October, 2010

Set to coincide with the release of their second full length, He Who Saw The Deep, tonight I Like Trains bring their post-rock styling to Glasgow’s ABC2. Support comes from the very enthusiastic Johnny Reb who describe themselves as sounding like “Morrissey after three pints”.

Despite a relatively small turn out tonight, I Like Trains have barely lifted their instruments before the floor in front of the stage is packed. The band launch straight into the first single from their new album, A Father’s Son, and the powerful baritone of David Martin soon reverberates around the room.

Despite the new album taking a slightly more melancholy path than their previous work the audience really get into it, so much so that the more upbeat ‘When We Were Kings’, with its uplifting piano melody takes many people by surprise, giving them something to really dance to.

The definite crowd pleaser of the night is ‘Terra Nova’, the band’s fourth single from way back in 2006. The powerful drums and reverberant guitar are complimented by lyrics based around historical tragedies, an unusual approach for a modern-day band, which gets easily the biggest cheer of the set.

I Like Trains finish their short but sweet set with last year’s single ‘Sea of Regrets’, which builds to a room filling climax with all four band mates singing in harmony.

Words: Katherine Haig
Photos: Euan Robertson

Tonight the ABC sees a vast change from Robyn’s pop charms of last night, but yet again the venue is packed full albeit for an altogether more riotous experience. LA based noise rock favourites HEALTH return to the Glasgow as support after a recent headline slot at the Arches and play to their biggest Glasgow crowd to date. The Californian four-piece look more than at home as they power through a set of high impact, hair swinging post-punk. You could be forgiven for dismissing them as metal on first glance but images should not be thrown aside as their powerful industrial beats could penetrate many a dance floor.

Then it’s the turn of tonight’s headliners, Crystal Castles may be like marmite but no one in attendance can argue that the beat driven assault launched on the ABC tonight does not deliver.

A combination of constant smoke machines and seizure inducing strobes throughout the entire set produce a uniquely apocalyptic vision as the duo’s leader Alice Glass struts around the stage only visual as a silhouette for the majority of the set.

It isn’t long before Glass makes the first of many voyages into the braying crowd, as the tiny cropped singer approaches a sea of hands greeting her in a scene approaching the opening sequence of George A. Romero’s Day of the Dead.

Despite her rarely being in full vision Glass’ presence cannot be brought to fault, she is a constant blur of energy, as she screeches through tracks from new album Crystal Castles II, jumping from raised object to raised object while jumping around like a crazed nymph.

The atmosphere in the ABC tonight feels more like a rave than a gig as the crowd on whole jump wildly with hands raised throughout. Each and every song from latest release ‘Baptism’ to old favourite ‘Alice Practice’ are met with the same unrelenting wave of euphoria. Crystal Castles may have once been laden with the new rave tag but the Canadian duo have outlived that scene and ousted the memory of it. Their live show has gone from strength to strength and even the shyest gig goer would struggle not to dance to this explosive live experience.

Words: Iain Dawson
Photos: Fran Lightbound

One of the highlights of our trip to Glastonbury this summer, The National have just released their new video filmed and directed by Tom Berninger and shot both onstage and backstage at various live shows over the summer.

Capturing the intensity, humour and unique chemistry of The National, ‘Terrible Love‘ shines as an astonishing track by this remarkable band. The track itself is an alternate version of the original found on the Brooklyn quintet’s fifth studio album High Violet.

‘Terrible Love’ will be released as a violet-coloured 7″ and download single on Monday 22nd November. If your lucky enough to have a ticket you can catch them with Phosphorescent for their SOLD OUT show on the 26th of November at the O2 Academy in Glasgow.

The sound of high octane Detroit muscle roared into Glasgow tonight as Jim Jones and his Revue brought their apocalyptic super massive rock’n’roll to the stage at King Tut’s.

On tour following the release of their second irreverent album Burning Your House Down, from the first song they don’t pull any punches. Launching themselves straight into the cover of Little Richard’s ‘Hey Hey Hey Hey’, from their self-titled release, they set the benchmark for the whole gig. The twin guitars of Jones and Rupert Orton assault the senses supported by the superb rockabilly piano of Elliot Mortimer.

