Despite initial sound issues this year’s Electric Frog micro-festival offers Glasgow the opportunity to mix the old with the new, the well established with fresh local talent and more prominently forced half of Glasgow to wake up on a Monday with more than just a fuzzy head.

Handpicked local darlings such as Billy Woods (Supermax), Craig Moogrooves (Kitty Kat Klub) and Simon Cordiner (Melting Pot) who have established themselves with their respective club nights play a great mix of 80’s disco in the Street Party Room, managing to keep the damp weather at bay.

Leave it to Glasgow’s loved purveyors of punk disco Optimo then to convince 80’s seminal post punk operatives Liquid Liquid out of retirement and back on stage. Optimo who took their name from Liquid Liquid’s eponymous song and EP of the same name, warm the crowd with their infectious brand of electro tricks before the seminal New York punks take the stage. Tearing through a crowd-pleasing back catalogue of hits such as ‘Bellhead’ and ‘Dig We Must’ showcase the groups funk, dub and reggae inspired disco at its best. A short interruption to the set, due to issues with the monitors, prompts lead singer Sal Principato to promise the crowd he would continue to sing, even if he didn’t know what he was singing. The band then lurch into the xylophone and bass laden ‘Optimo’ and ‘Cavern’ which have the crowd foaming at the mouth.

The next live set comes from German duo Alter Ego who, after a minor glitch, launch into ‘Jolly Joker’ forcing the Optimo tent to raise their hands in the air and dance until their feet bleed. Roman and Jorn who have dedicated themselves to techno, electro and pop over the years are alluring to watch, twisting and turning a dazzling display of knobs and buttons in what seems to be a frugal manner to produce some catchy techno hooks. Tracks such as ‘Why Not’, ‘Tubeaction’ and ‘Beat the Bush’ produce such an almighty clang that the whole tent reverberates with every simulated electronic beat. However, it was the duo’s hit ‘Joker’ that literally has people running towards the stage to dance.

Felix da Housecat, who plays his set to a somewhat sweaty crowd in the Sensu Warehouse, normally reserved for raves and art exhibitions, proves to be a crowd pleaser. The legendary Chicago producer plays an upbeat set full of classic house gems.

Headliners Simian Mobile Disco closes proceedings to a packed out Optimo Marque. The production and remix team comprised of James Ford and Jas Shaw, originally of indie outfit Simian, play a blistering live set of electro-house hits. Playing with a mountain of technical gear that saw the pair switched from playing laptops to keyboards with a fair amount of switches being fondled in between. Taking a diverse mix of tracks from albums Attack Decay Sustain Release and Temporary Pleasure the pair manage to reduce the Glasgow crowd to a sweaty pulp. Sing along tracks such as ‘Hustler’, ‘It’s the Beat’ and ‘I Believe’ have the crowd crooning the lyrics at a deafening roar. While electro-house fuelled hits such as ‘Tits and Acid’ and ‘Audicity of Huge’ prove the London duo as one of the most interesting acts of the moment.

Shaw says he feels tracks from upcoming album Delicacies & Delicatessen gained a popular reaction from the Glasgow crowd. The album sees the pair leaning towards their more techno-based influences is to feature tracks named after popular food dishes from around the globe.

Graffiti art, face painting and space reserved for installations prove the Electric Frog, in it’s more popular second year, has more to offer than just sizzling beats. It can be difficult to get a good few hundred Glaswegian punters dancing, especially outside in the drizzle on a Sunday afternoon, but the Frog succeeds in a grand fashion. Spectacular.

Word: Angela Canavan
Pics: Zul Bhatia and Anita Russo (as labeled)

Toro Y Moi is the stage name for, 23-year-old, ‘chillwave’ artist Chaz Brundwick.  Originally a bedroom brainchild of Brundwick while he played in South Carolina’s The Heist and The Accomplice, Toro Y Moi’s first album, Causers of This, has come out to bask in the same electro rays showered upon Animal Collective or Ariel Pink.

At the Captain’s Rest Toro Y Moi appear as Brundwick buried beneath a heap of keyboards, leads and echo effects supported a live bassist and drummer.  The trio nonchalantly set about creating the lo-fi, poppy soundscapes associated with this crossbreed of electronica and Americana.

