Review: Golden Hum presents Chuck Johnson / Adam Stafford
@ Stirling Tolbooth, Saturday 27th October.
Regular alternative music showcase Golden Hum returned to the Stirling Tolbooth on Saturday 27th October, with another typically brilliant night of magically skewed music from the fringes of experimental folk, Americana, indie and ambient music. For the uninitiated, a Golden Hum night promises something cool, leftfield, unusual, unexpected and deep that will feed your head and your heart. Never mind if you’ve heard of the bands or not – if they’re playing Golden Hum, you know it’s gonna be memorable and special.
True to form, this edition paired Falkirk-based experimental musician Adam Stafford with American artist Chuck Johnson, and what a pairing they made.
Adam Stafford has been winning acclaim around the Scottish music scene for some years now, with this year’s Fire Behind the Curtain LP prompting rave reviews on release. Stafford draws from that record and earlier work tonight, building layers of electric guitar loops to create meditative, melodic explorations, at various points evoking Sonic Youth at their prettiest and most serene, or the fluid trilling of Nels Cline.
Fans of non-standard guitar sounds have plenty to feast their ears on as Stafford mixes strange oboe/flute sounds, ominous burrowing noises, percussive plinks and judiciously bent notes to glorious effect, building layers of loops to almost overload, before dropping back to the first pattern and building again. The fourth song, I’m You Last Week, sees a pretty arpeggio pattern overdubbed with a frankly staggering slide guitar part, as Stafford titivates the strings to produce a wave of heavenly orchestral sounds that swoop and glide and force your heart up into your mouth. The last track of the set pushes the envelope further still, as Stafford recreates the complex studio arrangement of The Witch Hunt by overlaying beatboxing, guitar harmonies, incantations and yelps, before layering his voice into a loop pedal choir. A glance around the room at this point reveals the crowd really digging this – eyes are closed, and heads are nodding.
If the support act’s job is to get people into the right frame of mind for the main act, then Stafford achieves this perfectly. Experimental American musician Chuck Johnson appears on stage a short time later, and treats us to a full set based around his recent conversion from conventional guitar to pedal steel, which resulted in the sublime 2017 LP Balsams.
Normally very much a backing instrument associated with country music, Johnson plugs his pedal steel into an arsenal of ambient effects pedals in order to elevate it not just to lead instrument status, but to a generator of a whole world of haunting and beautiful sound. He’s not in any particular rush to take us to that world mind you, with a gloriously languid opening spanning around ten minutes where unhurried tones, pulses and swells painstakingly slowly emerge and build into a wash of sound that provides the bedrock for the rest of the set. The glacial pace makes for a supremely chilled listening experience.
The music gradually emerges - slow, unhurried, totally serene, like a slow sunrise. It feels like watching a flower open in real time, in a good way. Like music to soundtrack the elements of the universe coalescing into matter. It transports you to imagined places – the bottom of the sea, the surface of the moon. If you can imagine Neil Young’s lapsteel player Ben Keith jamming with Brian Eno you’re somewhere close.
It’s not so much music but a formless force of sound – there are no breaks, just 45 minutes of uninterrupted drone. As such the spell it casts is never broken, and the audience, already highly suggestive after 30 minutes of Adam Stafford, are sent deep inside themselves. At at least one point, every single person in the room has their eyes shut. They are no longer here. I don’t know where they are, but they look pleased to be there. They look as if they are being healed in some small way the balm of this soothing noise.
Across the set melodies build and subside, until suddenly it comes to a close, and Chuck leaves the stage. Normally everyone would get up and go home, but nobody does. They sit around and only slowly and gradually drift out, as though their metabolisms have slowed to a Chuck Johnson tempo, and they need a few minutes to readjust. It certainly leaves a mark on everyone here.
And so closes another Golden Hum. There’s really nothing else quite like it anywhere near Stirling, and it seems to be building a crowd very much tuned into its unique aesthetic. If a taste of the cerebral and unexpected floats your boat, be sure not to miss the next one.
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Live review: Strange Behaviours presents... Broken Records + The Little Kicks + The Cobalts
April’s Strange Behaviours was all melodic indie rock n roll, welcoming back to Stirling a couple of old favourites, alongside something new from the youth music scene. Gregor Flynn fills us in on more...
The Cobalts
First song was a really great, absolutely cracking, 60’s vibes melodic number. Second song however sounded a bit like the sort of song you’d hear in a bank advert, scaring you into believing that you need their services. The lyrics and melodies of all their songs however were well put together and had the whole crowd nodding along.
The Cobalts had a good thing going with interchanging lead vocals, although some unfortunate technical issues with the vocal mics compromised this for a couple of numbers. A pain in the arse. Throughout however the band kept it together, and toward the end of the set the smooth pop songs started to become a bit more loud and aggressive with a notably more rock sound coming forth. The band really appeared to be having a lot of fun, laughing and generally having a great time in the mist of shambolic entanglements of cables and broken strings.
