inspiring use.
“Internet Forever make the kind of catchy, scuzzy indie pop that’s been getting a lot of play around here lately.” – Pitchfork
“The brilliantly-named Internet Forever deliver this deliciously twee number: raucous and sugar-sweet, all at the same time.” – The Observer
“Internet Forever make one of those sublime rackets that sound like falling in love as it happens.” – 20 Jazz Funk Greats
“Who needs the perfect three minute pop song when you can have it in two minutes, right?” – Drowned In Sound
“It’s like that movie which I think was called Pass It On with Kevin Spacey and the little boy called Hayley.” – VICE NB: we have no idea what that means!
“Twee is back and it’s fitting that the internet, where a keyboard-playing cat is worshipped as a god, should have a hand in its resurrection.” – The FADER
Quirky folk with an indie twist from Manchester-based Californian Hoop. A startling singer of complicated folk melodies that beguile with their lightness of touch as showcased on her self-released debut Hunting My Dress from November of last year. – The List
“…one of the finest bands of any genre at the moment in Scotland…” – Scotsman (5/5)
“Divorce affirm their status as Glasgow’s most thrilling band.” – The List (5/5)
“A cacophony of punk brutalism: you have to see this band.” – NME
“..at last, here comes a band that is giving a visceral kick up the jaxi to the rotting carcass of rock’n'roll..” – The Stool Pigeon
DIVORCE are a four-girl, one-boy group of noise-rock terrorists, welding pummelling rhythms with feedback-drenched, serrated guitars, crowned by the intense ferocity of Sinead Youth’s vocals. Previous gigs in 2009 with the likes of Part Chimp, Foot Village, HEALTH, Deerhoof and Comanechi, plus a debut 10″ ep release on Optimo Music are all conspiring to make 2010 their year.
BITCHES are a brutal bass-and-drums, boy-and-girl duo from London, celebrating their debut 7″ release (following their initial cassette-only EP released on Foot Village’s awesome Deathbomb Arc label) with a swift rape-and-pillage visit to Scotland. Unrestrained volume and unbridled brutality are mixed together in an epic, bass-heavy attack, all the while shards of punk-infused melody fight to be heard. If Lightning Bolt & Big Business were fused with Bikini Kill & The Fall it might come close to the battering-ram assault of BITCHES!
Sure they’ve had some amazing guest names play… Alex Smoke, Rustie, Radioactive Man… but this is a rare time for Stepback crew to showcase their own bass heavy skills, playing B’more, crunk, ghettotech to UK funky, aqua, and techno.