Though Causers of This, as an album, places its heart far closer to RnB, Dubstep or Broken Beats than most artists in the genre, through the way Brundwick’s ambient electronics play out over the concise yet complex beat and rhythm of the bass and drums.  In this way, Toro Y Moi live has more in common with the likes of Bonobo and other UK artists from Tru Thoughts or Ninja Tunes.

There is also a definite vein of straight up dance running through the gig, peaking with tracks like ‘Low Shoulders’ and ‘Talamak’, and despite the slight sense of endurance brought by the asphyxiation of the Rest on a busy night, the crowd wakes up and snaps out of their spacey sway. Causers of This, regardless of how you classify it, is strong debut as it subtly mixes a myriad of influences from the last 30 years and comes out with a catch and coherent sound of its own.

However, some of this is lost in the translation live, perhaps it’s the silky production that holds the album together.  Still, the solid performance from the two session musicians cover for this and allow
Brundwick’s pop melodies and melancholy chord progressions to shine through.

Words: Steven Penman
Pics: Innes Morrison

It’s quiz time again! After giving away 6 Glastonbury tickets in the first round of the Gaymers Music Quiz, round two opened last week.

This time, the festival prizes are being distributed more regularly. Instead of having a load of festival tickets as the prize at the end of the 6 week round, on offer are a pair of tickets to the person with the highest score each week - this time you could catch amongst others The Flaming Lips (above) with tickets on offer for for the sold out Bestival.

Go HERE to take part and good luck!

Pic: Rokbun @ Glastonbury

It’s been a while since Aberfeldy’s last album but time hasn’t blunted their edge-the twelve tracks that make up Somewhere To Jump From are as sharp as they come, despite the somewhat depressing conditions that led to their creation. Dropped by their label and bruised by the departure of both female members, it could have been curtains for the Edinburgh outfit, whose 2004 debut album Young Forever garnered universal praise upon it’s release and led to high profile touring support slots, an NME single of the week (Heliopolis By Night) and the dubious honour of having one track (Summers Gone) feature in adverts around the world for products including online Bingo, Diet Coke and Spanish nappies (have to pay the bills somehow).

The new line up of Aberfeldy consists of songwriter/lynchpin Riley Briggs, his brother Murray Briggs on drums, and fellow founding member Ken McIntosh on bass. In addition their ranks have swelled to include multi instrumentalists Chris Bradley, Kirsten Adamson, daughter of Big Country’s Stuart Adamson, and Poppy Ackroyd, a brilliantly versatile pianist/violinist with a grounding in Classical musical.

Aberfeldy release their second album ‘Somewhere To Jump From‘ on 23rd August, you can preview In Denial from the record below.  The band play Loopallu festival late September before a collection of Scottish dates in October.

SEPTEMBER//

17 // ULLAPOOL // Loopallu festival

OCTOBER//

2 // ABERFELDY // Town Hall
7 // DUNDEE // Duke’s Corner
9 // GLASGOW // O2 ABC2
10 // ABERDEEN // Lemon Tree
15 // EDINBURGH // Liquid Rooms
16 // INVERNESS // Ironworks

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Upon arrival at Tut’s, it is clear that this leg of the Summer Nights showcases is a bit special. A large crowd gather in the bar beforehand, all check shirted and beardy, it seemed like the majority of the Glasgow folk pop scene had ascended on the 20 year old venue.

Augmented by not one but two fiddlers, Rachel Sermanni opens proceedings with a set of encapsulating acoustic majesty. Resplendent in white against her darker clothed band, Sermanni stands out for all the right reasons. Her delicately crafted songs are offset by atmospheric percussion and keys and her overall likeability soars as her set goes on.

Following a brief interlude, Washington Irving treat the crowd to some ceilidh-esque pop. Frontman Joe Black, with the face of a 12 year old adorned with the kind of bumfluff that only 12 year olds dream of leads his band through a host of the best folky pop around. The prominence of their flautist gives them an edge where the job of a lead guitar would not do justice. At times it felt the flute lines are crying out for a solo of the Rainbow theme tune, none more so on the Belle and Sebastian-like “Dear Liza”. The refrain of “there’s a hole in my stomach, there’s a hole in my stomach” gives way to a rhythmic, repeated chant, before bursting in to a fiddle driven mash of guitar, bass, drums and vocals, as the crowd pogo along.

