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@scottish-fiction
Premiere: Mt. Doubt – ‘Afterglow’
Premiere: Mt. Doubt – ‘Afterglow’
https://soundcloud.com/mtdoubt/sets/mt-doubt-afterglow-single/s-4iOnm You may recall we put on Edinburgh’s Mt. Doubt back in January, and the project led by Leo Bargery has been one we’ve had a keen eye on ever since the captivating single ‘SOAK’ last year. This Saturday sees the launch of the band’s follow up single ‘Afterglow’, which are chuffed to premiere here on ravechild. 2016 has seen…
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Neil from The Sonic Cookbook talks to Hector Bizerk about the inspiration for their track Skin and Bone.
Neil from The Sonic Cookbook talks to Hector Bizerk about the inspiration for their track Skin and Bone.
Neil W from The Sonic Cookbook talks to Miaoux Miaoux to find out what inspired each element of the track, ‘It’s the Quick’. First in a regular series.
That’s My Jam #64 - Tuff Love - Groucho
Released for Record Store Day on 18th April, Groucho is the latest single from the ever veritable Glasgow duo Tuff Love. It's hot on the heals of their last EP Dross which came out via Lost Map back in February, proving the bank don't wait around to make the next impact. Groucho bursts out with intent. An short intro that wouldn't be out of place in a Cure track, warps into a sun-baked, forceful track, which retains a 'laid back' vibe throughout partially thanks to those lazy vocal harmonies. Suse and Julie recorded this track at the same time as the Dross EP but left it off. Listening to the tracks together you can tell why, and as a stand alone single Groucho really hits home. The track is available on a split 7" backed by Portrait from London's Lazy Day. Go grab a copy from your local record shop or direct from Lost Map.
That’s My Jam #60 - Lidh - Murmur
With a voice that can pierce through the dull monotony, Eilidh Lawrence; better known to you and me as Lidh; puts it to good use on latest single Murmur. Murmur takes heed from the woozy ethereal music of Cocteau Twins, almost dream like at times as guitars and mandolin lap against the listeners ear. Lawrence's vocals are just as delightful; a clear folk grounding but drifting off into dream-pop regions during the choral sections. "You'd have to mumble, or murmur, to fill the air" sings Lawrence. The vocals may be a murmur, but the track has an instant connection, leaving you humming long after the three and a half minutes are up. Grab a free download via Lidh's Bandcamp page.
That’s My Jam #59 - Adam Stafford - Atheist Money
Returning with his first new material since the immense Imaginary Walls Collapse album, released two years back via Song, By Toad Records, Adam Stafford's new track Atheist Money hits all the right spots. Hiccuping guitars create the jagged texture, beneath smooth landscaped melodies which are utterly sublime, which intelligent and gentle vocals complete the package. Never one to shirk expanding beyond the norm, Stafford doesn't overload the track with loops or samples, but continues to defy the limits of what one man can do with music. This track is a precursor to a new album, penciled in for an October release, called Taser Revalations, and it will be out on 1st May. Welcome back Adam Stafford!
