Lick Online - Live

Robots in Disguise

2007-10-22T14:23:00.000Z

Firewater, Glasgow, Friday 19th October

Belt buckles like red glowing departure boards? Metallic capes? Hair cuts you poke your own eye out with? Is this nu-rave? Spacelectro pop? Synthtastic sky-gazing? In all honesty, I think I may have arrived a year or two late to really contemplate or pin down the intergalacticality of it all. But whatever the fuck Robots in Disguise are, I'm certainly intrigued by them.

Dear friends and some time bandmates of Mighty Boosh cutie Noel Fielding, the rather elfin and ecstatically gorgeous Sue Denim and Dee Plume make an explosive combination when placed on stage behind a set of microphones and amplifiers. Opening with crowd pleaser DJ's Got a Gun, a synth heavy romp not dissimilar to the work Brazilian counterparts CSS, these two marionettes yelp and pout as if the Slits are sat up above pulling at their strings. They shine particularly on Turn It Up, which packs a much fuller live punch than the more subdued recorded version, and by the time Girl comes along they've literally got the place falling apart. I've never seen Firewater rubbing its tummy quite like this: packed wall to wall by a swelling crowd which becomes so enthused by its favourite DJ duo that the monitor desk and main PA speakers are precariously knocked swaying from their supports.

Having only just come across their music, I couldn't have asked for a better, or more brazenly eventful live introduction to RiD. Be sure to shake hands with them when you get the chance, they'll leave you sweaty palmed and starry eyed!

New single The Sex Has Made Me Stupid was released on 15th October and is supported by numerous live dates, which can be checked out at www.myspace.com/robotsindisguise.

> Vicki Cole

Jakobinarina

2007-07-17T17:33:00.000Z

King Tuts, 11th July 2007

Last week, an enthusiastic King Tuts audience was fortunate enough to witness Iceland’s latest musical export take to the stage in a support slot for Cajun Dance Party. To be honest I came to the gig as blind as a bat, having never previously listened to these energetic boy wonders. I was in for a rude awakening, however, when a decidedly youthful Jakobinarina finally flooded the stage.

Armed with some potentially electrifying hits such as ‘17’ and ‘Jesus’, the six piece delivered a highly entertaining set full of catchy hooks and sing-along choruses that managed to get those in attendance bopping about in no time at all. There were moments where the band’s influences shone through, particularly on ‘This Is An Advertisement’, which at times presents noise punk credentials that call to mind bands like The Cramps.

With a highly impressive SxSW appearance already resting under their six adolescent belts, and having been tipped for the top by Rolling Stone magazine, whether or not this power pop Vikingmobile will implode on itself before they hit the top remains to be seen, but they’re certainly notching up the tunes, the looks and a growing number of devotees that might just establish them as one of the most important bands of 2007.

> Andrew Mitchell

San Sebastian

2007-05-28T12:49:00.000Z

King Tuts

San Sebastian have got a magnetism that is hard to ignore. Closing the second night of T Break, their alluring and ambient sound was a refreshing alternative to the raucous bands that had come before them.

Lead vocalist Niall Gahagan’s whispery vocals and moody aura draw you in like an almost supernatural force. “La Beat Humaine” vividly captures the unconscious by combining a wall of distorted sound with harmonic interludes, which then catapults fiercely into a breathtaking rush of guitar riffs, adding a fascinating dimension to the track. The truly spellbinding “This is Modern” also stands out, with its triple vocals replicating melancholic lyrics above mesmerising drum beats.

Bass player Mark Stansfield has a particularly captivating quality, enticing the audience with his seductive scowl whilst also providing a cool dynamic by way of some sensual arpeggic lines. The only flaw I can really identify is a slight lack of charisma, which may prove problematic when they try to capture wider audiences. The band could also do with cutting the length of some of their songs, as some tracks start promisingly but get lost en route, leaving the crowd wanting something more. But make no mistake, San Sebastian have a unique essence and style that is hard to come by these days.

> Andrea O'Neill

Cardiac/Baillie and the Fault

2007-05-28T12:18:00.000Z

Capitol

According to a 'psalm of life' that I found on Google, enthusiasm is a choice. Playing to an almost empty Capitol whilst retaining the high spirit you have when you're going down a storm in a packed King Tuts certainly testifies to that. Although Mike Baillie's band (who have recently been name YourSound's artist of the month) may have lacked a certain - I hate to say it - X-Factor, you couldn't fault his charismatic stage presence and strong love of live performance. The comparisions to Snow Patrol are obvious and will no doubt be endlessly pointed out as the band progress. However, Baillie and the Fault don't come across as little boys aspiring to imitate their favourite band, but rather as a group of talented musicians who write similarly melancholic, affectual songs.

The aforementioned X-factor may have been missing but their set was never once boring, and the presence of Union of Knives singer Craig Grant towards the end of the show only added to the band's appeal. After an extremely lengthy changeover headliners Cardiac arrived on stage. The wait didn't seem so bad though as the Glasgow three-piece confidently burst into their set with minimum fuss and maximum impact. Their loud, aggressive approach came across very well in the small space and their superbly delivered harmonies were spot on. Cardiac are clearly a band who enjoy their music, and it shows.

Words: Ben Harrison
Photo: Malcolm Cochrane

Amy MacDonald

2007-05-28T12:12:00.000Z

King Tuts Wah Wah Hut

One ticket, one guitar, one local lass and several hundred Glaswegians crammed into an iconic venue makes for a pretty good night. Amy McDonald, at the ripe old age of nineteen, gives a mesmerising performance that suggests she might be the next big thing to come out of a recently prolific Scottish music scene. Taking to the stage with an air of confidence beyond her years, she made it clear that she has both talent and a bright future ahead of her.
A mixture of talented song writing, intelligent guitar playing and a deeply soulful voice combined to give Amy an added advantage in an industry that increasingly churns out an abundance or maufactured pop belles. It is heart warming instead, to see someone with a genuine personality that shines through in all of her songs.
After a small technical hitch, Amy opened with the infectious "This Is The Life", a mixture of acoustic country and indie undertones. Fan favourite "Poison Prince" was next, which combined a rampant riff and a pacey beat, cementing it as one song that should certainly be looked out for at T in the Park this year.
Halfway through the set 19 year old Amy performed "Footballer's Wife", a commentary on today's media saturated culture, which adeptly showcased the innocence of the Scottish Starlet. Throughout the gig you felt like you were being let in on a big secret, similar to the way many fans felt whilst watching Amy’s heroes Travis perform similarly about 15 years ago.
After a rousing applause Amy reappeared to give a unique rendition of "Mr Brightside", a quirky adaptation that was complimented by both her deep soulful voice and the soft acoustic tone that rung out from her lonesome guitar. This summer sees Miss MacDonald embark upon a monumental tour in support of her debut album, which will no doubt make her a huge hit at T in the Park and beyond.

