My second time seeing Cheap Teeth, this time not by accident, was a joyous night of heavy-hitting songs and sweaty mosh pits.
Having been on tour for a few days now, the band were sonically tight even despite technical issues with their drum kit.
The band’s stage presence is what really shined. Every sonic output was matched physically with aggressive playing right in front of the crowd, blurring the lines between stage and audience as the set progressed.
It is safe to say I have never seen someone play a tambourine with so much energy – every beat was felt all the way at the back of the venue and the percussive element of their set was not to be missed.
Punchy bass and heavy chords gave songs like ‘I Am The Mud’ and ‘Animal Fat’ the sound they deserved while allowing vocals to be shouted across the room, both by the band and the crowd.
There is something very special about a band that can conjure up the spirits and feelings of perhaps a T in the Park era sing along or a well-known football chant while taking control of every corner of the stage, and Cheap Teeth do exactly that.
I can only hope they bring this same chaotic yet disciplined energy to the rest of their tour and can’t wait to see them back in Glasgow for the next one.
Opening tonight’s show is Baba Ali a synth driven duo who have some serious dance moves. Which is understandable considering their sounds is also distinguished as highly danceable, Hot Chip inspired indie pop. Defiantly worth checking out.
Yard Act occupy their own space within the music industry, they’ve created an album (during the pandemic, nonetheless) that skirts between angular guitar pop and disco rap with lyrical witticisms that illustrate life perfectly in post Brexit Britain.
The four piece hail from Leeds and are extensively touring the UK promoting their debut album The Overload (out now).
This brings them to Glasgow’s very own indie label stomping ground of Monorail Records – or Mono to locals.
The band hurtle through what seems like a deliberately short set (45mins) with some jovial banter with the audience thrown in for good measure.
Walking on stage with the Ukrainian flag draped over a speaker and delivering a distorted guitar version of the Ukrainian National Anthem makes no room for error when understanding that Yard Act want to serve as a bastion for social justice.
Opening track Strip perfectly exposes frontman James Smith’s vocals for their unique candour. Think Alan Partridge proclaiming the whimsical folly of capitalism, all the while neck twerking to an XTC bass line juxtaposed with some very forked, post punk guitar riffs.
Indeed the ‘overwhelming sense of independent doom’ to quote directly from the bands track Peanuts is an over arching metaphor that runs congruent throughout tonight’s whole performance.
There is a distinct fervour of rebellion at the heart of what Yard Act do and I honestly can’t think of music more appealing to the masses (Yes, I mean the general populace – their album charted at Number 2) in todays uncertain times.
But what Yard Act really manage to encapsulate is the personality traits of the Tory leaning, middle class, demi-capitalist whose actions and words stick like an unwanted fly in the syrup of the more socialist minded individuals.
Stand out tracks included The Incident and Peanuts which both had the audience members participating with the poetry infused spoken word sections.
Tall Poppies offered a more austere reflection on war. With set closer Land of the Blind bringing the set to its conclusion many in the audience seemed a bit baffled by the exclusion of songs like Fixer Upper which propelled the band to fame.
It would seem that James Smith was recently inflicted with a bout of stomach flu and almost didn’t make the Glasgow show at all which may explain why the set was curtailed.
With everyone from NME, BBC6 and The Guardian all hailing these gloriously quaffed stalwarts as ones to watch for 2022 you would be out of your mind to miss out on their show next time they roll into town.
A friend once described seeing IDLES perform live was something akin to being held aggressively in a headlock, while also being kissed affectionately on the brow, from an old friend… a sentiment that is not by any means a far stretch of the imagination for tonight’s show.
Over the past fifteen years IDLES have nurtured a swarthy following based on compassion, empathy and the hunger for protest, to question authority and to find strength in unity. It’s no surprise then that the band sold out three consecutive nights at The Barrowland Ballroom.
Emerging from a fresh wave of lockdown restrictions, there is an eager crowd of old and young alike queuing down the street to get inside all sharing stories about when they last seen Joe Talbot and co. play on Scottish Soil (this evenings show has been on hiatus for two years) there is an abundance of joy already bubbling under the surface that makes this evening show feel very much like a homecoming.
The crowd are plunged into darkness, and the band enter on stage, Glasgow’s very own favourite chant of endearment starts up with ‘Here we, here we, here we f*$king go!’ however, is quickly engulfed by the opening bars of ‘Colossus’, which sets the tone perfectly.
‘Turn up the lights, I wanna see you, split the crowd’second track in and frontman Joe Talbot is already preaching messages of love and benevolence, ‘in the pit we look after one another’.