The sound is huge, the volume loud and there are cries from the crowd to have the vocals turned up, as Jones’ lyrics get slightly lost in the maelstrom of sound. Vocal issues quickly sorted, new material ‘Burning Your House Down’ and ‘Killin’ Spree’ are highlights and hold their own against more established songs like ‘Rock’n’Roll Psychosis’.

The energy from The Jim Jones Revue is phenomenal, and their live performance is legendary. Jones, has all the attitude and presence you could ever want from a rock’n’roll frontman, and he has pulled together a powerful band for his latest venture.

The Jim Jones Revue are still on tour in the UK see them if you can. Your ears might not thank you, but rock’n’roll may well save your soul.

Words and Photos: Ross Campbell

A delay of about half an hour hits into Robyn’s set tonight but this is quite happily eaten into by DJ duo Rebecca & Fiona, who appear to having the time of their lives as they dance around the ABC stage.

Still it is one person everyone is here to see, as Robyn speaks an intro track and the stage gets drowned in strobe the excitement in the room hits fever pitch. The quirky Swede emerges in an ever so kitsch outfit, which cuts down throughout the set to a much simpler but no less cheeky attire.

Opening with R&B enthused ‘Fembot‘ sees the singer taking a step further into a scene she has be known to dabble, as she takes on the persona as the ultimate robot diva. Most of the material tonight is new to Glasgow as Robyn is promoting her three album Body Talk series.

Latest single ‘Hang With Me’ hints at Robyn’s pop capabilities before we reach the set’s club section. The heavy bass hits in and ‘We Dance To The Beat’ delivers exactly what it says on the tin. The Stockholm born popstess is certainly in the mood this evening and any doubts about the set’s energy dropping are quelled as she wolfs a banana in the midst of wild dance.

‘Love Kills’ continues the dance vibe, injecting a little clap along for the crowd before stepping into the upbeat electro Röyksopp single ‘The Girl and the Robot’. The crowd matches the performer all night in terms of energy and this is no more evident when Body Talk, Pt. 1 single ‘Dancing On My Own’ fires out whipping the crowd into frantic excitement as Robyn displays the top end of her pop gems.

‘With Every Heartbeat’ is easily Robyn’s most recognisable track, but it is a credit to the singer’s other tracks that no noticeable change is taken from the crowd, not that any more energy can be extracted from the excitable audience. Robyn is at that bizarre stage where she has yet to reach the heights of mass stardom, trendy kids secretly adore her but there is a silly taboo with something this accessible. As a result, the crowd this evening is an odd mix and for many a first gig, explaining the mass head for the exit before the encore.

Pop stardom may be where Robyn wants to be or not but it is certainly where she ought be. The set from start to finish is full of sugar coated pop and dance floor fillers and if Body Talk, Pt. 3 lives up to the first two then it wont be long before she is playing to screaming fanatical kids in their masses.

Words: Iain Dawson
Photos: Debbie McCuish

Ever since the small Chicagoan quartet first unleashed the almost controversial Trees, Swallows, Houses EP four years ago, there has been an enthusiastic selection of music-lovers following their every move.

Since then the progression of Maps & Atlases sound has been focused upon training their once erratic and complex sound. This direction is by no means a bad thing; it has resulted in a rather pleasurable take on chamber pop but all the while retaining the energy of their earlier style.

Tonight we find the band in fine form as they offer stripped down versions of the exceedingly studio dependent new album, Perch Patchwork, but with the same energy and intensity that their fans know and love.

It is a Perch Patchwork laden set, and it is interesting to see the ways they’ve tackled the songs in a live situation. The band are mostly based on the basic four-piece set up, there are many other unattainable instruments and studio effects, but the songs do not suffer as a result.

Opening with a skeletal version of new album highlight ‘Living Decorations’ which here bases itself mostly upon building up from nothing with the instruments at their disposal - and it is a success.

Lead single ‘Solid Ground‘ is every bit as magical and sorrowful as its studio counterpart. There is no denying that when the Chicago quartet play their old favourites, there is both a huge reception from the small packed crowd and a memory reminiscent of the punkier roots the band seem to have left behind.