www.amymacdonald.co.uk

www.myspace.com/amymacdonald

Words: Scott Mullen

Photo: Neil Milton

T Break Rundown

2007-05-19T15:24:00.000Z

King Tuts

As the saying goes good things come in threes. Red Snowman, Kobai and Radars were the trio who lit up and subsequently destroyed the T Break stage at Tuts.
A truly eclectic mix of bands performed for a strong crowd of indie snobs, spotty teen scenesters and industry hacks over the three nights, the majority having refined the art of blagging to get this far.

Refined, however, is not what you would dare call Red Snowman unless you want to end up with a fist full of metal for your sins. These guys make System of a Down look like Travis on a comeback. With a raw energy that brings head banging hard rock back from the dead, they match thunderous riffs with bass lines that would pound on hell’s door. The quintet exploded into a veritable barrage of lengthy songs, but fatigue never set in as they attacked both senses of sight and sound with Americanised guitar showmanship, melodically infused in angry ecstasy. If they don’t get through, I’ll pitch my tent next to the portaloos.

Closing the first night were former finalists Kobai who habitually endeavour to
unleash a thorough assault on your highest morals. The spine-tingling sextet’s intoxicating sound appeals to the new indie/rave generation, mixing synth-based heavy guitar licks with pulsating acid-tinged electro beats - think Aphex Twin and Biffy Clyro’s love child. They have linguistically matured and radiate a confidence that only manifests in rocks highest authority. Complacency will never touch the surface with this band, they have balls and they’re not afraid to throw them in your face. If you want your weekend to be full of dirty techno dance debauchery, let’s hope these reckless rave rockers will be there.

Radars initially sounded like they were also available for weddings. But the charming onstage charisma of larger than life front man Mick Radar, and the jaunty stylings of their refreshing sunshine rock melodies rapidly began to make some serious waves. Their jerky pop balladry was welcomed by the weary crowd who had suffered through a pedestrian night, until now. Supported by great backing vocals, Mick orchestrated the audience like an urban poet signalling what the story was behind each song. This isn’t your average middle-of-the-road pop rock, they have something to say and know just how to do it. In their words judges, “Rock is not your enemy”.

Bands that deserve a mention are Theatre Fall who take Weird Science to the stage, combining electronics with grungy guitar hooks. Their youthful musings are transmitted through dual guitars and electro pianos and a hilariously passionate display of facial aerobics. “We were transformers” was technologic.

Fiction/Action have potential to be great but have yet to discover their niche and are let down by their lead vocalist, whose Mike Skinner impression doesn’t gel well with the music. An “18th Century Poet” he is not.

The tranquil lullabies of The Moth and the Mirror were truly alternative. Watch out for them.

The rest were social squanderers who couldn’t even pack a punch in a gay bar. The Cider Spiders - a poor mans Kings of Leon, and The Cuts were the Fratellis in disguise. Why do all Paisley-bred bands insist on sounding like indie-pop pretenders?

Words: Andrea O’Neill

Photos of Fiction/Action: John Summers

The Cinnamons

2007-05-09T14:41:00.000Z

Nice N Sleazys with Meursault and Sweaterlife

First up tonight we have Glasgow’s emotronic kings Sweaterlife. I have watched Sweaterlife numerous times this year already and they are shaping up to be a great live act. With tracks such as ”If This Is The Last Time” and “Techno Techno Techno” they have an abundance of melody that is hard to ignore. In time, when they find their “on stage banter” feet they will become all the better for it.

Next up is Edinburgh based Meursault, or rather a third of the band. Its just lead singer Neil Pennycook who graces the stage tonight, treating the crowd with his acoustic based tales of woe. It is safe to say that he has won many admirers since last year's T Break final and certainly added a few more this evening.

Tonight is the first chance for Glasgow to bear witness to the transformation of the Cinnamons from a bedroom recording project to a fully fledged live act, and the switch is somewhat seamless. While the set is a short one it is equally as sweet, treating a now busy Sleazy’s to a half a dozen well crafted pop songs.

From the superb “Analog Man” that sticks in the mind well after the set comes to an end to the Stone Roses-esque “Armed Robbery”, the Cinnamons have a knack for penning truly catchy and memorable tunes. Too often a band will over stay their welcome on stage and will pad out the set with filler, but the Cinnamons mean business and exit stage leaving everyone wanting more. It remains to be seen when The Cinnamons will venture into the live arena again, but I can only hope that it will be at a venue near me very soon.

www.myspace.com/thecinnamons

> Andrew Mitchell

The Ideal Panic

2007-05-09T14:26:00.000Z

Maggie Mays

Taking the stage like a gang of pop divas, The Ideal Panic kick off their set with “Say!”, a blistering slice of snarling Rock ‘n’ Roll that is coated in swaggering attitude.

Maggie May’s in Glasgow is the scene chosen for the launch of their next single, “Precious Things”… and a precious evening it turns out to be. With support acts that tick every box in the NME checklist, attendees of this gig may be expecting a band layered in the current “Glasgow” sound, singing of drunken nights with beautiful girls and such like, but fortunately The Ideal Panic harbour a saving grace: they’re actually from the Shire (or Ayrshire, for the uninitiated).

“Say!”, the set opener, is fortunately nothing like the next Fratellis’ single and serves as a splendid way to begin the evening, setting the bar for the rest of the night. The Ideal Panic are one of those bands that as a musician you wish you had been part of, because their songs just resonate with crafted songwriting. With a rhythm section as tight as your average pop band and hooks that could topple a stack of “Now That’s What I Call Music…” compilations, its hard to understand why a band like The Ideal Panic haven’t started doing afternoon television appearances or something of that sort.