Scottish Fiction Podcast - 20th April 2015
It's been a few weeks since the last Scottish Fiction show but we're back this week with a fresh two hour batch of delicious music. Off the heels of Record Store Day there's a fresh out the wrapper Vinyl Play track. We play all four tracks from our new Almost Scottish Fiction EP, plus there's all the best new music from Scotland including Miaoux Miaoux, FFS, Kill The Waves, Lovers Turn To Monsters, and Adam Stafford. Enjoy! Urvanovic - Open Ground The Winter Tradition - All Back Home Miaoux Miaoux - It's The Quick FFS - Johnny Delusional Malmo - The Bridge Kill The Waves - Better Days Iglomat - Tic Tac Toe Twissted - Machines VINYL PLAY - Honeyblood - No Big Deal Mt. Doubt - Slump Adam Stafford - Atheist Money Admiral Fallow - Holding the Strings Lovers Turn To Monsters - The Original Tune Guy The Pooches - Rats & Rats Finn LeMarinel - Love is Waves Exit-Omni feat. Dear Lara - Wandering on a Night Without Stars Neuro Trash - "i dunno, man" Shona Brown - All I Have RE-MIXING IT UP - A Band Called Quinn - Drive With Your Eyes Closed (Miaoux Miaoux remix) Ela Orleans - The Sky and the Ghost I am David Laing - Est-Ce La Fin Wozniak - Five Star Subscribe/listen to the podcast via iTunes. Connect with us and submit any submissions via: Facebook - www.facebook.com/thisisscottishfiction Twitter - twitter.com/scotfiction984 E-mail - [email protected]
Scottish Fiction - 20th April 2015 by Scottish Fiction on Mixcloud
We’re Only Here For The Banter - The Van T’s
Twins Chloe and Hannah make up The Van T's and '90's alternative drenched songs are their tour de force. The band have started to up the ante in terms of profile, helped by the fact that songs like Fun Garcon and Growler are must listen to tracks. Hello! How the devil are you? All is well! It's the question everyone hates, but could illuminate our readers with a little bit about your music and your influences? We have a lot of influences. We love bands like Wolf Alice, First Aid Kit, The Pixies, Courtney Barnett and Girlpool. We also live punk-tinged girl bands such as Bleached and The Death Valley Girls. As well as the obvious grunge comparisons that tracks like 'Growler' will span, to my ear there's a much closer to home sound in your music. Are Honeyblood an influence and if so does their success inspire? Yes! We have loved Honeyblood right from the beginning. We are actually huge fan girls. Stina is very talented so I guess it does inspire! Over the past 6 months to a year, there's an ever growing legion of a DIY and fuzz-rock in Glasgow (bands like Catholic Action, Poor Things, WOMPS, Pinact). Why do you think that early '90's alternative sound is coming back around? Because it's just an awesome sound! At gigs I think it really stands out. I'm really proud and excited that our band are going for that sort of sound. What's your song-writing / creative process like? Our song writing technique can vary! Hannah and I will always write our music first before we add lyrics, that way it's like a blank canvas! Occasionally we will sit down and write a song together seriously, but our favourite thing is just to jam! How has the band evolved and progressed over the last year? We have got a lot heavier and more focused on recording, also doing shows with good bands who are friends. What could we expect to see from a live show? Most likely grungy riffs, harmonies and some swaying. Also a lot of playing about with pedal boards... Mostly having fun. What else have you got planned for 2015? More recording and a tour. What are you listening to at the moment? Everything and anything!! Xoxoxox Find out more from The Van T's Facebook Twitter Soundcloud
Album Review - Very Very Small Inclusions - Dispersions
