SCOTLAND LIVE - BANDS TO WATCH!!
GO NORTH 2008 - THE FIRST NIGHT (05-06-08)
What a concept - take 60 bands and artists, book them over just 2 nights in June, stick them in 6 venues (well, 4 actually, since one of the venues has three halls in which the bands are featured so I guess it's stretching it a bit to call it 6 actual venues, but what the heck....), feature them all doing 30 minute sets, carefully timed so that quite a number of the bands overlap with each other, giving you the option to choose the ones you like and enjoy them or dash around like a lunatic taking in as many of them as you can - of course, you can guess which option Dead Earnest went for!!
Apart from the Dundee bands and Twin Atlantic & The Draymin, I had never heard of, let alone actually heard, most of the bands playing. Not only that but where to start on night one was something I hadn't really thought out so we just threw a dart at the nearest object that looked like Gordon Brown and saw what came out. This, then, was the result of "Go North 2008", Night 1.....
MANOR PARK ELITE
I arrived for the last 15 minutes of their set. A guitar/vocals, bass and drums trio from Stornoway, they were playing a set at "Fat Sams Live" and, as it turned out, it was a great way to start the evening. You walked in to this huge blast of hi-octane indie punk with the guitarist whacking out insane riffs like they were going out of fashion as the band thundered along behind and the guy leapt around the stage like someone had just plugged him into the national grid. With a snarling vocal, they whiped up one heck of an energetic storm and really catured your attention. But it wasn't all speed,as the final number illustrated, starting with a quite wispy vocal with yearning tendencies and ringing guitars, before the inevitable eruption as they hit the power button and really let loose. For an indie trio, quite a huge sound with authoratative vocals, steaming guitar riffs, solid rhythmic propulsion, engaging songs and a blistering approach.
"Wanted to see more factor" (out of ten) - 7
MELLOWD ELEMENTS
Luckily we only had to nip next door - to find Be A Familiar still setting up - so nipped upstairs to level 2 to find - nothing happening, But any thoughts that someone's timing had gone awry were dispelled within two minutes as Mellowd Elements took to the stage. From Arbroath, they're essentially a rap-hip hop duo with backing guy on rhythm devices, scratching, fx and programmes. The opening number was taken at one surefire fast pace with the two vocalists firing off each other and then combining in a wall of hip hop vocalising with a distinctly Scottish flavour as the backing beats and fx lurched, drove, bubbled and scratched above, below and behind. Parts of it reminded a bit of a rapping answer to Root System, if you get my drift. With the style held in the traditions of what you'd expect, including several "yo yo yooooo's" along the way, it's difficult for me to comment as this is just not my sort of thing, so.........
"Wanted to see more factor" (out of ten) - 7(if you like hip hop)
"Wanted to see more factor" (out of ten) - 3(personally)
BE A FAMILIAR
Ten minutes of Melowd was all we could explore - which was enough for me - before it was time to go downstairs to level one of Fat Sams to see what turned out to be a Glasgow band called Be A Familiar. First thing you notice is that there are 7 of them on that stage - yes, 7!!! - including two guitarists, bassist, drummer, female vocals, a trumpet player and a female playing what I presumed to be a cello (could be a viola?), with the two guitarists also on vocals. From the moment they began, it was stunning. They immediately unleashed this hi nrg blast of melodic indie rock as the two guitars riffed away, but you had the sharpness of the trumpet adding magic to the top end, while this almost bottomless depth of sound was provided by the cello, all of which combined with the strident rhythm section, resulted in this huge blast of glorious sonic delight that was just amazing. On top of all that, the three vocalists weaved in and out and harmonised, the female vocal shining through loud clear as it complemented and contrasted with the male lead vocal and harmonies. For the second track, the cellist switched to keys (or was it synth?) as the chunky beats boomed out, the trumpet rang out on the intro and this glorious mass of soaring vocals and riffing, ringing guitars shone forth, the remarkable depth of sound allied to compositions that were just so engaging you almost felt like they were old friends rather than something completely new. But then you twig - if Deacon Blue had been a hi-octane, roaring indie band but retained their songwriting sensibilities and masqueraded as Idlewild, this would have been close to the result. The vocals contrastic to perfection, the arrangements surging ahead, the rhythms solid - there's so much going on, but it's loud, it's clear and it's superb. The third track started a little slower with a great synth undercurrent as the lead male vocal comes in before the rhythms enter in this kind of staccato indie rock vein. Then the whole band surges ahead as trumpet bursts soar overhead against a backdrop of solid rifing and the male and female vocals weaving a spell that is both commercial and yet serious at the same time, duelling back and forth as the music drops down, then the band erupts one more time. For the fourth track, the lady returns to the cello, as this dramatic drum beat introduces the track as the male vocal enters and flies on top allied to some chiming lead guitar accompaniment. The female vocalist comes in adding the touch of sweetness to it all, before the whole band then surges forth and this military stomp of a track drives forward quite magnificently. At this point you are suddenly aware of this remarkably textured surge of cello welling up from below to give the track that extra character and an amazing bottom end sound. The trumpet sails to the top of the mix, flies like an eagle, before droping back to earth as the band and vocalists keep it all flying forward - quite magnificent!!