The band, whether they know it or not, have got more pop in them than all the Mikas and Lily Allens put together; pop being defined as a mix of catchy melodies, charming vocals and lyrics, and a cohesive sound that you can’t help but admire. And for all their pop similarities, The Ideal Panic are a strongly independent unit, releasing their singles (previous single “I See Too Much Of Myself In You” included) through their own iWant record and publishing imprint, which allows fans to construct their own “perfect album”. Each single is backed by two album tracks, giving fans the opportunity to put together the running order as they see it: a task which I’d find extremely hard since all 6 tracks released so far are of single quality.

Previous reviews have likened the band to The Doves, The Smiths, and Razorlight in their hay-day, which does seem like lazy journalism, but unfortunately, (or fortunately, whichever way you look at it), The Ideal Panic are a tricky band to describe, and trying to do so just undermines their originality and potential. In an ideal world, The Ideal Panic would be as big as the aforementioned Razorlight, minus the cocky swagger and 80’s pop replications they call singles. I guess time will tell, because it’s certainly on their side.

Cliché? Tick.

www.myspace.com/theidealpanic

> Ben Pomphrett

Electric Soft Parade

2007-05-01T15:29:00.000Z

Mon 23 April, Oran Mor

Opening with a thunderous instrumental number, Electric Soft Parade announced their arrival at Glasgow's Oran Mor in truly ear bleeding fashion. Driven by brothers Tom and Alex Whites’ harmonies and at times three guitar assault, ESP’s power pop is given a heavy dose of grit and bite live. More so than on record, the band reveal their heavier influences, and their performance at Oran Mor left the punters satisfied, balancing thrashy rock numbers against piano-led ballads. Deciding a couple of songs into their set to play their new album in its entirety was a brave move, but with catchy, bouncy tunes and buckets of good vibes and banter, the band didn’t lose the crowd at all during their ninety minute set. Although they didn’t manage to play every song from the new record, they got close, with standouts being No Need To Be Downhearted Pt 1 and If That’s The Case, Then I Don’t Know.

Refreshingly for an indie band, ESP were all smiles throughout the night, and even had to stop at one point to wait on their drummer as he collapsed into a fit of giggles. With a feeling of joy that shamelessly infectious, and the band behaving as enthusiastically as the crowd, the name of their new album - No Need To Be Downhearted - seems decidedly fitting.

Released the same day as their Glasgow gig, Lick Magazine made the most of the occasion by catching up with Alex and Tom for a quick chinwag before they took to the stage.

Hi guys, how the hell are you?

Tom: We played a Fopp Instore today to minus four people. It was okay though.

Alex: Yeah, you’ve got to just play through. It’s not our fault if people don’t come. We just write our songs and if people come, they come. What are you supposed to do?

Find them and hurt them?

A: [laughs] Yeah, seek them out.

So how is the tour going so far?

T: It’s going well. We played a place called Dunning last night. It’s in the middle of nowhere, up in Kinross. But it’s been good. We spent a few days in a studio up there. It’s been great. We had a couple of gigs in Dundee and Aberdeen, which were good as well.

So what’s Glasgow like to tour? And be brutal….

T: Oh mate, it’s good man.

A: Tom’s girlfriend Kirsty lives here, and my ex fucking girlfriend who just broke up with me today lives in Edinburgh. Sorry about that. Anyway, we love coming here and through the years have always had good shows here. It feels like a homecoming gig without having the pressure of knowing your mates are in the crowd and stuff. There’s always that triumphant vibe. I don’t think we have ever had a really bad show here.

T: We had a really nice show up here last year in Brel. An acoustic thing.

A: We played the Barfly before that. Our drummer Priesty wasn’t around, so we played like we used to; with me on drums, Tom singing, and our bassist; as a three piece. Me and Tom used to swap around and stuff.

What’s the response been like to the new tunes?

A: Brilliant so far.

T: It was good in America when we went over to do South By Southwest.

Speaking of which, how was SXSW?

T: It was alright, but we went to do some shows after that on the west coast, in LA and San Diego. San Diego was very good, probably one of the best shows we played this year.

A: It’s funny because we listen to lots of American music and then you get out there and people who live there are like, “You’re great!” It’s like, fucking hell… that’s amazing.

T: And we were basically a new band out there because we never got to go over for our first two records. Our first label never got us out there. The Human Body EP was the first thing we put out in America properly and then this new record. We’re going to put out a compilation of the first two albums too.

You self produced your new album. Was that difficult? Was it kind of like being in class without the teacher there?

T: [laughs] It was kind of like that. We have been in enough studios with enough producers and engineers running the desk and operating Pro Tools. Recording on reel to reel is just more and more expensive. We basically just figured out how to use Pro Tools in the first couple of weeks and it was just a process of elimination really. We have always recorded at home and stuff. We were using Truck, our label's own studio, so it was ultra cheap. It meant we could actually spend time working out what sounds good and dicking about with the mics and stuff.

That must have allowed you a lot more freedom, not having to answer to anyone but yourselves.

T: Yeah. The way the label works, it’s not your usual A&R setup in the way that a label like BMG works. It’s very fucking relaxed, you know. Robin, from the band Goldrush, he basically runs Truck and it was unusual because we had never been in the position where a label had signed us because they had genuinely liked what we did, and didn’t want to fuck with it and just wanted to release it… which was amazing. We expected to deliver the record to them and for them to “umm” and “ahh” about it for six months. That’s what has always happened in the past. But it was similar to how we worked with Brakes and Rough Trade. It’s a similar setup.

Electric Soft Parade’s new album No Need to be Downhearted is out now.

http://www.electricsoftparade.com/
www.myspace.com/electricsoftparade

> Ally McGurn

We Were Promised Jetpacks

2007-04-25T12:49:00.000Z

Nice 'n' Sleazy

On their MySpace, We Were Promised Jetpacks maintain that they sound like “Bloc Party crouching on their knees behind Biffy Clyro, about to be pushed over by We Are Scientists and The Strokes”. The likelihood of this was on a par with me becoming the next Mrs Johnny Depp…and I wasn’t mistaken.