For what had already been stated as a sell out show, there was a slight crowd swell when The Seventeenth Century take to the stage. With violin in hand, and hair draped over his face, vocalist Mark Farmer’s beguiling look does not distract from the music. Instead, it adds a certain amount of hutzpah to the performance, where his locks thrashed around in echo of his bow, his voice wailing but not quite snarling when needed and sounding ethereal the rest of the time.

After a stellar evening, the skies are well and truly reached, not least by the behemoth of a man who strides on stage to front headliners French Wives. Stuart Dougan’s forehead is constantly in peril of bashing the stage roof, as he and his band rattle through some of the finest pop songs Tut’s has witnessed. Whether swopping electric guitars for acoustic or just taking the mic, Dougan exudes the confidence that his songs allow him. A sparkling cover of Orange Juice’s “BlueBoy” finds the Wives at ease while having fun with other’s songs. Another band employing a female fiddler, their Strokes-ey sound has a country tinge, perhaps succeeding in its use where the like of The Holloways don’t quite. The spiky lead guitar, brings the punk, where the fiddle and acoustic bring the folk, in turn cementing the whole ensemble together. This could very well be your new favourite band. A magnificent set is brought to an end with powerful latest single ‘Me v. Me’ (best listend to after a heavy night on the lash!) The response to this is a mass singalong of it’s disparate yell of “my body’s giving up on me”, which is perhaps true by the time it comes around.

Walking back down those 20 name dropping stairs at almost midnight, it fells like Tut’s had perhaps found it’s class of 2010.

Words: Kris Jack
Pics: Warrick Beyers

Tonight’s headliner, Wild Nothing , is the latest act to be labeled ‘dream pop’ that has set eyes a sparkling the world over, fans and critics alike.

The solo project of Virginia born Jack Tatum, tonight performing as a four-piece, visits Glasgow for the first time, promoting debut album Gemini. Support tonight comes from Glasgow’s own Barn Owl, who treat us to calm wave of a set. The five-piece seem confident in their groove but outside of it the nerves look apparent. Despite this the twinkling of a xylophone and the occasion tune reminiscent of laid back Los Campesinos! the band form a delightful opener.

Tonight there is surprisingly room to move in Rest, which is odd considering the hype Wild Nothing has been receiving and the tiny venue. Still, the relatively few in attendance are treated a shy yet refined performance courtesy of this talented young man, who is continually gaining a deserved recognition.

The clattering of ‘Chinatown’ opens the set on an upbeat tone before Tatum drags us into a deep yet dreamy sulk, so brilliantly captured by this genres best, who Wild Nothing is among. The beautiful album opener ‘Live in Dreams’ forms a stand out of the set as Tatum sings “that’s exactly why I’d rather live in dreams and I rather die” and the crowd grows ever closer to the glazed swagger evoked by he constant rhythm of Tatum’s backing.

Then the glaze is blasted open as the most danceable beat of the night hits the floor, as Tatum and co hit into arguably the albums most pop track ‘Bored Games’. Tatum keeps the high ground and ends the set on an optimistic point with current single and almost twee delight ‘Summer Holiday’.

The shy frontman leaves us on an apology, firstly for not being the most talkative onstage, this he is instantly forgiven, and once again as the crowd chants for more he shyly announces that they had this
last night but they have no more songs.

Wild Nothing may not be dripping with the pop sensibilities that the more popular members of this scene embody, however, both live and record he has is a gem which will be cherished by many who have taken this scene to heart.

Words: Iain Dawson

Never in my nelly puff have I seen King Tut’s so busy from the word go. The explanation is not long coming with 4 bands playing as part of King Tuts Summer Nights gigs. First up were Social Services followed By Olympic Swimmers and there’s enough on show from both bands to suggest a future further up the bill.

There is an expectant, excited bustle in the minutes immediately preceding Admiral Fallow’’s set. Rapturous applause breaks out as the lights dim and the much revered, home grown outfit enter the equation and stamp their mark on proceedings with effortless authority. They are not afraid to make use of space and tension. Both are masterfully woven into their music to create a full-bodied and quite stunning expression. There is no better illustration than their jaw-dropping execution of the bold decision to perform ‘Four Bulbs’ without mics or amps. The level of crowd involvement really is particularly memorable as singer Louis Abbott works the audience expertly. They hardly need any encouragement to join him in belting out songs or to scream and dance with abandon during the jubilant woodwind solo in ‘Squealing Pigs’. The blinding set leaves the now hoarse crowd delighted and starry-eyed. The end of Admiral Fallow’s set sadly heralds the exodus of a fairly large portion of the spectators. Admiral Fallow play Belladrum on 6th August.