"Wanted to see more factor" (out of ten) - 12
THE X-CERTS
With the fifteen minutes up for Be A Familiar, this time it was across to the Westport Bar to catch the first 15 minutes of Aberdeen's The X-Certs. Sadly, there were equipment problems, so Dead Earnest only caught the first couple of songs as it started ten minutes late. What we heard was a trio playing a sort of emo-fied brew of indie-rock with a slight nu-rock element at one end and a kind of anthemic indie-rock songwriting stance at the other. Rather than power out for all they were worth, this band displayed a more varied sense of dynamics in their writing so that you got moments of heartfelt passion in the lead vocal department before the band would then riff and rock, a bit like bands such as Brigade but not as heavy rock oriented. Sadly, it was only two numbers, but enough personally for me to have to say.....
"Wanted to see more factor" (out of ten) - 5
JOCASTA SLEEPS
Another Glasgwegian band, they are a quartet featuring two guitarists, bassist, drummer and all three guitar players on vocals, with some absolutely stunning 3-part harmonies throughout. I guess you'd describe it as "furiously structured, melodic, wall-of-sound, indie rock". They had this ability to uplift the listener at the start of the first song we caught before going into some solid, driving chunky rhythms and riffs with excellent use of dynamic contrasts as the song then drops down to its bare essentials before a great riff suges in and the song twists and turns, the lead vocal soaring overhead with strength and depth, a the harmonies climb higher and take your breath away. ON the second track we heard, the guitar chimes in a the arrangement intensifies and the band surges ahead, the three vocalists singing harmonies that put the icing on the driving instrumental cake. There's even room for a brief lead guitar break as the track weaves away, and it's almost like three tracks in one five minute burst. What they possess is an absolutely stunning use of band-played dynamics in their song arrangements
with the depth and density of the vocals adding to the enjoyment, holding your attention throughout. Their last song began in a balze of guitars before decelerating but remaining powerful as a beefy indie-dance rock rhythm powers up and the band launch into this huge-sounding anthem of a track which then abruptly drops back to ringing guitars and vocal before firing up and stomping back to life - a seriously massive sound with harmonies, riffs, strength, muscle, melody and an absolute stunner of a set closer.
"Wanted to see more factor" (out of ten) - 10
UNDERLING
As they ended, with a quick nip upstairs to Fat Same Level two, it was just in time to catch the start of Underling's set. A quartet featuring a vocalist, a guy doubling on acoustic guitar and keyboards, a guy on scratching, fx and rhythm programming and a guy on acoustic bass, they came across as a sort of trip hop version of Arrested Development, with a touch of Bill Laswell jazzy beats in there too. What wil amaze you is that they were absolutely superb. Now I'm not going to tell you about my dance music and ambient leanings - another time - but if you previously thought my tastes were far and wide, then it's no word of a lie that this band were great. With a rapping styled vocalist whose got this really emotive sounding voice that mixes bite and depth, they are backed by a full-sounding set of chunky beats, scratches and fx, as the guitarist provides a touch of melody and texture. But - Oh!! - that bass player - he was just stunning as he let lose this stomach-crunching undercurrent of plucked and strummed bass runs on this giant acoustic bass that was a magnificence in its own right, the opening number immediately taking hold as you couldn't fail to be caught up in the charms and strengths and lyrical unfolding of a track that sank its hoks in and refused to let go. For the second track, the guitarist went onto keyboard
duties, as it proved to be a slower but no less solid track with another gem of a grove underpinning it all as the whole mix of vocal, bass, programming and keys really has a seriously cool feel to it all. Their third track was a sort of reggae-fied trip hop with a funky rhythm programme, deep throbbing resonant bass, chunky electric piano chords and a soaring vocal, occasionally echoed in dub stylee, which graduallyy accelerated and intensified, with an almost Laswell-esque middle eastern flavour at its fringes before entering into a jazzy piano/vocal section as the beat kicks on and the bass boms out. It's got heart, soul, passion and a positively cloud-sculpting ambience to it, but totally solid, rhythmic and engaging. The surprise of the night, and....