Hailing from Stirling, the starry-eyed sophomores were clearly deluded, attempting to juxtapose their varied but admirable musical influences with a sound that was as dispiriting as their city. If front man Adam Thompson tried as hard with his vocals as he did with his hair then they would at least have reached the starting block.

Guitarist Michael Palmer, on the other hand, was in a league of his own. Sporting an afro that would out shadow Beth Ditto, he commanded the set and thrilled the crowd with his extraordinarily hypersonic riffs. Lighting up the stage with enough energy to power a whole town, style and self-assurance poured from Palmer as he launched into his rapturous composition. On drums Darren Lackie sometimes struggled to keep up the pace, briefly losing one of his sticks, but swiftly managed to get back on the beat.

Although the majority of their songs failed to strike a chord, “Small Talk” and “Let’s Call This a Map” were highlights, the latter combining heavy angular guitar layers with catchy melodies and jazz undertones. Although they had a fair amount of support, ergo leaving the audience suitably satisfied, I left wishing I really had been promised a jetpack.

> Andrea O’Neill

Young Knives

2007-04-21T12:24:00.000Z

Glasgow QMU

The Young Knives are not your typical indie-pop trio. They seem to have skipped a few stops on the road to indie cool, resulting in their image of geek chic (without the chic), ignoring the typical drain pipes and styled hair of present factory made scenesters. But it’s not just TYK’s style that is quirky. What other band can claim to have a guitarist who goes by the name of The House Of Lords?

Kicking off the night with the driving drum beats of Part Timer - the first song from their album Voices of Animals and Men - The Young Knives certainly start as they mean to go on. The Oxford trio’s signature left of centre pop sound is a sure crowd pleaser, and after seeing them play live it becomes evident that the boys are no spring chickens when it comes to touring. Their confident between-song banter coupled along with their magnetic group dynamic makes for an atmospheric and well executed live show. Adding to the performance is an epilepsy inducing light show, which is worth a look if nothing else (unless you are actually epileptic... then it’s probably best to just stay home and listen to the album).

Clear harmonies ringing out over bouncy guitar riffs: that’s what really sums up The Young Knives. The catchy Here Comes The Rumour Mill takes that extra leap and forces the crowd into fits of eccentric, energetic and almost spasmodic dancing. Although not particularly ground-breaking, The Young Knives at least rise above that all too familiar generic style that is so commonly paraded amongst this dilapidating genre we call indie.

> Michael Tod

Strumadum

2007-04-21T12:12:00.000Z

13th Note, 18th April

What’s better than rocking out, I hear you ask? Rocking out for a good cause, that’s what. Just as The Clash did, when they played Rock Against Racism in the late 70’s, or a couple of years ago when REM and Bright Eyes played the Rock For Change tour throughout America, music events and charity have gone hand in hand like two nervous adolescents. Glasgow’s 13th Note was the venue for another of these historic events, albeit on a slightly lesser scale, as students of Paisley University hosted an event to raise money for the Schiehallion Ward at Yorkhill Hospital. And what could have been a sloppily constructed musical love-in by a bunch of stoned teenagers turned out to be a well organised, interesting and most of all, enjoyable night.

After a last minute drop out, proceedings were kicked off by a solo set by Alex Sakulin of Black Tie Affair. Handling himself well with little time to prepare, he got feet tapping using only his keyboard and voice. Without the backing of his bandmates, his sound was a little thin, but he was able to hold the room’s attention, thanks to his song ‘Big Love’, which warns drunken lads of sleeping with “the fat girl in the corner”. Wise words, Al.

Up next was The Mrs, three ladies armed with only an acoustic guitar and a world of heartbreak. Enchanting the crowd with husky tales of misplaced love and boys who messed them over, they brought a gentle hush over the room. Lead singer Michelle Low's silken voice added power to her deeply confessional lyrics, whilst guitarist Audrey Tait lent her deeper, more fragile tones to some of their slower songs. Third member Jennifer Muir joined in for some great three part harmonies, adding another dimension to the each track.

After the raffle, where two lucky sods walked away with a home phone from Bang And Olufsen and a Yamaha guitar, it was time for tonight’s headliners, Pilot Episode. Anyone hoping for a nice face melting guitar solo was left disappointed, as the band decided to play a more stripped down acoustic set. Lead by charismatic songwriter and frontman Craig Ward, the foursome rocked nevertheless. Without the wails of the guitar, the bluesy roots of the songs came to the fore, displaying Ward’s songwriting talents. Apart from the slight setback of an out of tune bass, the band found their feet and by the time they played southern fried ballad ‘Here She Comes’, they had the crowd of friends and fans nodding their heads in unison. Wards’ banter in between numbers kept the crowd entertained, and by the end of the night the punters walked away satisfied in the knowledge that they had heard some good tunes and helped out a good cause.

www.myspace.com/pilotepisodemusic
www.myspace.com/blacktieaffair_music

> Alistair McGurn

Piano Bar Fight

2007-04-19T15:18:00.000Z

King Tuts, 15th April

On the Tut’s monthly flyer, tonight’s gig was advertised as a Succioperro one. The crowd however was a mixed bunch of people who were there to see not only (or not even) Succio , but also support bands Orko and Piano Bar Fight. It is easy to see that all the band members are mutual fans, watching each others' sets and selling each others' merch, and by wandering through the crowd you could pick up nuggets of peoples' like/dislike conversations with regards to each band.

Although I have seen Piano Bar Fight several times before, they are one Glasgow band that I always enjoy watching. Not everyone kisses their arse, which is rather refreshing, and I got the impression that there were as many people watching them that don’t like them as there were that do.

The non fans couldn’t say they were a bad band though, because PBF are great at what they do. Each performance incorporated scatty yet mesmerising dancing from vocalist Sean Cumming, who sings his naturally poetic lyrics with a resonance not too far from that of Morrissey. Making use of stripped down guitars and bass (although some of their absent and slightly more serene songs also tick the ambient box) Piano Bar Fight's overall sound tonight seemed kind of Rapture-ish, at least in a rhythmical sense. Saying that, maybe I just hear them everywhere so everything starts to sound like them.