Dominated by a brooding twin-peaked ridge, a small house sits uncomfortably right of centre, and a low-lying rainbow crosses overhead. The image chosen by the Glasgow-based duo Very Very Small Inclusions (VVSI) for their debut release, Dispersions, is striking but painfully bleak and is fresh in the mind of the listener as the album opens with modern plainsong. Stuttered Silence is cryptic, dark and slow-paced. The harmonies are on point and crisp. The sobering lyrics "lives left bare and cold" and "fresh out of the womb, straight into the tomb" set an early marker that VVSI are not reluctant to touch on darker themes. Winter Solstice follows and is equally measured. Birdsong acts as the backdrop to a four-four driven bass line and guitar melody that gradually build-up to the verse. Claps and reverberations are added before the echoing vocal harmonies take emphasis once again. Two standout moments on this track include a subtle dropped beat halfway through the second verse and the rolling drum fills embedded into the main rhythm. AΔB serves as one of the album’s highlights. The changes in key and melody shortly after the two minute mark are stunning and the reverse tape-looping (a recurring technique never over-employed), muted bass, tapping woodclaps and vocal outro are unorthodox and refreshing. The ticking of a grandfather clock and crackling logs introduce the counterpoint and retro-pop-sounding Fire Fire. A syncopated punchy rhythm and bass guitar riff act as a lead-in and the accented vocals, not overdubbed and positioned low in the mix, are slightly and deliberately out of synch. The bass drum is heavier on this track. Another album high point follows in the form of Cyclonic. Brass and heavy drum production predominate in this track and the vocals get louder and more urgent as the track progresses. Degraded is more indulgent and boasts traditional rock guitar and drum rhythms, which play in a loop. The open analogue radio samples add a further dimension. Accelerato heartbeating opens On The Ceiling and the dark and muffled vocal harmonies are accompanied by an analogue synth. The interspersed polyphony and shoegaze-inspired guitar lend a subtle hint to the listener on the group’s influences. This track is a real treat for button-pushing technicians as VVSI combine low filters, complex melodies and changing rhythms to dramatic effect. Sun Shards is a heavy bass mix which borrows elements from the Detroit and Club House scenes as well as from the all-but-extinct genre, trance (the background bleeping melody is reminiscent of the Russian group PPK). The vocals work well with the music and the acoustic drum fill halfway is comparable to the French nu-disco duo, Cassius. Rain Rain follows and is more melodic. The drums are the highlight on this track – the heavy tom-toms are complimented by sliding and tapping drum sticks. The sounds are pure and acoustic and the vocals are airy, background and compliment the strings and nature samples. The change in key in the track’s latter half (similar to AΔB) serves as a nice link within the album and is noteworthy. N! is the final track and a hidden highlight. The machine-inspired reverse melody is very reminiscent of the early work of dubstep pioneer Shackleton. This comparison is fully justified by the dark bell effects that surface a third of the way into the song, and then later in a more demonic and rhythmic form. The vocals are heavily altered and a strong house beat ensues. The outro builds into a crescendo of guitar, vocals and drums. The album is then complete. Dispersions is not perfect, but it was never meant to be. Drawing on a broad range of influences, the cross-genre feel and re-examination of certain past-sounds are definitely strong points. The line "forward’s not the only way", sung on the second track Winter Solstice, is fitting in this respect. The themes that surface throughout the album’s length are many and the listener is drawn into opposing worlds of introspection and warmth. The contrast is deliberate and mirrors the image of the rainbow against the backdrop of the darkened sky. Rainbows are nature’s visual consequence of science, the product of light rays refracting into water droplets. The rays reflects internally before refracting out, creating that all so familiar array of colour. VVSI look inwards throughout and the ideas and sounds that emerge are equally bold and unassuming. - Andrew Kidd Very Very Small Inclusions - Dispersions is out now and is available here.
Dispersions by very very small inclusions
Video - Pinact - ‘Anxiety’
Fuzzy duo Pinact have unveiled the video for their new track Anxiety which is the first track taken from their forthcoming debut album Stand Still and Rot. The album will be released via Kanine Records on 19th May and has been produced by Hookworms' MJ. With a door opening nod to Joy Division, the video then showcases the band at their finest; noisy, rowdy and melodic as frontman Corrie Gilles throws himself about and drummer Chris McCrory thrashes and crashes.