Here, Super Mario’s let himself go a bit hasn’t he? False alarm, it’s just Ross Clark of Three Blind Wolves. ‘Echo on the Night Train’ is the first number offered to the still substantial core of hardcore TBW fans. Straight from the off, there can be no doubt that the Wolves have risen to the occasion. The tight guitar work in the stirring intro and Clark’s unmistakeable, raw growl do justice to the high pedigree that TBW have attained. The group’s usual lively stage presence is bolstered on this occasion by percussionist Fearghus Lyon’s decision not to wear a shirt.

Tonight the audience are then treated to a brand new song entitled (if my hearing serves me well) ‘Honey Fire’. It begins tentatively with gentle strumming and the odd sharp inflection with a slightly overdriven, fray-edged lead guitar sound. Clark then lets out a soulful cry that grabs the song by the scruff of its neck and snaps TBW into action. The tune builds steadily to an enchanting, waltz-like finish.

Clark quickly works up a sweat (‘I’m always the sweatiest guy in the room!’ he gripes at one point) trying to animate the crowd. It isn’t long before everyone in the venue is howling along with him during the infectiously edgy electric number, ‘Captain of a Ship’. As the wall of applause fades, TBW dub the evening ‘one of their most memorable gigs’. Memorable is indeed the word.

Words: Neale McDonald
Pic: Russell Sneddon

Scotland’s leading music social club, Born To Be Wide, is to host a special celebration of Edinburgh’s music scene with live previews by local bands and DJs selecting their favourite four tracks by acts from the capital.

Taking place at the Electric Circus on Thursday 5 August, the night will feature ten-minute taster sets by acts performing at various music events taking place during the month. These include The Edge, Retreat, Acoustic Edinburgh, Forest Fringe and the Jazz Festival. Guests will also have the opportunity to win golden tickets in a capital music quiz.

“Edinburgh’s music scene is more vibrant than it has been for a generation, and in August musicians will be challenging the dominance of theatre, comedy and mingers squeezing into corsets in the name of burlesque,” says BTBW co-organiserOlaf Furniss. “This is an excellent opportunity for both visitors and locals to catch some of the great acts who make things happen throughout the year and get a taste of the music events being hosted during the Fringe.”

In addition to the live previews by artists including Meursault (pictured), Stanley Odd, Carrie Mac and Emily Scott – which will take place on the hour and half hour – key figures from the city’s scene will play their favourite records by Edinburgh bands.

DJs include the owners of venues Cabaret Voltaire, Sneaky Pete’s and Electric Circus, the BBC’s Vic Galloway, Avalanche Record shop owner Kevin Buckle and the promoters of many of the month’s big music events.

“The response has been amazing,” says Furniss. “All the musicians, event organisers and DJs invited to take part, said ‘yes.’ It is going to be great to have all these acts in one place and to hear what records end up being played.”

Members of the public posting their favourite four tracks by Edinburgh acts on the BTBW Facebook page will be given a place on the guest list.

LIVE PREVIEWS

On the hour and half hour
Fueldiva, Steve Heron, Carrie Mac, Haftor Medboe, Hidden Orchestra,
Holden, Meursault, Emily Scott, Stanley Odd, Enfant Bastard

CONFIRMED DJS

Muslim Alim [BBC], Tallah Brash [This Is Music / Lach’s Antihoot], Kevin Buckle [Avalanche Records], Jason Clarkson [Electric Circus], Dave Corbett [DF Concerts/The Edge Festival], Dave Cuming [Limbo], Sarah David [Cabaret Voltaire], Vic Galloway [BBC], Chris Knight [Astrojazz/Kelburn Garden Pary/Departure Lounge], John Paul Mason [Is This Music?], David Pollock [Journalist], Mark Robertson [Edinburgh International Festival], Colin Somerville [Broadcaster/Journalist], Ed Stack [Ten Tracks],
Nick Stewart [Sneaky Pete’s], Jonathan Tait [Academy Of Music And Sound], Kevin Willliamson [Author/Broadcaster], Matthew Young [Song By Toad]

Picture: Meursault @ Glastonbury 2010 (rokbun)

Calling all artists, bands, managers, agents and record labels interested in showcasing at SXSW or MIDEM

Creative Scotland, in partnership with SxSW, MIDEM and UKTI and the Cultural Enterprise Office are hosting an information session for artists, bands, managers, agents, record labels interested in showcasing at SXSW or MIDEM.