Despite some crap tuning and typical Tuts sound fuck ups, from a few songs in and until the end of their set, PBF pulled off their usual energetic yet charmingly unpolished performance, and attracted joyful applause from most people in the room.

www.myspace.com/pianobarfight

> Kim Miller

The Sounds

2007-04-19T13:35:00.000Z

King Tuts

The Sounds - a modern day Abba for the more discerning punk rocker - went down a storm in Glasgow this week. Fronted by the beautiful Maja Ivarsson, the Scandinavian group took the stage to be greeted by a sold out King Tuts crowd.

Starting with ‘Painted’, an upbeat track with new wave undertones, the band quickly cemented their sonic presence as dance pop masters. As the night went on, the large crowd seemed to get more and more into the band’s energised electro/punk beats, which transformed Tuts’ minimal amount of floor space into a vast sea of bouncing heads and raised hands.

Half way through the set the band launched into ‘Tony the Beat’, a highly sexualized rock anthem that allowed the band to show their true colours. The song itself is a perfect example of everything that a good pop song should be: catchy, sharp, lively and ridiculously infectious.

What strikes me most is the The Sounds’ remarkable resemblance to Blondie, not just because of the look of typically Swedish belle Maja, but also because of the funky sound that is generated between their snappy lyrics and crisp beats. The band (who have recently featured on the soundtrack for ‘Music & Lyrics’) wowed the relatively small gathering, and played with a bold conviction that would have equally satisfied an audience of thousands. It was a truly unique experience that I have never come across in such a small venue. It even went unchecked when Maja sparked up a ciggy in the middle of the set, adding a slight air of rock and roll to the proceedings.

The band closed the set with ‘Mission’, a song that left the exhausted crowd undeniably captivated.

www.thesounds.com

www.myspace.com/thesounds

Words: Scott Mullen

Photos: John Summers

Midlake

2007-04-19T12:52:00.000Z

ABC 1, 9th April

Last Monday Texan indie five-piece Midlake came roaring into town, and having already been bumped up from Oran Mor to the ABC, I could tell that the crowd would be teaming with eager fans. Starting off the show with a fair amount from their latest album, The Trials of Van Occupanter, the band indicated an obvious fondness for 70’s folk music not only in their musical style but also in the abundance of facial hair that adorned all of their faces. Whilst the new album is packed with juicy harmonies, its focus on piano and acoustic guitar over the band’s earlier emphasis on keyboards ultimately left me a bit unsatisfied. My ears really perked up however, when singer and songwriter Tim Smith declared that they were going to play some of the older stuff. The more up-beat percussion sound was far more my cup of tea, especially stand out track ‘Balloon Maker’, which was very reminiscent of both The Polyphonic Spree and The Flaming Lips. The rest of the show incorporated a nice mix of old and new tunes, and at the end they treated us to a new song that they hadn’t even completed yet! Altogether it was an evening that exercised little strain on the ears, and it’s safe to say that the whole crowd left feeling wholly relaxed.

www.midlake.net

www.myspace.com/midlake

> Alison Rose

Beer Jacket

2007-04-12T14:38:00.000Z

Lick Magazine catches up with alt-folk wonder boy Beer Jacket before his headline gig at Nice ’n’ Sleazys to talk shop about the Scottish music scene, having famous friends, and the perils of the modern music industry.

So you’ve secured a fair few support slots with big acts over the last few years, haven’t you?

Yeah, I mean the tendency is to ask solo people to support solo people, or for bands to support bands, but I’ve been lucky. I’ve not been limited to supporting solo musicians so I’ve been turning that on its head.

We saw you support Rilo Kiley two years ago, how was that?

They were incredible; they're seriously one of my favourite bands. I've never been so nervous before a concert or since, and I've played with a lot of people I've really loved. Actually I tell a lie, I also played with Arab Strap and I’ve always been a really big fan of them. That was amazing, especially because I was the only support that night, I remember just feeling so ridiculously privileged, and I really like Aidan and Malcolm as people too. In the past I always felt really left out of the Glasgow scene because I played in bands that were on a different quest from all the bands that we looked up to, we were never really trying to get signed or anything like that. There was something really sordid about being in that mindset where being signed was the most important element of your existence, and I always was a bit embarrassed at that to be honest, when coming into contact with these people.

The thing about Malcolm Middleton and Arab Strap is they just seem to do their own thing and don't really seem to bother themselves with mass popularity. Do you share that same ethos?

Absolutely, I've been playing music as a means to an end since I was about thirteen. But I had basically decided I was going to stop doing this, playing music, because I felt like I didn't have anything particularly to offer. I basically decided that I was going to do one more concert on my own and I was going to write and record for it, play it all in a row, then sell 5 copies and quit playing music altogether.

What changed?

Well basically, all the CDs disappeared... and it wasn't necessarily because of the money in my pocket. It was just nice to think you'd done something for an honourable reason, just something that is an end in itself and isn't trying to get anywhere.

Do you think you'll ever take your music to a professional, more full time level?

I think if anyone plays music just purely because they love music then it's more than a job, even if it takes up less of your time, physically playing music. I mean I think about music constantly, and not in a mathematical way. Everything that I do in my life somehow relates to music. I cant shift it from my head, whether it's something I’m thinking of writing or even if it's just something I’m singing along to, and it's the same with everybody... I mean I'm not unique in that sense. I just think that if somebody is occupied by music or preoccupied with music, then that's better than having music as your occupation. I think it can become really really tired.

You're supporting Jeniferever soon, right?

Yeah, I met them maybe a year or so ago, and since then we've built a mutual appreciation of each other's music. And we just like hanging about. They're really lovely people and great musicians.

Do you ever tour?

I think if I was to do the amount of touring that any sort of grass roots musician has to do at the beginning of their career, then I would've played to probably half the people I've had the privilege of playing to within Glasgow, Edinburgh and Aberdeen, because I've been playing to massive audiences and not having to work as hard as these folk who have to trawl up and down the country. Again it's just another privilege of the situation I find myself in.

You played Belladrum last August. What was that like for you? Is it scary playing in a place where people don’t know your songs?

Yes aye, it is scary because you don't have a sound check and you just go up. Fair enough it's easier for me because I’m on my own, so there's a tiny number of things that can go wrong. I mean you can be bad for a start. Something could break and leave you pretty defenceless, but i mean, it is easier for me. But yeah, the idea of still having no sound check and just going up in front of people who have never heard you before or don't know who you are, they don't get the idea of not using your name. They say "What are you calling yourself Beerjacket for? There's only one person on the stage."