For instance ‘Witch‘ and particular highlight ‘Daily News‘ are both played with fantastic precision and emotion. ‘Every Place is a House’, the song that started all the interest almost five years ago, is just as refreshing and vital as it was on first listen. It seems a shame that these moments are fleeting.

After their set, the band decided to treat the crowd - apparently on the basis of the last time they were in Glasgow and from recently touring with Frightened Rabbit - to a few intimate acoustic tracks after the curfew. This includes ‘Carrying the Wet Wood’, ‘You Me and the Mountain’ (both of which are excellent) and the fantastic and still enchanting ‘The Ongoing Horrible’.

Though not necessarily essential, this was a lovely treat for those in attendance, and rounded off an excellent set suitably from a band who are still one of the most intriguing and exciting prospects out there.

Words: Adam Turner-Heffer
Photos: Stewart Fullerton

Seeing The Black Angels for the first time you can understandably a little reluctant (the name does suggest affiliation to a leather clad biker gang).

You only have to keep your wits about you and you can hear the band’s praises being sung like a church choir even before doors. Outside hosts debates concerning which of their albums is better. Unanimously something everyone can agree on: the “Angels” are a force to be reckoned with. On a SOLD OUT night this busy a good seat is anywhere inside the door; as the last of the plastic cups make their way down stairs The Black Angels storm the stage. You could be forgiven for misconstruing the roar that goes up as classic generosity, after all this is the UK’s friendliest city, but this outfit have earned every bit of acclaim.

The Texan troupe crashes Glasgow with the mantra of their hometown ringing in their ears, ready to make noise as though drunk on holy water. They boast a racket of self proclaimed ‘Drone ‘n’ Roll’ and heavily influenced psychedelic rock of course with their own taste of America’s southern state roots.

‘Bad Vibrations’ carries with it moments of gloominess brought over from previous albums. The deep throbbing guitar and humming bass jostle with each other before giving way to mass vocals in an act of trebled salvation – so far so good. Then comes the tempo lift as though all of sudden they’re in a hurry to finish.

The maracas in ‘Science Killer’ gently grip you, pulling you in, while the echoing lyrics emulate the head spinning hallucinations of an acid trip. This contrasting the almost groggy sensation, felt by the slow marching drum, of ‘Mission District’ which is more like the gradual effects of a valium hit.

The crowd are quick to respond to what is basically one big musical trip. The set is briefly interrupted for a rendition of ‘Happy Birthday’ sung by the crowd in honour of John Lennon, only to be then interrupted by Stephanie Bailey’s kick drum. Obviously keen to get on with things, maybe they are in a hurry after all.

By the end of this psychedelic journey through murky inception, it feels like the impending conclusion to a strange dream. At least you aren’t left feeling like you’ve just witnessed another commercial cliché. This is not the kind of band striving to be the next Beatles by any sense. Phew!

Words: Ashten Macdonald
Photos: Tom Harrison

Leeds’ returning cult heroes I LIKE TRAINS are proud to announce that they will be playing a handful
of club shows in late October and early November. These gigs will coincide with the release of the
widely anticipated and hotly tipped second I LIKE TRAINS album ‘He Who Saw the Deep’, released
on October 25th via the bands own ILR label.

Previously hailed by the likes of NME (“iceberg sized heavenly sounds”), The Sun (“breathtakingly
powerful”) and RockSound (“a glacial beauty”) amongst others, I LIKE TRAINS sophomore full length
continues to expand the bands creative palette as well as serving as a timely reminder just why their
expansive, cinematic style has gained them such a cult following. These dates are an opportunity for
fans to see one of the UK’s most exciting, independent bands playing songs from the new album for
the first time, as well as indulging in old favourites.

You can catch them at the Glasgow ABC2 on Monday 25th of October.

A double bill of DIY brilliance is promised tonight as highly rated trio Male Bonding come out in support of Radiohead favourites No Age. Bassist Kevin Hendrick swaggers around in a confident fashion as they break into ‘Franklin‘ from the Londoner’s superb debut album Nothing Hurts. Throughout the set Hendrick’s more traditional punk sneer contrasts well with guitarist John Arthur Webb’s sometimes shoegazey vocals as the two trade fronting places. DIY punk ethos form a basis tonight, Male Bonding take to this full heartedly as poor sound quality is got over through sheer volume. Not that the band lack quality songs, album opener ‘Year’s Not Long’ forms the strongest showing of this tonight.