The session, which takes place on 31 August 2010 in Glasgow at the Glasgow ABC2 at 7pm, will cover WHY you’d want to showcase, WHEN the best time to do this is and HOW you go about planning and executing a successful showcasing campaign. We’ll cover how much it’ll cost, funding available, PR, visas, on the ground support and everything you’ll need to know about these events before deciding whether or when to apply.

Scottish artists and managers who have showcased in the past will talk about their experiences and there will be an opportunity to meet representatives from both events. Details of speakers will be announced shortly. The event is presented by Creative Scotland with SXSW, MIDEM and UKTI in partnership with Cultural Enterprise Office.

How to book: This event is free of charge but booking is essential. To reserve a place, please email events@culturalenterpriseoffice.co.uk or call 0844 544 999

The brief, self-penned descriptions of the Cancel the Astronauts band members on their Myspace are worryingly accurate, vocalist Matthew Riley somehow manages to pull off a rather fetching pair of red trackies.

Bassist Neil Davidson’s description simply reads ‘bass and height’ which is more than accurate as he ambles onstage, stooping out of necessity.

Guitarist Kieran McCaffrey and drummer Chris Kay look like they’re at the wrong gig. The position of McCaffrey’s guitar on his person (tickling his kneecaps) harks back to the short-lived golden era of embarrassing nu-metal circa 2000. Kay has boldly opted for the wifebeater vest and fingerless gloves combo.

Appearances aside, the Edinburgh five-piece are undoubtedly highly talented musicians with a confident, vibrant and frantic sound.

‘Intervention’, described by Riley as “a dancing song”, is a perfect example. McCaffrey’s spritely hammer-ons are aptly complemented by Kay’s impressive high hat work, a pounding bass line and Riley’s pomp and vigour on rhythm guitar. Synth player Michael Craig’s siren-like keys underpin the song and hold everything together.

‘Let’s Go Expo’ builds cleverly from a sombre, nostalgic intro to an energetic finish which is lapped up appreciatively by the crowd. The only possible negative to be found in the band’s repertoire is a tendency to employ “root-note Sally” bass lines.

On a visual level,  Astral Planes are wildly different. My eyes light up as I spy what looks like Reggae sensation and devout hacidic Jew Matisyahu shuffling onstage for an impromptu performance, turns out it’s just the Planes’ road manager checking the mics.

There was to be Jewish reggae tonight, as Planes take a completely different image from their manager, guitarist Chris “Chad” Haddow’s glorious locks and penchant for polo necks, wouldn’t be out of place on a Byrds album cover.

Planes fly out of the blocks and plunge straight into a rendition of ‘Shut the Door’ that’s as tight as a young nun. ‘Diamond Diner’ is the best showcase of their razor sharp yet delightfully unkempt and rough-edged sound. Jen Paley’s manic, Karen O-esque vocals sit rampantly astride an unashamedly rudimentary guitar riff, crashing cymbals and raucous full-band singing in unison.

The girl from the Garden State’s bewitching stage presence simply commands attention. She embodies the evident sense of enjoyment and enthusiasm within the band as Astral Planes saunter through their set with understandable swagger.

Fraser McFadzean’s engaging bass lines and Chad’s inventive licks leave the crowd unable to do anything except nod along with a coy smirk plaster on their faces. Planes have a unique surly, brooding vibe about them and are certainly one to keep watching out for.

Astral Planes are playing Belladrum on 6 August

Words: Neale McDonald
Pics: Simon Jones

The turn out for Tunng is pretty solid tonight; perhaps proving their longevity beyond the surge of US TV airplay that seemed to help the London folk collective cultivate somewhat of a ‘cult’ following a few years back. It also might be that this is the band’s first trip to Glasgow in four years, as their last Scottish visit, with Malian desert-wanderers Tinariwen early last year, favoured the capital.

Rejuvenated and inspired after this particularly unusual tour pairing, the band released their fourth full-length, ‘And Then We Saw Land’, earlier this year. This marked a shift in their previous creative
processes and personnel; bringing forward the role of vocalist/instrumentalist Becky Jacobs, while putting focus on the band as a whole unit.