We heard that the name is a metaphor for the way that alcohol keeps you warm when you’re cold. Is that true?

Yeah that’s true. It followed me a wee bit because the first set of songs that I wrote just happened to mention certain references to drunkenness, but I wrote them really quickly. It must have just been an idea that I had. It's not like all the songs are about alcohol.

So it's not a big theme for you then?

No, I'm not an alcoholic… that'd be quite a good song name though! But yeah, I guess I was just trying to come up with an idea that covers things up. One of the main reasons why I didn't use my own name is that I like the idea of having a certain amount of anonymity even though you're on your own on the stage.

Did you want to distance yourself from the male singer songwriter cliché?

Yeah, I hate that idea, but I still don't want to have a band. Not because I don’t like other people or because I think my ideas are better or anything like that, but just because it just takes so much discussion and arguing, which results in ideas becoming diluted. I think that whether my idea is great or not, it's going to be the pure idea and it's going to be what I intended from beginning to end.

What's the snobbiest thing you've got in your record collection?

To be honest I'm really proud of my record collection, maybe because it's not snobby. For example I've got Slint... but I’ve also got Christina Aguilera.

How do you feel about people who shun pop music altogether, and only like "underground" music?

Well I mean what happens when that music goes over ground? It's ridiculous. I think people confuse my mentality of doing this without having a record deal, of not being involved in that mobile circus night after night, with the idea of me being somehow against mainstream or commercial music. And it's not that, I just think that the music industry has had its day, and people who are obsessed with the division between mainstream and underground are probably lying to themselves about the music industry anyway.

What do you think of the MySpace phenomenon? Do you think that technology distances people from really experiencing music?

No, I think it brings people so much closer. For example, I played with Sean Lennon. I’d never have come into contact with him under any circumstances. It's ludicrous that I played a concert with him. And not because he's a celebrity or whatever, or not because of who his parents are or anything like that, but just because the guy is in his own right such a ridiculously artistic individual.

Are you surprised at how encouraging a lot of bigger acts have been towards your music?

It's interesting. People in bands that I like tend to be sceptical that I’m just another singer songwriter at first, but I’ve just been lucky that that fact of my existence hasn't held me back from making bonds with these people. I'm not going to say "contacts" because I think a lot of people look at musicians really cynically as vehicles for their own success. And a lot of them aren’t even like that. I mean, Guillemots are the perfect archetype of a hardworking band. They do so much more than they need to do, and yet even more amazing than that they make time to help out humble musicians like myself, and it just blows me away.

So let’s talk a bit about your own music. You recorded your first two releases at home, what process did you go through whilst recording “The Slow Lane Is Faster”?

They kind of technically were all home recorded. The first one was just a wee scabby demo. It was sort of like when you don your maths homework and you're supposed to leave all the working in. That's what it was sort of like. I did it in pencil I suppose, if you want me to put my bad production into a metaphor. The second one had slightly more colourful arrangements.

Do you like recording or do you prefer just playing songs live and letting people hear them? Do you think there's a certain craft in recording?

There's definitely a craft in recording. I wouldn't necessarily claim that I’ve got it though, because I’m definitely from the school of home recording… you know... making mistakes, leaving them in, and then noticing them every time i play the CD - which isn't very often. If I leave the mistakes in I think it leaves more room for honesty. In the studio there's more of an emphasis on getting things right and I think that it’s difficult to recreate any kind of intimacy. The other week I recorded a song in the living room of my in laws' house when they were out. And it was really good. There was like rain outside and stuff… and that sounds really clichéd, god it sounds clichéd!

Want us to leave it out?

No, no, no, leave it in... leave in the honesty and rawness of my cliché ridden stupid mouth. But yeah, there's a much more clinical approach to the studio, whereas if you do it by yourself it's ugly in the right ways. You know what i mean?

Aye Pete, we certainly do.

Beer Jacket’s most excellent latest release, The Slow Lane Is Faster, is available now.

www.myspace.com/beerjacket

People in Planes

2007-04-11T12:52:00.000Z

Barfly April 5th

Another mid-week support slot for one of the greatest bands in Britain? However depressing this idea may be it was with a warm heart and open arms that People in Planes were welcomed back to Barfly.Having had a killer year in the US - where the band have now sold 50000 albums and toured the living shizzle out of the various states - their return has been a long time coming! And little time was wasted in showing the early crowd what they can do. Ripping through Moth, Barracuda and the frankly incredible Light for the Deadvine evidence of PIP's brilliance continues to mount. Their recent successes have obviously given the band a perk and the joy in their performance is catching. Superb! Once again the mighty People in Planes has shaken Glasgow to its very foundations. These Welsh titans are taking music to terrifying new heights, and if new tunes like Last Man Standing are anything to go by then the release of the next album will make the world a place worth living in.

http://www.peopleinplanes.co.uk/
www.myspace.com/peopleinplanes

Russell Moore

Amusement Parks on Fire

2007-04-06T11:01:00.000Z

Glasgow Barfly, April 5th 2007

Hand a guitarist a delay or distortion pedal - particularly the daddy of distortion pedals, the Electro-Harmonix Big Muff Pi - and they're likely to make a lot of noise. Whether that noise is a life-affirming wash of sound or an ear-assaulting cacophonous dirge however, is thereafter left in the musician's hands. Very few get it just right. My Bloody Valentine and Mogwai became masters of such noise, and Amusement Parks on Fire look set to follow in their footsteps.

It's all very well throwing around comparisons with post-rock luminaries but that's far too easy. Yes, the sound that emanates from the speakers reminds you of the early-90s and OK, the band did record their second album in Iceland - in the converted-swimming-pool-cum-studio owned by Sigur Ros; but such comparisons can overshadow the latent creativity on show at Glasgow Barfly tonight.

Taking the stage slightly late due to technical issues, Amusement Parks... look a little flustered but as Michael Feerick starts opener "Out of the Angeles" everyone settles down to enjoy. The quality of sound in Barfly tonight is as good as it's ever been, and the layered guitars punch sharply through the initial silence. What grabs my attention most is how well Amusement Parks... manage to build aptly on quietness. In each song a perfect wall of noise is built up steadily layer upon layer, not quite cocooning the audience until the very last note rings out.