We’re Only Here For The Banter - Henry & Fleetwood
Collaborative duos are interesting creatures. Generally speaking they tend to draw artists from different ends of the musical spectrum together, and Henry & Fleetwood are no different. Comprising of Gillian Fleetwood, harpist with The State Broadcasters, and Martin John Henry, singer and guitarist with De Rosa, the duo are releasing their debut EP via Olive Grove Records next month. I caught with the duo to find out more. Hello! How the devil are you? Gillian Fleetwood: Very well, thanks. Hope all is well with you too. It's the question everyone hates, but could illuminate our readers with a little bit about your music and your influences? GF: We are from quite different backgrounds, which is part of what we enjoy about the duo. I cut my teeth on traditional Scottish folk but there's a lot of common ground in that we're both interested in relationships between music and landscape. Martin Henry: I've always been involved in indie-rock based projects, like my band De Rosa, so I was looking to collaborate with someone of a different background that I could learn from. I was really fortunate to meet Gill. The influences on my songwriting aren't always musical. I like a lot of visual art, mainly photography. I love the accent and language of Lanarkshire, and the things that the people around me say and do. How did Henry & Fleetwood come together? GF: We first met on tour round about 2011 when Martin was promoting The Other Half of Everything. He came along as touring support for Danish singer/songwriter Agnes Obel while I was in her band so we'd find ourselves in a bus in Italy or Germany sharing mutual appreciation for loads of the same Scottish bands like The Blue Nile, Cocteau Twins, Michael Marra... the list goes on and on. Playing and writing together seemed like a natural next project. MH: Yeah, the touring experience can be made really special when you form new ties with good people. That tour was one of the greatest experiences I've had while making music, and mainly for the parts between shows – enjoying food and music with Gill, Agnes and a great Canadian band called Evening Hymns. It definitely gave our project a solid foundation of friendship and the sheer joy of musical endeavour. Tell us about your EP On The Forest Floor GF: Birth, wildness, solitude and partnership are important. Outdoors, space and playfulness are also themes we return to frequently and I think this helps us rein in and find focus. MH: I think we've captured a mood, an atmosphere of wilderness or wildness, with ideas of threat and comfort as a part of that. I think there's a yearning for the natural in there, and an awareness of its violence and beauty. People who spend time in the most remote parts of Scotland will hopefully recognise this feeling. What's your song-writing / creative process like? GF: We are figuring that out as we go along and in part that's why we released the EP as it is. We wrote that quite largely by email as Martin was living in England for a couple of years and are both really busy with other things, but we were really lucky in getting to go away on a residency last summer where we were given a week to figure out how to work and how best to make this what we want so the new songs are quite different from the EP. Releasing the first batch as they are is a stepping off point. We improvise a lot though. Loads of jams. It's really fun, but we both have rubbish memories, so we have to record ideas a lot too or we'd happily jam for hours but have nothing concrete at the end of it. MH: My memory is just awful. I've forgotten to record entire songs that should have been released on albums I've put out. S o I record everything and I've started keeping notes recently too. I think this project is the first where I've written in such close partnership throughout the whole process. With De Rosa, I write on my own and then bring demos to the band for development. So writing from scratch with Gill is something new and really interesting for me, whether it's jamming around or writing lyrics and parts while drinking copious amounts of tea. The social aspect of a partnership really helps the creative process - just chatting about music, creativity, what we're interested in doing with the project. You're playing a launch show on April 11th. What could we expect to see from a live show? GF: I'll be singing and playing harp, synth, and pedals. We're trying to keep things sparse. MH: The live setup is still evolving, with me playing guitar, bass, loop pedals and singing. I agree that we're both really interested in slowness and texture, creating an atmosphere. It's a challenge to make these sounds with just two people, but we're having fun figuring it out. We're still very much in the middle of writing our album with that in mind. The EP has a full band sound, but we've been trying to interpret that so that we can play versions as a duo. What else have you got planned for the rest of 2015? GF: Writing and recording the full album. We're planning a video for On the Forest Floor at the moment too. MH: Yeah definitely promoting the EP then writing and recording our first album as a priority. We're also looking to play in new contexts to new audiences. What are you listening to at the moment? GF: The new Grouper album, the new D'Angelo album, loads of Tom Waits, I've just been revisiting Chicken Skin Music Ry Cooder which is amazing... Ian Carr and Simon Thoumire made a brilliant album last year called He Thinks He's Invisible which blows my socks off. MH: I've been listening to Colleen, also Grouper, and Glenn Branca. Check out more from Henry & Fleetwood Facebook Twitter Bandcamp