The Little (yet epic) Kicks
I had seen The Little Kicks about three years ago at the Tolbooth and really enjoyed their synth pop sound. I recall them really going to great lengths to use real synthesizers rather than computer presets and backing tracks.
With the first song underway, the lead vocal was instantly recognisable, though as great as the lead singer was there was a stunning use of 3 vocals throughout the set. The band’s first song felt held back, like coiled spring ready to burst but not quite yet, maybe later if we were lucky. The second tune ‘Girl’ was a previous single, and the live performance of it was truly of a high quality, very comparable with the recorded version. At this point I noticed lighting was very good throughout the show too, for The Cobalts too but with The Little kicks it felt a little more in sync with the performance.
Despite my previous note of their commitment to analogue equipment, I did notice the odd bit of backing track, however it was kept super minimalist and I could only hear occasional percussion in the intro/verse of songs. Looking into the crowd to see their take of events, everyone in the room had the same ‘good music nod’ head-nod going on, there were a handful of real fans giving it laldie and singing along, clearly on their way to an enjoyable night.
With the last song came the the uncoiling of the coiled spring that they first looked like they were holding for us. A great explosion of energy and some real synthesizers going on that had myself and a handful of, I assume vintage music equipment fans, running to the back of the stage to see what all the knobs and dials were doing on their king synth. Turns out they were pure lead melody knobs.
Broken Records
At the start of the set I was trying to place who they sounded like - my mind went to a mix of The Killers and Mumford and Sons and the now extinct Stirling locals Miniature Dinosaurs.
One thing these guys had that the others were perhaps lacking was a bit of live percussion - shakers and tambourine really complimented the mix of the band. They also had a bit of a country/Americana vibe going on, with one of the members picking up a violin which added another texture to the performance.
The crowd were digging it, again a notable handful were keen fans of the band and were enjoying it. I also noticed that Kenny the promoter of the show was for once not the tallest man in the building, wee shame.
All said and done a great night, with lots of chatter between folks and a generally nice atmosphere.
Taking place this Saturday (18 Nov), the Tolbooth’s monthly indie/alt/other night Strange Behaviours is back with part 2 of this year’s reinvented ‘Strange Behaviours Festival’.
The 2-day multi-stage boutique festival of celebrated and grassroots Scottish new music this year split into 2 separate days and crawled towards opposite ends of the calendar.
Sat 18 Nov sees the inaugural ‘Strange Behaviours Winter Party’, following on from June’s ‘Summer Party’ where Graham Costello’s Strata blew minds and mesmerised with their minimalist jazz/progressive fusion; Loki tore new holes in audience opinions and beliefs with his acerbic, reflective and objective lyrical adventures; Spinning Coin had indie heads bopping cheerily in unison and Paws tore the whole thing apart at the end of the night, their unhinged fuzz pop on stellar form.
So the Winter Party continues where this night left off – with 3 quirky and intimate stages spread throughout the Tolbooth, a chance to see the widely revered and the quietly talented from across Scotland and Stirling up-close-and-incredible.
WINTER PARTY LINEUP:
Pictish Trail // A full-band treat featuring Pictish favourites, new cuts, opportunities to boogie and time for waving lighters. Playing as part of his wider ‘Winter Rewind Acid Reflux’ tour, the band features Suse Bear (Tuff Love) and John B McKenna (Monogannon).
The Lochbacks // A cappella super-group of Scottish indie, featuring Louie (Hector Bizerk), Be Charlotte and Ciaran and Marc of Pronto Mama.
Shogun // A cool 3million views for his fiery “Vulcan” track alone on Youtube paved the wave for a wave of accolades and endorsements. Shogun is a passionate, unpredictable, livewire of a talent, seeing him perform up-close and personal is a memorable opportunity you may not have before long.
Beerjacket // Peter Kelly’s alt-folk songwriting pseudonym has burst back into life, and we jumped at the chance of bringing “The Scottish Elliot Smith” (Matt Berninger of The National) back through.
Scott William Urquhart // Currently riding a wave of affection from Gideo Coe and Lauren Laverne, if you’re a Radio 6 Music listener you’ll maybe have heard his deft solo acoustic fingerstyle guitar warming up your kitchen/living room. Beautiful stuff. And from right here in Stirling.
Emme Woods // Generating acclaim on a national scale and picking up her first festival slots, Stirlingshire musician Morgan ‘Emme’ Woods weaves sultry, bitter-sweet alt ballads with a full band featuring brass, vampy guitars and a whole load of sass and swearing!
Jason Riddell // A compelling, hugely talented songwriter and formerly a familiar face around these parts, Jason is now based in Glasgow and has built a formidable full-band behind his stand-out writing style.
Fairweather & The Elements // An indie quintet with touches of funk, soul and progressive/ambient psych to their sound, all built around the writing of frontman Ross Fairweather. Playing in a special stripped back and raw formation for the festival.
Triptych // Anthemic, angular guitars, power-pop vocals and a 90s alt rock edge, the band have a fiery DIY streak and have come up through the ranks of the local scene, excited to see them on the big stage.