Tonight's set is mixed with songs from the eponymous first album, the follow up "Out of the Angeles" and - as the setlist exclaims - a "new one"! The biggest audience reaction, of course, comes when the singles are played. Both "Eighty-Eight" and "Asphalt" were highlights, the
latter combining a hefty dose of echo and a guitar played with a cello bow. The set ends enveloped in feedback as Dan Knowles and Feerick tweak settings on pedals to coax out every last shadow from their amplifiers, before hopping off the stage triumphantly to leave the audience completely stunned.

The band are currently touring to promote their "A Star Is Born" E.P. out now on V2 records.

www.amusementparksonfire.com

www.myspace.com/amusementparksonfire

> Words and Photos: Neil Milton

A Band Called Quinn

2007-04-03T16:59:00.000Z

Barfly April 1st

What’s that you say? A support act credited with its own review? Well, yes, you’d be right; but this is no ordinary support act. Lickmag favourites ‘…Quinn’ return with a flavour of new album Sun Moon Stars and a sublime live show to boot.

Breezing into action like the greatest summer band you’ll ever hear it was with seemingly little effort that they won over the usually oblivious start-of-the-night Barfly crowd. Hook after hook followed, creating an almost dreamlike state of musical reverie. The flexible groove of Unsung Feeling was a particularly great moment, creating a Stereolab-esque air of superb euro-tinged pop.

Quinn mix the ability to conjure the classic three-minute song with touches of jazz and electronic synth stabs making for a sound both instantly recognisable yet unique. An eclectic outlook on music is always appreciated in this humble reviewer’s opinion and A Band Called Quinn has it in bundles. An upcoming collaboration with French DJ, remixer and producer Kid Loco is surely a point of distinction. Couple this with the truly remarkable new album and it goes a long way to making this band something to look out for in the coming months.

Summer 2007? Can’t wait.

http://www.quinnonline.net/
www.myspace.com/abandcalledquinn
http://www.tromolorecords.com/

Russell Moore

Colette McKendrick

2007-04-03T16:43:00.000Z

Barfly, April 1st

It’s been a busy few months for Glasgow’s favourite songstress Colette McKendrick. Some international radio coverage; spending a fair old while on top of the download classical charts; and organising an intimate showcase for females in music – all in a day’s work!

But let us not forget the music. Tonight’s show is a timely reminder of Colette and her band’s passion for playing live, and holy sh*t are they going for it! Opening with new track ‘The Boss’ the band is truly firing on all cylinders. Even the usually gentle psychedelic strummer Arthur Izat breaks a string - it’s a fair sign of things to come.

Continuing to carve up the stage with Kangaroo and Colour it’s only in preparation for debut single Peter Pan’s Biggest Fan that the band seems to pause for breath. Proving once again to be a highlight of the set this song should reveal its worth as the forthcoming debut single from Etheria.

It’s a testament to Glasgow music that crowds will gather for bands of true quality – and Colette’s crowd gets bigger every time.

http://www.colettemckendrick.co.uk/
www.myspace.com/colettemckendrick
http://www.alicornrecords.com/

Russell Moore

Pull Tiger Tail

2007-04-03T16:10:00.000Z

March 25th, Glasgow Carling Academy

Tonight is Get Cape, Wear Cape, Fly’s biggest gig to date, and as they roll into Glasgow they bring with them homebred darlings The Dykeenies and London’s new hopefuls Pull Tiger Tail. It would be very easy for me to say that the latter are on their way to greatness, and it would probably be a bit too obvious to compare them to bands like The Automatic and Bloc Party, so I will resist. Instead I find it more important to mention the under appreciated succession of power pop bursts they effortlessly churn out one after another, whilst failing to invoke much in the way of a reaction from the sombre crowd. In half a year's time when Pull Tiger Tail are the band that NME are whoring themselves out to, I'm sure that everyone here tonight will stake claim to being there first... but it's just a shame that the crowd couldn't give the trio the attention they deserve in the mean time. Songs such as ‘Animator’ and the new single ‘Let’s Lightening’ are sugar coated gems that warrant a warmer reception, standing as evidence that Pull Tiger Tail won't be skirting fringes for much longer.

>Andrew Mitchell

Dumb Instrument

2007-04-03T15:44:00.000Z

March 22nd, Oran Mor

Tonight I find myself stood within the heart of Glasgow's West End for Dumb Instrument's "Song Ya Bass" single launch . Having done a bit of groundwork on an act I was unfamiliar with, and finding myself presented with music that wasn't exactly my cup of tea, I entertain no big hopes of really enjoying the show.

Luckily however, the band thoroughly surprise me. Everything about them is unique, from the way they grace the stage, to the way in which their songs tread a fine line between ample tunesmithery and short social commentary. Covering topics ranging from Oor Wullie to Wheelie bins, and Death to Cliff Richard (a song so good they play it twice!) they manage to have the crowd listening intently one second then laughing at singer Tom Murray’s dry wit the next. There's little in the way of banter, and you get the feeling that Mr Murray isn’t entirely comfortable on stage , but the songs more than make up for that.

The set draws sadly to a close only for the crowd to demand an encore which is albeit hesitantly obliged. After this the band politely offer a reminder that there is a single available to buy and exit stage to a rapturous applause.

I walk away from Oran Mor feeling happy that my pre-conceptions about Dumb Instrument were entirely wrong. Having thoroughly enjoyed their melancholy yet upbeat set, I would recommend that anyone who has the chance to see them on their upcoming tour should take advantage of the opportunity.

Dumb Instrument's new album will be out this summer on Hackpen records. They play King Tuts 3rd May.

www.myspace.com/dumbinstrument

www.dumbinstrument.com

Words: Andrew Mitchell

Photo: Jamie Gibson

My Alamo

2007-04-03T15:26:00.000Z

King Tuts, 4th March

This gig had the potential to deliver so much, but in the end delivered nothing at all.
My Alamo, popping their tour cherry, failed to attract a big crowd on a damp Sunday night, despite being billed as the headline act on Kerrang's 'Breakthrough Tour'.

Two and a half hours after doors opening, My Alamo took to the stage with lead singer James Rigby sporting a hair-do that would look better placed upon an Essex hooker. The welsh/brummy combination failed to deliver anything from the outset, attempting to rock the 25 odd strong crowd with a 9 song set that was condensed into 35 minutes…thankfully.