He lurches into ‘Car Crash’, giving Glasgow the first taste of fresh material from their latest album ‘Crawler’. The track is an otherworldly stomp through demented screaming, distorted guitars and a bassline that will rattle every hollow bone in your body. With the same easy to participate in chorus as earlier IDLES material it’s an instant crowd pleaser.
A few tracks later and Talbot is back to delivering plaudits to the crowd about why Glasgow is his favourite city to play ‘This is the best city to play live, I love you, and for anyone who says I say that wherever I go, I don’t, check the footage’ a brief analogy later about how he believes he was conceived in Glasgow and the audience are ready to hand this man the keys to the city.
Next, he beckons tonight’s support act Jehnny Beth, former Savages frontwoman on stage and they duet on ‘Ne Touche Pas Moi’ a song about making gigs safe for woman, that’s sees both exuding the guttural wail of ‘Consent’ over and over again.
Another brief monologue about the NHS and how it’s the best thing our country ever did for the working classes ‘Divide & Conquer’ is dedicated to everyone who has ever worked for the public services for the country. Is a snarling reminder of just how much of a threat, this national institution actually is under.
Intentionally placed right in the middle of the set, personal favourite, from the new album ‘The Beachland Ballroom’ offers a moment of repose from the high paced fervour (and also the blinding strobe) to showcase the bands more subtler capabilities. The song is a slow waltz, full of faded seaside glamour. The Barrowlands own infamous disco ball, studding the room with dazzling lights, created a truly captivating moment.
This was swiftly replaced as energy levels peaked with ‘Never Fight a Man with a Perm’. A grinding socialist behemoth that has the whole room bouncing along. It’s moments like this that it’s easy to see exactly how IDLES have curated such an avid following, it’s a collective donkey kick to far right sentiment and fascism.
The band play a set for over two hours solid, interlaced with gems such as; ‘Mother, Crawl!, MTT 420 RR’ But it’s songs like ‘I’m Scum’ complete with running man moves from Talbot that the crowd are eager to lap up.
Another tender moment where Talbot asks his drummer to ‘get low’ to turn around and see that there are thousands of Glaswegian’s who have also ‘gotten low’ by squatting on the floor of the old ballroom. ‘See, this is why you are the best’, ‘Danny Knedelko’ follows, seeing a room full fans thundering the chorus, along with its pro-immigration theme is something that would warm the cockles of even the most staunch Tory defenders wooden heart.
Clearly having a good time, guitarist Mark Bowen seized this opportunity to jump into the crowd for an impromptu, somewhat bizarre yet brilliant tribute to Scotland. This came in the form of a seemingly unrehearsed, medley of songs that included; Lewis Capaldi, Edwin Collins, Texas, Travis and The Proclaimers… and ended with Talbot chiming in with The Spinners, ‘Working My Way Back To You’, which fantastically pleased the audience.
With no intention of playing an encore the band once again express their love of the city and thank the audience for ‘carrying them’ and helping the band grow over the past decade into what they are today.
Set closer ‘Rottwiler’ allows for once last voyage into the loud, swirling distorted yet danceable frenzy before they crowd empty on to the streets, many of whom I have no doubt will be back for the following two sold out shows.
Opening tonight’s show with an industrial bang, are Liverpool based foursome The DSM IV – named after a diagnostic manual for mental disorders it’s no surprise that their live show brings with it a flare of chaos. Front man Guy McKnight has a commanding stage presence lending from his time with The Eighties Matchbox B-Line Disaster.
The band bring with them high energy techno dance with all the surly undertones of The Fall, something that isn’t always present with opening bands. Displaying some erratic yet mesmerising dance moves akin to Future Islands front man, Samuel T Herring, it doesn’t take long before McKnight is clambering off stage to sing and dance in the middle of the mosh pit.
Thick chewy basslines from Jade Ormesher, who tonight is serving up tracksuit chic meets Avant Gard Berlin hipster, keeps the overall anarchy of the live performance together with a driving disco backbone.
Stand out tracks include – ‘Funland’, ‘Scumbag’ and ‘Racist Man’. The band one by one begin to leave the stage with their instruments left on a repeated loop, so that they leave behind with them a distorted wall of sound and again an element of showmanship rarely seen from an opening act, they have gigs coming up in April – make some moves and check them out.
The Dead Freights have been making waves down south in their hometown of Southampton and it’s easy to see why. The quartet amble casually on stage and waste no time lurching into songs with big crunchy guitar riffs and pouting baselines.