On The Forest Floor by Henry & Fleetwood
Scottish Fiction Podcast - 30 March 2015
Another week, another dose of Scottish Fiction to serve up. Get some electronica with new tracks from Django Django and Babe, enjoy some folk and singer-songwriter fare with new ones from Lidh and Siobhan Wilson, and dip into more DIY alt-rock with Polarnecks and The Bellybuttons. And more. There's always more. Enjoy! The Van T's - Daisy Dearness - Thaw Polarnecks - Awake Errors - Lease of Life Babe - The Warbling Passion Pusher - Home COVER LOVER - Tuff Love - Lovely Day Amelia Bayler - Internet Friends Pennycress - Heavy Heart Call To Mind - Recovery Django Django - Reflections Night Noise Team - High Line Washed - Cinders Watchfires - The Northern Lights The Bellybuttons - Red Wing dune witch trails - gold bar faucet tap Depeche Choad - Pube Village BEAM - Hex Siobhan Wilson - Say It's True Lidh - Murmur RE-MIXING IT UP - Charlotte Brimner - Face (Hector Bizerk Remix) C Duncan - Here To There Art of the Memory Palace - La Lumiere Henry and Fleetwood - Forestry Subscribe/listen to the podcast via iTunes. Connect with us and submit any submissions via: Facebook - www.facebook.com/thisisscottishfiction Twitter - twitter.com/scotfiction984 E-mail - [email protected]
Scottish Fiction - 30th March 2015 by Scottish Fiction on Mixcloud
That’s My Jam - Babe - The Warbling
Complete with '80's vibes, and spacious electro-pop Babe returning with a new EP, The Hereaftergo'ers, due out on Moshi Moshi on 27th April. The EP follows their 2014 album Volery Flighty and sees the band take a turn into electronica with a more experimental approach to these songs. Lead track The Warbling, possesses an onomatopoeic quality with the synth heavy intro trilling harshly. Lead singer Gerard Black's soaring vocals rise above the quivering guitars, creating an almost out of body listening experience.
That’s My Jam - Turtle - Silent Weapons
Jon Cooper, the real name behind the musical moniker of Turtle, has been causing a bit of a frenzy amongst muso types with his spacious and luscious electronic music. The trend continues with Silent Weapons a track off his forthcoming second EP Colours. Featuring whispy vocals, complete with mysterious lyrics, atop hazy electronica, the track really ignites in the final third with pulsing synths and floating guitars whirling round together in a seductive mating ritual. It's a different dimension to the music of Turtle, intelligent and emotional leaving a real embedded connection with the listener.
Album Review - Bronto Skylift - Date With A Ghoul
Who knew that just two guys could create such a ruckus? It's certainly not a challenge for Iain Stewart and Niall Strachan, who both impressively screech and crash about in Bronto Skylift's Date With A Ghoul. In fact it's a walk in the park. The album is the Glasgow duo's second full length album. Recorded at Chem19 in Glasgow and mastered by Steven Ward, it's the follow up to 2010's The White Crow. Despite losing the rawness that accompanied their debut, Date With A Ghoul is a full on heavy record, with comparisons to Nirvana's Bleach not far from the mark, with the droning simple chord changes on Shark drawing similarities. Although, be warned as there’s none of that loud/quiet dynamic carry on. Your ears are dragged through the record with no rest bite. There is a little humour thrown in amongst the noise. For example Shit Hoody could be about a poor fashion choice or a day trip to the seaside. Who knows? The lyrics are indiscernible. The simple punk ethos is present. Short tracks with simple chord changes layered with bawling vocals. The amount of energy Strachan and Stewart cite tires the listener by well, just listening. A live show is assumingly their weekly work out. - Holly Callender Bronto Skylift - Date With A Ghoul is self released and available here. Catch the band at Henry's Cellar Bar, Edinburgh on 22nd May.
Date With A Ghoul by BRONTO SKYLIFT
That’s My Jam #55 - Youngstrr Joey - Michael
As well as being a member of Spinning Coin (check them out here) Cal Donnelly also goes under the alter-ego of Youngstrr Joey. In that guise, he has released his debut EP 'proper', via Number4Door; a Glasgow DIY label with a tendency for uncovering gems. The whole EP, which is called Cheerleader, is pretty grizzly and dare I say nihilistic, with vocals that whilst not directly saying it scream "fuck you", and a kind of (I assume) deliberate out of step melody running through the four tracks. That's no bad thing, and opener Michael is a beast of a track, with Donnelly repeating "show me how to be cool" atop a three chord lo-fi guitar sequence which then proceed to scream chaotically. There's a gleeful 'do-do-do-do' break in the track, which sounds both inviting and vicious at the same time. A perfect tagline for the whole EP to be honest.