Preview: Walt Disco w/ December ‘91 + Pillow Talk + The Step
Hello! Give our dear readers a wee introduction to who you are, should they need it...
Hiya, we’re Walt Disco! We come from Perth, Glasgow and Japan/Slovakia, we all met in Glasgow about a year ago and then that’s where things went downhill.
What exciting information are you here to dispense?
We’re here to tell the people of Stirling about our night at the Tolbooth on the 10th of November raising money for the MS Society!
What do you think makes a TRULY SWEET gig night and how have you gone about making sure that this one will be TRULY SWEET?
• Well it always is nice when the sound is good and I know the Tolbooth is a great venue so the sound is going to be great.
• To see all the bands having a laugh and to care about what they’re doing.
• Always helps if everyone is dressed nice n funky.
• As far as making this one “Truly Sweet”, we’ve just been practicing/writing a lot so we can always keep our set fresh, and to add to that we have 3 great support bands coming from Stirling, Glasgow, and London so we’re sure it’ll be a good night.
How do we get tickets and get involved? Any links which people can share around?
Yes, we do!
Facebook event: http://tinyurl.com/walterinstirling
Event and ticket info: http://culturestirling.org/events/walt-disco-support/
Our Facebook page: https://www.facebook.com/waltdisco/
Ms Society Website (so you can read about the great work they do): https://www.mssociety.org.uk/
Give us a link to a song to get us excited for it.
https://open.spotify.com/album/6KInxLHM80J6EYFq5mvb34
Will also give you links to the other bands that are on the bill because they’re all fab-u-lous:
Pillow Talk
December ‘91
The Step
Walt Disco, December ‘91, Pillow Talk and The Step play The Tolbooth on Fri 10 November.
Review: Golden Hum presents... Chris Forsyth & The Solar Motel Band + Adam Stafford
Golden Hum is a series of live music nights in collaboration with the Tolbooth which highlight emerging artists from the fields of experimental folk and indie, with something truly unique to offer to the Stirling music scene. This week saw Chris Forsyth take to the stage with the Solar Motel Band.
The show opened with Adam Stafford, a jack-of-all-trades singer, composer and filmmaker from Falkirk. Stafford brought more power to the Tolbooth as one might have first predicted. Armed with only a guitar and loop pedal, he gyrated and rocked around the stage - electrifying both the audience and himself with the waves of pulsing beats. The first track had an almost choir like tone, with orchestral synths and a slow build up leading to a massive cinematic climax. Stafford incorporated beat boxing and nearly primal sounding shouts and yelps into his performance, somehow blending them smoothly with his dark and passionate guitar chords. All in all, it was both an enigmatic and exciting performance - truly setting the stage for Chris Forsyth and the Solar Motel Band.
Chris Forsyth makes his return to the Tolbooth, having played as part of an experimental guitar duo with Tetuzi Akiyama at Le Weekend Festival in 2010. Primarily a guitarist, through his music he becomes a storyteller and an innovator, as well as lending his vocals to a number of tracks. Inspired by modern contemporary music and classic 70s rock, it's the crescendo of the guitar riffs fused with the cacophony of synths that make his music stand out. A widely respected creator on the fringes of rock/indie music, it was truly a treat to see him perform in Stirling.
Energetic from the get go, the audience is immediately immersed in the music. With his mop of brown hair and baby blue guitar, Forsyth is an unassuming figure whose power comes from the strength of his riffs. The drummer attacks his cymbals with sheer ferocity, and when you think the song has hit its peak, it just keeps building. The band jumps from 1st gear into 5th with no hesitation, Forsyth’s hands fly rather than glide across his strings. He acts like a narrator in each song, guiding us in with a melodic intro and outro, the storytelling influence of his music is clear. Whilst Forsyth is the key instrument to the band's creation this is also a team effort, it's a dialogue between bass, drum and guitar to create something bigger.
Alongside older tracks, we were very lucky to hear a variety of songs from their record due out Friday; ‘Dreaming in the Non-Dream’. ‘Have We Mistaken the Bottle For The Whisky Inside’ incorporated more of an old school rock vibe, with a strong bassline and steady drum beat egged on by Forsyth’s lyrics.
A personal highlight was new album title track ‘Dreaming in the Non Dream’. Throughout the epic piece Forsyth held his guitar in a vice like grip, and as the song intensified was not fazed when his playing caused a string to dramatically break free. It's almost bizarre how many elements are at play - the music is serene, angry, calming and energetic all at the same time. Forsyth’s transcendent music was perfectly poised and yet felt spontaneous, a true journey to experience live.
The remainder of the set (including the wonderful ‘The First 10 Minutes of Cocksucker Blues’) flew by, with staccato guitar blending with meandering basslines intermittently. Chris Forsyth and The Solar Motel band made for a truly mesmerising and unique viewing experience, the gig a personal musical journey for each audience member. Each song weaves seamlessly into the next, with Forsyth’s mesmerising presence and almost haunting melodies truly shining through in the fitting setting of the Tolbooth Auditorium.