"Wanted to see more factor" (out of ten) - 8 and a half
RUSH HOUR SOUL
With time marching on, it was time to march on, so time to hot fot it over to The Doghouse for the first time that night, and get there just in time to see Dundee's Rush Hour Soul sauntering onto the stage. What ensued was so mind-blowing that we stayed for the whole half hour!! They opened with a new track which immediately mixed driving indie rock with a total grove of a rhythm as the guitar/bass/drums trio powered out a dynamic surge of guitars and rhythm, the vocals positively flying and the band sounding the strongest I've ever heard them (I've seen them before, you see!!!). The song twists and turns but never loses sight of its aim, remaining on a huge sounding indie course as the lead guitar work rang out in solid fashion, the rhythm section clear and mighty. The track then drops back to a quieter section as the deep sounding bass moves upfront. Then the drums start up, the vocal re-emerges, a chunky guitar lead rings out, the pace of the piece gradually accelerates and then the whole thing erupts in this incendiary ball of glowing indie rock heat to absolutely magnificent degree. It must have been about a ten minute track but it proved to be spellbinding from start to finish and one of the best tracks this band have ever unleashed, a perfect set opener. Without a break they surged into track two with a blaze of guitar riffing and lead work as the band goes supernova and the song roars out to jaw-droping perfection, the singer letting loose this mesmerising mix of vocal that combines nasally and sonorous in one magnificent degree. Again, quite a lengthy piece with a huge sound to it and one adrenaline rush of a track. The third track was a more commercial sounding track fuelled by beefy beats with a biting vocal on top and another mighty sounding track that hits you immediately and sticks in your head. Along the way is some glorious sounding lead guitar work as the piece climbs and climbs, fast and furious on the right side of catchy, and you can dance to it, too. They finished with the most amazing version of their powerful anthem "Sixteen" that you'll have heard to date. The song itself is one whirlwind of an indie rock anthem but then they take a leaf out of local band The Getdowns' books, and take it into wholy unchartedd waters, as the song goes into what can only be described as a red hot and rocking indie gospel section with both guitarists on vocals and taking you "out there" before they rush headlong back ino the track for a final blitz and then it's over. Half an hour of stunning songs from one band that you can't ignore, so even though we stayed for all of it...........
"Wanted to see more factor" (out of ten) - off the scale!!
SKIBUNNY
After this it was a choice between Edinburgh's Juno at Fat Sams or Belfast's Skibunny at the Westport Bar. The Westie won (sorry, Juno!!) and so it was time to climb the circular staircase once again to see the final quarter of an hour of Skibunny - and I'm soooooooooo glad I did, for they are just magnificent. A trio with female drummer and guitarist/vocalist plus guy on bass and vocals, they were playing this mightily infectious brew of indie rock with dancey beats as we entered the proceedings, a surge of guitar letting you know this was something good as the mid-range female lead vocal sailed out of the PA. The track was embellished with assorted samples to provide extra textures and its mix of grunge, serenity and depth proved to be a winner right from the start with really chunky beats, soaring vocal harmonies and fantastic use of light and shade in the arrangement, as hypnotic as it was powerful. The next track proved to be equally soid with a deep synht sample running under the rhythm section muscle as that mesmerising female voice takes to the skies, the track growing harder and stronger as it progresses, its full sound full of soaring lead female vocal, male harmony vocal, stomping beefy rhythms and real guitar intensity and depth, a quite lengthy piece yet still supremely infectious. The next track they played started similarly only moodier, still with beefy rhythms, but the vocal more of a croon and lower in the mix as the band utilise the synths and fx samples to great effect. Finally, they ended with a track that began slowly with chiming guitar, the female vocal at a higher range and soaring out of the speakers with passion and emotion as the drummer lays down these big beefy chunky beats to drive it all forward. The track has a really melodic atmosphere as the flying vocal contrasts with the solid rhythms, the use of harmonies along the way positively inspired as the guitar rings out in the back. There follows a brief drum solo before the band return in a glorious hail of chiming guitars, that gorgeous vocal and a huge slab of indie rock/dance ends things, cooked to perfection as it finally takes to the skies in a blaze of passion and strength. Absolutely superb!!!
"Wanted to see more factor" (out of ten) - 15!!