The foursome are effortlessly cool with cheekbones that would have Karl Lagerfeld(god rest his beautiful soul) raise an eyebrow or two. It’s easy to see why they are drawing in a big crowd on the tour with The Libertines, with cheeky scallywag lyrics bringing a similar energy of their headlining counterparts.
Their music is equal parts swarthy cool, sexy with an element of 80’s hair metal. Try to imagine The Horrors sitting down to a tea party with Josh Homme and The Cramps. With big crunchy basslines, inspired guitar riffs and pounding drums, these guys will definitely be making waves this summer.
Stand out tracks include ‘Sufferin’ Safari” which doffs its cap in the direction of The Beach Boy’s “Surfin’ Safari” but with a much darker, insidious air. Witty lyrics like ‘All my bad dreams make sense, but the wet ones don’t’ perfectly showcases singer Charlie James guttural snarl and sharp delivery.
Recent single ‘Batman’ again has a cheeky-chappy element that uses the old ‘Na nan a nan a Batman’ TV theme tune in an effective derisive complaint about police complacency and inherent racism. But with fast paced drums and bass lending the tune a Ramones vibe.
‘Stray Dogs’ and ‘Jaw Talk’ both have easy to dance to compositions but with almost spoken words style lyrical delivery that give both songs an almost ‘protest’ ethos which lends itself well to the current climate. Make sure you get down early to catch them on the rest of The Libertines tour.
Unlike other bands who have made a concerted effort to get back together and on the road post pandemic The Libertines have avoided plugging new material and instead have curated a set list that is jam packed with all the hits the hungry audience could wish for.
I have to admit after rumours were circulating about a rather off-piste summer set at Playground this year I had my reservations about once again going to a Libertines show. But, gone (or seemingly so) are the inter-band rifts, the substance fuelled slurring and general chaos that came hand in hand with a Libertines gig in the early 2000’s.
Now what we have seemly been gifted with are 3 original Libertines’ members (Jon Hassall had issues with a vaccine passport it would seem) and one former Babyshambles bassist (Drew McConnell) drafted in to save the day.
The band are together, they are tight and they seem to have disowned any former pretence. They are genuinely delighted to be playing the second of two sold out Glasgow shows and more to the point they are having fun with it.
Pete and Carl are back to being the likely lads and seem to relish every second in each other’s company. Opening with ‘What a Waster’ the crowd are instantly chanting along with every word. Followed quickly by ‘The Ha Ha Wall’ however it’s the very first opening chords of ‘Up theBracket’ that sends the feverish crowd into an almost frenzied state.
The boys play a fantastic set from start to finish, one that delivers a good dollop of nostalgia and along with an almost cathartic release from seeing this group of talented musicians, that have always been the underdogs, succeed by getting back on track with what they do best – delivering a set that pleases every fan that has stood by them in tougher times hoping for exactly what was given tonight.
‘Don’t Look Back into the Sun’, ‘Music When The Lights Go Out’, ‘What Katie Did’, ‘Horrorshow’, ‘Boys in the Band’, & ‘Death on the Stairs’ the set was indeed what any fan would have wanted it to be. So let the naysayers complain, The Libertines are back, they sound as good – if not better than they have ever been.
So get yourself along early – see the amazing new talent they have found to open for them and generally have a grand old time.
Like most bands post isolation Weird Milk are touring new material from their latest EP We Were Strangers, a delightful romanticised retro, stomp through the highs and lows of romantic entanglements.
Tonight’s show at The Poetry Club is packed full – mainly with teenage girls who have no doubt came for more than the bands dulcet tones.
Opening tonight’s show is Glasgows very own Fuzzy Lop – a delightful quartet reminiscent of Nico and Cate Le Bon. Definitely one to keep an eye on.
Weird Milk arrive on stage to rapturous applause from the packed out crowd.
Opening their set with ‘See You Around’ Weird Milk waste zero time getting the party started. The song is an upbeat ditty that highlights just what this band do for bread and butter – creating something that’s fun and ever so bittersweet.
This is the bands second outing to Glasgow (previously playing Broadcast pre-pandemic) and it’s clear to see that this quintet are loving every second of performing.
Next up is a self professed ‘sad song’, ‘Under the Waves’ which sees drummer, Charlie Glover Wright delivering vocals reminiscent of Alexis Taylor of Hot Chip fame.
The band rattle through a playful set full of gems that bring a slice of Beach Boys sun all the while with a 80’s synth undertone.