It could be a case of personal preference but for all the album’s fullness and focus on songs as opposed to self-described “sketches”, tonight the tracks often sound stripped of their idiosyncratic charm.
Particularly recent single ‘Hustle‘, which sounds as normal as any other jaunty radio-friendly folk number, especially when compared to the brittle beauty of their earlier work.

However, ‘Don’t Look Down Or Back‘, from the same album - joined tonight by the supporting Hannah Peel on Trombone - triumphantly breaks the spell early on, while ‘Bullets‘ rustles up an unlikely
singalong with its unsettling-ly catchy chorus (’we’re catching bullets in our teeth’).

Gangly guitarist/vocalist, and founding member, Mike Lindsay also ushers in an unlikely antidote to any tedium when he dons a pair of ridiculous Bootsy Collins-esque shades mid-set and proceeds to let rip
with some fantastically over-the-top guitar shredding. Judging by his sheer glee it would appear there is a monitor-straddling rockstar casualty inside Lindsay desperate to escape.

There is a prominent feeling of playfulness to their work, despite the contrasting darkness of the lyrical content, and one that manages to shine through tonight. However, the real pleasure lies in the set’s
more stripped-down moments; songs such as the eerie, atmospheric ‘Tales From The Black‘ and enduring closer ‘Woodcat‘, which undoubtedly raises the most noise of the night.

Words: Ryan Drever
Pics: Alan Dunlop

To celebrate the release of their live DVD and album on 23rd August, Mogwai will be hosting a very special screening of their live film ‘Burning‘ tonight at 8pm (GMT)

You can view and take part in the screening by going direct to here

This film, Burning, is just one of a thousand Mogwai concert films to have ever been made. No, in fact, tens of thousands. How many people have seen the Scots rock band play live since they formed in Glasgow in 1995? That many, anyway. From sci-fi dystopia to kitchen-sink drama, everyone who experiences this band in concert will make a brand new movie in their head every time.

Mogwai create their own instrumental soundtrack to the imagination, and it’s up to us what we do with it. This isn’t a band who tell us what to think, this is a band who show us how much we can feel.

For directors Vincent Moon and Nathanaël Le Scouarnec (REM: Supernatural Superserious; Take-Away Shows), the three night residency they recorded at Brooklyn’s Music Hall of Williamsburg in early 2009 presented itself as a modern urban noir thriller, a black-and-white journey which starts on the same electrifying New York streets Bernard Hermann scored for Martin Scorsese. Manholes his steam, taxi headlights flare in the camera lens and strangers wait in street corner shadows.

Behind it all, ‘A Precipice’ rises into life, which is as good a place as any to start. A Mogwai gig can often feel like climbing a mountain, or falling off one: whichever feels more likely to remind you that you’re alive.

In grainy black and white, the show unfolds. The band make their way through a rain-washed Manhattan as ‘I’m Jim Morrison, I’m Dead’ hovers like a commuter’s MP3 soundtrack in the background; louche New York hipsters congregate before the show as the familiar echoes of ‘Hunted By a Freak’ kick in; the beatific, nodding faces of the crowd inside are contrasted with the going-to-sleep streets outside.

Meanwhile, the finest moments of one of the most individual live bands of our time are perfectly captured in grainy close-up: ‘Like Herod’s wall of noise; the dreamy ‘New Paths to Helicon pt 1’; ‘Mogwai Fear Satan’ (speaking of Bernard Hermann, there’s a shock worthy of Psycho in this song); the funereal ‘Scotland’s Shame’; strident finale ‘Batcat’.

In the words of Mogwai’s Stuart Braithwaite, “I don’t think we’re a very ‘Greatest Hits’ kind of band, but if we ever did release one, we’ve already decided to call it ‘The Sh*test P*sh’. I think that fact alone means we can never go through with it.” Which means, in other words, that Special Moves is probably the closest we’ll get to a ‘best of’ from them.

Moon and Le Scouarnec call their film an “experience of the senses… a lifetime of feelings in just one night.” You may prefer the quote which opens the band’s debut album Mogwai Young Team and which appears during the film as an intro to Batcat, a recording of a Norwegian fan reading a review of the band: “this music is bigger than words, wider than pictures; if the stars had a sound, they would sound like this.”

Or the words of an excitable young English woman speaking over the closing credits: “it’s like acid, but there’s no comedown.” Yes. It’s exactly like that.

Pic: Tomas Hermoso Edinburgh Corn Exchange October 2008