THE DRAYMIN
I'd like to say that The Draymin were amazing - luckily, I can say that they were more than amazing - they were HOT!! It was a tad unfortunate that they'd been pitched at exactly the same time as Dundee's Luva Anna who were doing rousing things at a capacity Doghouse, from what I heard, and so a smaller audience than you might have expected, witnessed one incendiary performance from Rosyth's finest. Starting with the chopy rhythms, soaring synth and shining guitars that introduce the glorious "Don't Fade Away", the band immediately let you know you were in the presence of indie genius as the vocals flew from the PA system with clarity and conviction as the track erupts into a stellar state with the audience dancing madly and everyone taken along for the ride, as good an anthem as they come and a still a supreme set opener. For the event they'd pared things down to the electrifying minimum presenting what was almost a "greatest hits" set (if they'd had any, that is) as the stompers stood next to the anthems and the epic indie power ballad "I'm There" that formed the centrepiece of the performance, went from slow and steady building beginnings of yearning, impassioned rock ballad to supernova guitar attack and awesome vocals allied to surging rhythms, to perfection. Ending with as rousing a rendition of "Rise Up" as you'll come across, the band delivered a storm force version to an audience by now leaping about with reckless abandon, the track bogieing along with its anthemic verses and massively infectious chorus allied to waves of guitar density and solid, driving rhythms that refuse to let go. This was seriously stunning and the mark of a band who can do no wrong.
"Wanted to see more factor" (out of ten) - infinity
THE HAZEY JANES
With a brisk trot next door, it was time to catch the last 15 minutes of Dundee's Hazey Janes. The first thing I noticed was a much heavier sound which immediately grabs your attention with a female guitarist leading the song with a husky but strong lead vocal alongside a male vocalist delivering the harmonies, the track fairly marching along in a mix of power and pop, the quartet playing it tight and strong. The track segued via a chiming guitar riff, solid drum beat and deep bass with added guitar into a song where the male vocalist takes the lead and the track marches out in a seriously catchy, heady stream of heavy indie pop with a solid anthemic folk heart. Mid-song, it droped back to a whisper briefly, before the guitars and rhythms fire up and it stomps to life once again, all very infectious and the sort of track you want to hear over and over again. The next track started in strident, chopy mode but still retaining the band's sense of melodic flow with the harmonies from the female singer weaving in and out of the lead male vocal before joining forces on the chorus over an explosive beat toped by chiming guitar leads as the track goes right,left and, ultimately, up to the skies, on a massive wave of band dynamics and vocal passion. Up next and our female guitarist takes to a hand-held keyboard thingy as the song starts with male vocal and guitar before the drums drive in, a giant bass rhythm underpins it all and the mix of open ended and solid harmony fuelled indie pop achieves a kind of heavy Fleetwod Mac style of things, the whole track truly taking off like a rocket at a mid-pace approach with this delightful keyboard hook to the fore as the song surges ahead. The last track was the new single and is solid stuff with the male lead vocal, the female on a different keyboard and harmony vocals, going into dual vocals, a chorus of sorts followed by a verse and then the real chorus takes you over and lifts you up, repeated to great effect. Thye track briefly drops down to reveal a delicate guitar and synth interplay before firing up and surging to a stunning finale.
"Wanted to see more factor" (out of ten) - 10
BIG BIG SOUND
So, it was up those stairs for one final time (I was working the following day, so couldn't stay to the very end!!) for the band knownj as Big Big Sound - and for good reason, as I found out!! On stage there's a guy at the back doing rhythms, scratching and fx, while stage right are two sax players, plus three vocalists, and bassist. The first track echoes the name of the band as they luanch into this blast of jazz, hip hop, dance, techno and lord knows what else in that melting pot, as the piece pounds away. The second track is a sort of "reggae rap" hybrid with monstrous bass, driving rhythm programmes and a Two-Tone styled chorus, almost the ultimate leaping about anthem in the context of this style of music, a good combination of powerful lead vocal and harmony backup vocals. The third track revolved around muscular riffs, a rock based depth and density as the multi-faceted song took hold and became a thing of catchy greatness. Next up and the saxophones at last rise up in the mix to give the song that necessary degree of sharpness and jazzy edge as a jamaican-styled rap powers out of the swinging, lurching rhythm-driven track that veers from biting lead vocal to staccato vocal harmonies over the enormous sound. There I had to leave it, not really my sort of thing, but a good band in front of a large audience, so...........
"Wanted to see more factor" (out of ten) - about 8, I guess
So, there you have it.......the first night of two and some amazing bands. For those who enjoyed this, the second night will be reviewed in a similar manne, just as soon as I can find the time and decipher any notes I may have written. For that second night of reviews Click Here and see if it's there yet.
So, a successful evening and hats off to the Go North fraternity - here's hoping the second night will be as good (if not better!!)
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