Lead singer Alex Griffiths vocals are akin to Alex Turner on ‘End of the World’ and ‘Lonely Boy’ has Joe Moyle shaking maracas and the whole room dancing merrily.
With lots of jovial between song banter its clear that these boys are doing what they love.
Set finale ‘Vienna’ leaves the crowd chanting for more, after a very brief interlude the group amble back on stage to play B-side ‘You’ as an encore.
The band make it clear without any pretence that they will be around for a chat and spend ages taking selfies with fans and signing records. A promising outlook for this North London outfit be sure to get down to a gig ASAP.
Tonight, is the first of two completely sold out screenings of Talking Head’s 1983 seminal recording of their live show at Hollywood’s Pantages Theatre. “Wearing a suit and doing a toot” was the notorious tagline as it’s very clear that the band, at the height of their heyday, may have been partial to indulging in some stimulants pre, mid and post show.
Big suits, running man style dances, boomboxes and the infamous lamp dancing sequence are all synonymous with this recording and it’s no wonder the denizens of Glasgow have sold out both nights well in advance of the screening – this is as close to seeing David Byrne and co in the flesh as we will ever get to the full 1983 Talking Heads ensemble.
We got down early to catch Bosco play a delightful new wave set that seen the packed out industrial space at BAaD, shoulder shuffling and bopping along to 80’s synth pop gems. We managed to catch up with the man himself to find out what exactly what inspired him to host such a night.
How long have you been putting on parties?
I’ve been DJ-ing for 30 years and putting on parties for 20 years. First club was at the Soundhaus where Let’s Go Back started. But I’ve been putting on concerts, mostly dance based ones as well.
What made you decide to do this? (apart from the obvious)
Well I never got to see them. And let’s face it, unlikely ever to see them.
So I thought what would be the next best thing.
Tribute act wouldn’t work.
So the Stop Making Sense video is one I tend to watch late at night after a few drinks ha ha.
Ideal choice
Two nights in a row have sold out do you think Glasgow/Glaswegians are burning a candle for David Byrne?
Absolutely.
I think Glasgow has a great affinity to New York. Certainly of that era. Bands like Blondie, Velvet Underground, Ramones are incredibly popular here.
And we just like a party, a cool party, but… a party none the less
Are there other films you would consider hosting something similar for? (If so we will be there).
Well yes there’s a few ones that immediately come to mind as obvious choices. But I’m not sure. Kind of prefer to do something nobody has thought of.
Not always easy though
What was the best thing about putting on this party?
No losing money! Ha ha!
Being a promoter is risky job. Maybe the riskiest financially as you’re really only a couple of disasters away from bankruptcy at any time. That said, seeing people really enjoy something you’ve thought up and brought from idea to show. That makes it worth it
What’s next for you?
Next my band Acid Ultras are releasing our first records and Let’s Go Back are playing some of the big summer festivals. So really looking forward to that.
Can you point us in the direction of 5 new bands that are giving you the feels? That we should check out?
Not all new but…
Tom of England
The Emperor Machine
Les Big Byrd
Les Grys Grys
Daniel Moloso
Top 5 tracks you played as part of the new wave set?
Girls in bands, supporting each other and lifting each other up – are having a moment. It’s no big secret. London’s The Big Moon are spearheading this movement bringing with them, their uniquely twee, grungy synth pop.
The girls are fresh off the Bombay Bicycle Club tour and have sold out a scattering of UK dates in thier own right, tonight is no exception as the Dissection Room at Summerhall is completely jam packed. Oasis is blaring out from the speakers as the crew set up the stage, a nod to the bands Britpop influences.
The crowd is brought to an immediate din, as the four girls march confidently on stage. Sporting halter tops, clodhoppers, kickers and relaxed beachy waves with perfectly dishevelled fringes, the girls are indie chic at its very finest.
Opening track ‘Sucker’ from 2017’s Mercury nominated debut ‘Love in the 4th Dimension’, is a beautiful, swooning, indie-garage, scuzzy rock anthem.
Frontwoman Juliette Jackson has a moody baritone that is reminiscent of Nico and Hole, which serves as a jutting contrast to the whimsical nature of the pop overtures that make their sound so instantly discernible from the plethora of synth pop music that is out there at the moment.
The girls are confident and super relaxed on stage, making witty quips like ‘You all look so friendly’ from Celia Archer (bass & synth), in between songs and bouncing off of each other, you can tell that the foundation of the band is mired in friendship and having fun, its exactly the type of Girl Power that we need in 2020.
