May, 2012

A few words about Cadence Weapon: his is my first experience of the Edmonton based Rollie Pemberton, and though initially the music seem a little clichéd and unoriginal given the wider popular hip-hop sound, which they fit pretty neatly, but they turn out to be fairly entertaining for their troubles.

Pemberton has a fairly standard rhythm and flow, but his playful use of metaphors and popular culture is reasonably refreshing, laid upon the backdrop of stark, Odd-Future harkening low-end beats.

Set finale ‘Loft Party’ gets the biggest response of the night, capping off a pretty successful performance.

There is a tendency for two-piece acts to sound a bit like two guys jamming in a bedroom without much restraint or concern for songwriting.

Japandroids are often pretty guilty or brilliant at this, depending on ones view on them.

Their set is full of youthful abandon but they are extremely limited where other bands like No Age use said limitations to their advantage.

Japandroids are full of excellent patter and warm stage presence but too often sound terribly dull for a band full of punk rock energy.

A major problem is the fuzzy, toneless guitars which attempt to do two jobs and end up doing neither (where bands like Titus Andronicus do).

The drums and vocals are equally unimaginative in these songs, which wander but lack bite.

For a couple of songs where they are at their best (for instance drummer David Prowse led banger ‘Rockers East Vancouver’), there is an unrivalled energy to them which seems unimpeachable, particularly to a lot of the young crowd who are clearly enamoured with the Vancouver duo.

However, there is a distinct lack of creativity to many of their songs that tread a familiar and frankly well worn ground.

They are a band who tick many boxes and will not care what old hacks like me have to say about them, but there is just something simply lacking from their set to get truly excited about.

Words: Adam Turner-Heffer

Starting to feel like something of an institution Stag & Dagger’s fifth year in Glasgow promises to provide the vast spectrum of musical tastes we Weegies have to come to expect in mid May.

Since its inception the variety of acts prove a tasty distraction to end of the season football matches.
Athough billed as an all day event not much is scheduled to test the stamina prior to 7pm with the exception of happenings at The Captains from 1pm onwards.

Unfortunately despite my supposed best intentions I fail to catch a glimpse of either Hot Panda (combo of sleep/football) or Die Hard (just sheer laziness) both of whom I had pencilled in to attend.
So, following that less than triumphant beginning we eventually muster up enough energy to collect our wristbands.

Having previously experienced both Miaoux Miaoux and White Denim we conclude after much deliberation our first pick of the day; Post War Years.

With the ABC kicked off and some unmentionable sporting event taking place the band open to a fairly sparse disinterested crowd.

A couple of songs in and it’s coming across all Hot Chippy with synth pop tones and vocal harmonies meshed with samplers.

Halfway through the band confess to not having a setlist awakening those in The Art School as they warm to the clearly hungover four-piece.

After slowly going through the gears (as well as requesting the audience come closer) the band finally take it up a notch with ‘All Eyes’, a clear highlight with its crashing heavy bass bringing the walls down.

Instead of holding tight for Still Corners skip along to the ABC and the psychedelics that is The Phantom Band.

First off let me say I do actually like a lot of The Phantom Band, indeed I enjoyed one of their many Glasgow gigs not so long ago.

However, for whatever reason the best compliment to pay them on tonight would be ‘energetic’.
They appear to huff and puff throughout their set despite frontman Rick Anthony’s insistence “always a pleasure never a chore”.

Playing a selection of songs from both Checkmate Savages and The Wants small sections of hard-core fans drum up an atmosphere but their set will have done nothing to attract the uninitiated.

Django Django, so good they named themselves twice, have played the waiting game remaining in self imposed exile since releasing debut single ‘Storm’ in 2009.

Such patience would now appear to be paying of as fresh from an appearance on Jools Holland they find support in the form of hipster and average mr music man alike.

Awaiting Django Django’s presence with a healthy level of excitement and expectation the audience roar as they appear on stage complete with uniformesque like matching t-shirts.

Samples, blips, beeps, riffs, vocal cues and suddenly we’re transported to a jungle, very effectively, and opener ‘Hail Bop’ kicks in.

What follows is a three (or four) song medley mix of tracks like ‘Waveform’, ‘Default’ and ‘Skies over Cairo’ with interludes of lesser known songs from their debut album.

The full version of ‘Skies over Cairo’ provides a fantastic evocation of deserts, sand dunes, oases and bustling bazaars.

Watching the assembled masses struggle to find the suitable dance moves for such a track is a personal highlight.

The set builds to a stupendous finale as fan favourite ‘Wor’ kicks in; synths bounce off the walls and reverb back, bringing us all together in an encompassing Django Django embrace.

Much to many’s surprise there is even time for an encore just as people had began to creep out.
Following this we dart over to the CCA for a not so enjoyable 10 minute taster of Washington Irving.

Not that the band are to blame, the venue is at breaking point in terms of capacity meaning if you dared to sneak off for a pint you were unlikely to return to see or hear the band.

That aside, while I’d not put a huge amount of faith in my findings after 10 minutes it would seem Washington Irving are set for a bright future.

The self-proclaimed electric folk outfit speaks of their distaste for Dunfermline which gained a muted response before someone joked “haw am frae Dunfermline”.

Songs such as ‘Abbey Gallop’ suggest a band with no little skill in songcraft and raw Americana who on this evidence are likely to continue on an upward curve.

After somehow escaping the CCA there is only one plausible destination: Stereo and EMA.

Gracing Glasgow and Scotland with her presence for the very first time Erika M. Anderson is in town to showcase her debut solo effort Past Life Martyred Saints.