The opening song was ironically called "Fire It Up", and lead into a miss mash of thrashy melodies that reverberated around the famous venue like a megaphone-wielding wasp in a jar.

Well into their 35 minute set came a disappointing live version of big single “In the blood”, which failed to live up to the energy showcased on the slightly more listenable studio version.

Front man Rigby’s grungey tone sounded like a poor Feeder tribute act at times, making you wonder how the band have managed to acquire a place at this year's T in the Park.
The insignificant night was brought to a close by a rendition of “French Kiss”, which was played in part on a lead guitar with only 5 strings… but it's not like you could really tell.

Words: Scott Mullen

The Rapture

2007-03-26T09:41:00.000Z

Glasgow ABC, Sunday 4th March

With a New album to promote, the New York quartet famous for their Electro Pop anthems arrive at Glasgow ABC to entertain an enthused and colourful crowd. The Lick catches up with Luke and Vito for a pre-gig chat about touring, recording the new album and eh… sea captains.

So guys you’ve been on this stretch of the tour for a week or so now, how is it going?

VR It’s been great, we’re doing the largest shows we’ve ever done and they are all sold out. The crowds have been really, really amazing. We’ve been to France and Ireland so far.

How are you finding touring with S**t Disco?

VR Well we’ve only played a couple of shows with them because they missed the ferry for last night’s show. They were too wasted or something… but yeah they’re great, really great opening band.

You’re on the road for quite a while, where are you looking forward to visiting most?

VR We’re really looking forward to Japan and we’ve never been to Australia. People have been after us to play there for years and years, so it should be an experience.

LJ The thing about touring is, the first few days you just want to quit and you feel like crying, but then after that you’re pretty much great and it’s nice to be there. Our bus driver this morning was telling me about a sea captain who throws up for the first two days every time he goes out to sea. I think that applies to me as well, but I think the human sprit can adapt to anything.

You guys have played Glasgow a few times before in the past, how do you find it?

VR We’ve played optimo twice, I think, the QMU two or three times, and we played the Academy once with the NME tour alongside Franz Ferdinand, so yeah we’ve played here a lot and its always a great crowd.

The new album, ‘Pieces of People We Love’ is out now, would you say that there’s a new concept for this album?

VR Well, with this album the production changed; the production values have a lot to do with it. On the last one the mixing was really different to this, it’s a lot glossier and certainly more of a pop record.

Your new producers, Ewan Pearson and Paul Epworth, have previously worked with bands like Bloc Party and The Futureheads. What was it like to work with them?

VR It was cool to work with new people because we never really worked with anyone but Universal and DFA. Paul is a friend and did sound for us for years before he was recording with Futureheads and Bloc Party, so we just called him. He’s a great person and really excited to be working… he’s really energetic person in general.

You also had Danger Mouse working on this record, how was that?

VR It was cool. It’s weird you know… he’s Brian to us. He’s become a really huge producer, but he’s just a really down to earth guy.

LJ The nice thing about Brian is that he didn’t get famous until he was older. He had already established that he was a nice guy so he’s not a dickhead. In fact, he finds being famous kind of funny.

Have the band got any plans for the summer? Are you playing any festivals?

VR We’ll still be touring, we just put out the record so around the world people just want us to show up everywhere. As well as the usual places, we’re going to Australia for the first time and we’re playing Singapore, New Zealand, Mexico, South America, the UK and Canada. The list just goes on and on…

LJ We’ve got to the point that we’re not mega famous, we’re not even marginally famous, but its nice because people have our records everywhere and they are happy to see us. Even though it’s not a lot of people its enough to make you feel really good when you get up there.

VR Hopefully we’re going to start with the festivals in the US and then come over around July and do some of the European festivals. hopefully in September we’ll get to play Electric Picnic too, that would be awesome.

Quick Fire

Hip Hop or Hair Metal?

VR Hip Hop
LJ Beastie Boys first album, kinda both.

Sun or Snow?

(both) SUN!

Staying in or going out?

VR Staying in…
LJ Yeah!

The book or the film?

VR Book!

Black or White?

VR Black
LJ Pass

Tour or Recording?

VR Recording, because we’re doing a lot of touring at the moment.
LJ I’d go with recording to, because the more touring you do the more burnt out you get.

MP3 or CD?

VR MP3 cause it’s faster.
LJ I’d say record.

Finally if you could play any gig, any where, any time through history where would you play?

VR Opening for Beethoven.
LJ Roman Coliseum before the killing.
VR It’s a bit Bill and Ted.
LJ Yeah we’d show up with phone booths and a generator.

Words: Alison Rose
Photos: John Summers

Bedouin Soundclash

2007-03-21T12:29:00.000Z

+ King Blues and Circuits
18th March 2007 - Glasgow QMU

There may have been sleet, snow and sub-zero temperatures outside, but in the QMU it could have been mid-summer – with an evening of reggae-tinged rock and good vibes courtesy of Canada’s finest - Bedouin Soundclash, featuring support from London indie-popsters Circuits and up-and-coming Hackney folk-punk-dub sextet the King Blues.

Having begun life in 2000 playing house parties at University in their native Kingston, Ontario, Bedouin Soundclash certainly know how to entertain a crowd, generating an instant party atmosphere with their unique blend of buoyant reggae rock and dynamic junglist style beats.

Playing a set drawing predominantly from their 2004 album, Bedouin had the Glasgow crowd dancing and singing from start to finish. Equal parts boisterous and soulful, the band mesmerised the QMU audience with song after song of good-time-vibes including the raucous “Shelter” and laid back acoustic “Jeb Rand” – based on the 1974 film “Pursued” – and of course their hit single and crowd favourite, the sublime “when the Night Hears My Song” to rapturous applause.

For me the high point of the set came with the trio’s rendition of Vern Maytone’s reggae classic “Money Worries”, with the singing from the crowd threatening to drown out the sound onstage, to the obvious delight of Jay Malinowski, the act’s singer and guitarist – who exclaimed in obvious sincerity “I’m falling in love with Glasgow tonight”. Judging by the crowd’s reaction, the feeling was mutual.

> Iain Taylor