Next up is ‘Don’t Think’ from recent release, ‘Walking Like We Do’, the track is a shimmering pop masterpiece with pounding bass, and an infectiously catchy and dancy chorus of “Just don’t think about it now, Just don’t think about it now, Or your head will talk you out of it (Ooh-ooh-ooh), Just don’t think about a thing, Just don’t think about a thing, And your heart will lead you into it.”
New tracks such as ‘Barcelona’, ‘Take a Piece’ and ‘Why’ are soaring, heartening pop ballads that purposely move away from the grungy, dive bar sound of the first album. A move that has brought with it some grumbles of complaint from the muso world. But when it has been done with this level of finesse you can be assured it is completely guilt free.
Older tracks such as, “Pull the Other One” and “Silent Movie Susie”, bring with them enough low-fi garage fuzz to keep everyone happy, with nods to The Breeders and Elastica throughout.
The band are fond of a cover and have covered tracks from Madonna to Eurhythmics’ in the past treat the crowd tonight to an infectious rendition of Fatboy Slim’s, ‘Praise You’.
They close the set with firm fan favourites, “Cupid” and “Your Light”, which sees the crowd rapturously bouncing along in unison. An uplifting, performance from your favourite local girl gang, don’t hesitate to catch them the next time they play your hometown.
Its Sunday night everyone has work in the morning and there is a snow storm happening outside… but, that doesn’t stop California’s very own seaside shanty hit makers The Growlers, breezing into the sold out warehouse space at SWG3, bringing with them their very own brand of laid back garage rock and maybe even a little glimmer of the unclouded beach vibes from their hometown.
The event tonight is billed as ‘An Evening with The Growlers’ and that is exactly what we get. Two and a half hours of uninterrupted low-fi, shambling garage rock, tinged with disco notes and some cowboy themed guitar riffs.
The band have been making waves ever since 2009, they write about a variety of every day experiences, from lost love to meeting annoying people at parties, with both a high school sweetheart wide eyed wonderment about the world but also more than just a nod to the sleazy underbelly of it all.
The band stride on stage to what sounds like an Edwardian overture sporting baggy corduroy and polo neck t-shirts advertising a funeral home its exactly the hip ‘devil may care’ style that oozes just the right amount of nonchalance to make it just cool enough. They are met with rapturous applause from the crowd – who seem completely up for it right from the opening chords of Heaven and Hell, from 2018’s compilation album Casual Acquaintances.
By the third track Night Ride – with its dreamy glockenspiel sounding synths the whole venue is singing rapturously along. There is even some fans at the front waving a poster that they had made requesting their favourite track – Tell It Like It Is(see photo) and this is exactly the kind of following that The Growlers have. They have become big enough to fill a venue like SWG3 with 2000 fans, that can chant back the choruses even to that previously unrealised B-side, but also they are still relatively unknown, so it’s still cool enough to like their 6th studio album, without losing that DIY ethos.
Brooks Neilsen has a sultry, raspy falsetto (aided no doubt by the copious amounts of cigarettes he’s trying to discreetly huff in-between songs) that is both unique and unusual yet reminiscent of a young Bob Dylan. He has just the right amount of swagger and an impressive bouffant that makes him look like a young George Best. He seems like a wayward preacher, that’s perhaps a little too fond of bourbon, preaching from the pulpit about the doldrums of everyday life.
Try Hard Fools is an impressive, dreamy ballad with the easy to sing chorus of, “Nobody said it would be easy and if it was you wouldn’t want it”
“I think this song has a really good Scottish vibe to it” announces Neilsen before the band launch into Black Memories, an moving ditty interlaced with calypso guitars and castanets, singing about a long lost love; “Where are you going, Come back with my heart, Sure as the wind keeps blowing, Nothings gonna heal these scars” maybe Scotland is what he was alluding to? Either way the crowd are lapping it up.
This is followed swiftly by Love Test a firm fan favourite from the crowd’s reaction, which sees Neilson standing stage left with the same hands behind back pose made famous by the Mancunian Ghallagher brothers. It’s a crooning, melancholy ode to finding love that perfectly encapsulates the hazy riffs and unabashed optimism that encapsulates The Growlers sound.
Other stand out tracks from a set list that has been curated with scattered gems from the bands full back catalogue include; Empty Bones, Dope on a Rope and Who Loves the Scum?
There is an amusing moment when Nielsen, mistakes the “Here we F*£$ing go” chant that is synonymous with Glaswegian music fans for “Every F*£$ing ho?” that the crowd find highly amusing, before they play City Club which has Daft Punk guitar riffs and laid back high hats, by this point everyone on the room is dancing.