Her blend of introverted singer-songwriter brooding with furious abrasive punk does not immediately catch the imagination of the Stereo crowd.

Requesting the “sexy blue lights” she and her band rip through the powerful ‘Marked’, no doubt spectacular irrespective of lighting choices.

Melting through frazzled soundscapes of feedback and general bombast we are treated to ‘Grey Ship’ in all its glory before Anderson ventures on a 10-minute solo independent from her band.

By the time EMA jumps off the stage to confront the now engaged audience ‘Milkman’ is in full flow as she laments the disintegration of relationships.

While appreciating the Kim Gordon/Sonic Youth-esque screaming brilliance of ‘California’ the only minor complaint is ‘Breakfast’ is not played!

As EMA wraps the microphone cord around herself while seemingly lost for the moment there is a respectful hush in recognition of a performer whose charisma and aggression set her apart.

Naturally, following EMA’s set the only way was down, however Forest Swords‘ chillwave does provide a rather helpful nudge to Stereo’s attendees with a mellowness which comes as a welcome contrast to EMA’s darkness.

Undoubtedly not everyone’s cup of coffee Forest Swords enabled a chilled out conclusion to all the Staggering & Daggering.

‘Miarches’ loops and clattering beats combine with live guitars finish the night off nicely as the masses slowly began to slink away and retreat home following another successful Stag & Dagger.

Words: Andy Quigley
Photos: Kenny McColl

Horse Meat Disco certainly aren’t strangers to the Glasgow scene, they regularly play to a packed Sub Club as guests of Optimo, but is Flat 0/1 the wrong venue for them? The answer is a resounding no.

The boys (currently in their eighth year as residents in The Eagle, London) certainly may be used to a more grandeur setting, however, nothing is compromised as they play a packed Flat 0/1.

Midnight Cowboy host the night and play as the “support” act an they are a talented bunch and sure know how to get the crowd in a party atmosphere.

The scene is suitably set with an impromptu candlelight vigil for the late Donna Summer.

Filthy Luka and Jim Stanton then demonstrated in three hours why their brand of disco is in such high demand.

In an enthusiastic entrance and, courtesy of a beautifully slowed down ‘I Feel Love’ edit they whip the crowd into a frenzied atmosphere in what feels like your granny’s living room.

In a flurry of disco classics it is nye impossible to pick out any set highlights BUT the concupiscent reaction of the crowd to Donna Summer’s ‘Our Love’ has to merit a mention.

In a more intimate setting it may have been easy for the crowd to wane as time passes on, there is never any danger of that occurring here as disco classic keeps the energy of the crowd to an effervescent level.

Plaza’s ‘(Got My) Dancing Shoes’ (featured on HMD Volume 1) is a mid-set highlight as is Chic’s ‘Chic Cheer’.

The venue choice of Flat 0/1 is a perfect setting for Horse Meat Disco as the kitsch style of music blends superbly with the kitsch setting and atmosphere.

The chant of “one more tune” is met with affection at the end and they do not disappoint, playing an extra fifteen minutes instead of “one more tune” is a fantastic touch as is the music selection.

In keeping with the Donna Summer theme running through the set, it is only fitting that the last two tracks belonged to her.

‘State of Independence’ is a sombre note in memory of the “Queen of Disco”.

Never wanting to part on a sour note, ‘Last Dance’ is played to ensure everyone that left does so with a smile on their face and a spring in their step.

Words: Andrew Melrose

This is Rokbun’s first time in the Berkeley Suite and there pretty much couldn’t be a better night for it.

Canadian solo electronic artist Claire Boucher, aka Grimes, has had hype constantly grow around since her emergence in 2010, which lead up to the brilliant Visions coming out earlier this year.

Tonight is the ideal opportunity to see her in action on a relatively small stage before she makes the step up to the Arches in August.

Support tonight comes from US duo Tonstartssbandht, who guile the already packed venue with melodic harmonies drenched in reverb creating a type of freak folk feel.

A switch from keys/guitar to drums/guitar sees the band set off, playing out a heavier elongated track that touches on the right side of noise pop and ends in climactic expressive vocals shouted without mic to a more than impressed crowd.

Tonight is sold out, and has been for a while, rightfully so, Boucher is a treat, her hyperactive charms and entrancing dance floor teasing music has been winning her fans by the thousand and she more than justifies this tonight.

Bobbing about around a plyth of electric equipment she is clearly excited by the music she makes and delivering it live, her constant requests for the sound to be turned up so she can really “get into it” only back this up further.

The Berkeley Suite isn’t particularly designed for everyone to see the stage, but you don’t really need to, the smoke filled room acting as a cavern for Boucher’s sound, if there only was a touch more room dancing would surely break loose.

There’s something mesmerisingly cool about Grimes as she spills disco enthused beauties, changing to euphoric beats all under some of the catchiest dream pop vocal hooks you’ll hear.

It’s enough to plaster a smile on anyone’s face, even new tracks don’t sound out of place as Boucher works with her new sample set up, cheat sheet and all, and makes it all look too good.

Her enthusiasm is engaging and by the end of the set she seems to have got a touch carried away as she has to apologise for running out of tracks she’s able to create to her satisfaction, a perfectionist too.

She can be instantly forgiven though as the set is more than impressive and as she starts to spin a few tracks before leaving the stage those who can’t see could be forgiven for thinking she’s still up there Djing, I’m sure she would be if she were allowed.

Grimes is a gem, tonight is more than proof of her talent and her enthusiasm for what she does is constantly evident, make sure you catch her at The Arches cos the course she’s on she’s only going to get bigger.

Words: Iain Dawson
Photos: Angela Canavan