It is safe to say most in attendance tonight are here to see No Age, and the duo have moved on somewhat since they last appeared in town on their tour with Los Campesinos! and Times New Viking. Now a sampler joins them onstage adding a soundscapey feel to the raw sound they made their name with. This is not the only step away from their roots, they also have their own projectionist working a display throughout the show. This displays some interesting images but Stereo’s pillars and equipment don’t give much space for full-scale view.

The LA duo also are hampered with poor sound but the band make this work to their advantage as it compliments their raw and extremely loud set. The dtrong yet strained vocals of drummer Dean Allen Spunt work well as the set evolves more in a musical daze with one song flowing into the next. Spunt is no shy cookie either as he proclaims his love for Glasgow over an emphatic soundscape before giving a quick shout out to his favourite Glasgow vegan hangouts, including tonight’s venue. ‘Fever Dreaming‘ forms an early highlight as the band cut loose and hit us hard and fast in one of the standouts from latest album Everything in Between. While ‘Valley Hump Crash‘ forms a great example of the new dreamy side of the band’s sound.

After a set comprised of mainly new material a rapturous finish is in order and the band truly deliver. The chirpy guitar of 2008 single ‘Eraser‘ is easily the best received song of the night. The band then disappears only to reemerge as the recognisable duo and dig deep into their catalogue to perform Wierdo Rippers favourite ‘Boy Void’.

Sound may be an issue that is being constantly raised with Stereo but tonight’s set forms a classic example of how this problem can be worked in your advantage. The bands on offer tonight have grown up playing small dingy venues and through experience have a produced a sound that, delivered at break neck energy, works on any level.

Words: Iain Dawson
Photos: Gordon Ballantyne

This past Monday (11th October) The Walkmen released their truly stunning new album LISBON on Bella Union.

The band spent two years driving between warehouses on Philadelphia’s Girard Avenue and Brooklyn’s Gowanus Canal where they would write the majority of Lisbon. It wasn’t until a few inspiring trips to Lisbon, Portugal however that they established the album’s tone.

“None of us had ever been there, and we were really blown away by the place,” says singer Hamilton Leithauser. “The topography and architecture are stunning and the Portuguese were really accommodating. I think those two trips really helped keep us motivated while making this record. We named the record Lisbon as sort of a ‘thank you’ and a small tribute.”

The trip was certainly worthwhile and the result is arguably the album of their career.

Expect a headline date early next year but for now you can catch them opening for The Black Keys on the 28th of October at the O2 Academy in Glasgow, tickets here!

I Blame Coco will be hitting the road this autumn for a nationwide tour.

I Blame Coco’s first headline tour will support the release of Coco’s emotive synth
pop debut album, ‘The Constant’ on Island Records which also comes out this autumn.

Playing a host of festival dates over the summer, including Glastonbury, Secret Garden Party, Wireless, Latitude, Lovebox and of course Wickerman. Coco is not just an impressive songwriter but a punch-pulling, ultra-modern performer too.

You can catch them at King Tuts on Monday the 18th of October.

The dust has barely had time to settle since the arrival of Body Talk Pt 1, the first instalment of Robyn’s ambitious three-part album release plan for this year. Lead single Dancing On My Own, the heartbreaking heir to With Every Heartbeat, went top ten in the UK, while everyone from Pitchfork to the BBC, the Guardian to Stereogum, bestowed effusive praise (and numerous stars) on the album.

Body Talk Pt 2 offers the clearest example yet of Robyn’s pop prowess; 8 songs that crystallize her preoccupation with hypnotic repetition, propulsive beats and infectious hooks, and lyrics which display the kind of unabashed emotional vulnerability that only comes with true self-confidence. Body Talk 2 is further proof that Robyn’s understanding and love of pop music is as intrinsic as it is accomplished.

Robyn plays Glasgow’s ABC on 18th of October, to win a pair of tickets just write to contact@rokbun.com or message with the names you want on the guest list to the facebook and tell us who she collaborates with on the track ‘U Should Know Better’ from Body Talk Pt 2.