They end the set with Chinese Fountain, only to be brought back on stage moments later by a crowed hungrily shouting for more. The band play a short encore consisting of Shadow Woman, I’ll Be Around and finish with Going Gets Tough – a reggae infused sonnet about a fire that destroyed their recording studio a few years back, it’s a perfect way to finish a behemoth set, prompting the crowd to remember how important it is to band together during these uncertain times.
And just like that the massive congregation disperses off out into the wintery night, perhaps managing to take with them a small ray of Californian sunshine.
When listening to Black Marble, you can’t help but think that the band was formed during the early days of 80s electro synth pop. Black Marble’s sound is so authentic that they could be easily mistaken for a group that helped launch the synth genre more than 30 years ago. It is easy to imagine them brushing shoulders with the likes of pioneering bands such as New Order, Depeche Mode or Joy Division.
I must admit before going to the gig that I knew the music after falling in love with their second album It’s Immaterial (2016), but I didn’t know much about the band itself. My realization on the night that Black Marble really isn’t a band in the traditional sense, but rather the brainchild of one individual was nonetheless shocking. Chris Stewart happens to be the singer/songwriter/multi-instrumentalist who creates each sound for the complicated layers of synth embedded in each track.
Sometimes groups are unable to produce the same quality sound for their live performance as one can hear on their album, but in the case of Black Marble fewer musicians does not equal a shoddy performance. On the night Christ Stewart was supported by another musician to produce the live show which was simply outstanding. Performing a collection of material from different albums in his catalog, Black Marble took us on a dreamy synthonic journey.
Even years after having songs such as “Iron Lung”, “It’s Conditional”, and “Golden Heart” played over and over again in my house, I never seem to get tired of hearing the tracks. Hearing them live on the night made me appreciate them even more. Showcased on the night were many tracks from Black Marble’s most recent album Bigger Than Life. The newest album shows off Chris Stewart’s synth instrumental expertise with a compilation of electronic tracks dripping in 80s nostalgia. Songs like “One Eye Open” or “Private Show” are more punchy and upbeat making them seem more like soundtracks off your favorite 80s tv show or video game. While other tracks such as “Bigger Than Life” invoke dream pop surfer vibes.
Although Chris Stewart may be heavily influenced by synth artists who have come before him, one thing is for certain. He is a modern day pioneer of the genre and Black Marble should be named along side of the originals.
Fronted by lyricist, Tom Stearn formerly of Admiral Fallow fame who is based in Genoa alongside bassist Pietro Martineli, with Riccardo Chiaberta on drums, based in London and finally guitarist Marco Giongrandi based in Brussels the band blend contemporary melodies with each character imbued with a sense of self identity.
Kettle of Kites are an influential band of brothers that hail from a scattering of cities across Europe, which lends to their rich sound.
The quartet find themselves packed into a bustling Hug and Pint as part of the city’s Celtic Connections Festival, alongside Independent Venue Week, with an audience as seemingly diverse as the band themselves (the room is thick with European accents).
Playing tracks mainly from recent album ‘Arrows’ a buzzing lo-fi electronic, cinematic, soundscape concept album dedicated to the work of seminal sci-fi writer Isaac Asimov.
Stearn is very relaxed on stage and has some jovial banter back and forth with the audience when one shouts ‘Robots!’ he laughs and explains that yes, indeed this next song is all about Robots. The band launch into ‘Oliver’, a hauntingly mesmerising ode to the love between a human and a machine. Stearns orchestral baritone envelopes the venue while the post rock scuzz of the guitars are reminiscent of Caribou or Radiohead.
During the extended intro to ‘Orchid’ the band displayed some sensational rhythmic clapping to great effect – had this been a category in the Olympics I’m sure they would have been awarded a gold medal.
The song itself is a euphoric sweeping soundscape that stands as a warning to the delicate tipping point that we see our planet currently precariously hanging in the balance of. It’s moody and melancholic and also beautiful.
Other stand out tracks included ‘Supernova’ an upbeat ditty that nods it’s cap to both Four Tet and Lemon Jelly alike, and also ‘Lights Go Out’ where Stearns vocals sound similar to Anohni formerly of (Antony & the Johnsons).
The band are last spotted energetically conversing with fans at the side of the stage as they sell their vynil and chat openly with aficionados who are well versed in their work. I casual DIY effort from a band who produce a rich tapestry of sounds inspired by the stars.
The Golden Bough 