Tag Archives: Bossy Love

Tracks of 2017 (10-1)

10. TeenCanteen – ‘Millions’ [Last Night From Glasgow]

‘Millions’, and the Sirens EP that contained it, was an unexpected deep and emotional turn from TeenCanteen, but this track is quite possibly their strongest work to date. This very personal number cover reflects on singer Carla J Easton’s feelings on her dad’s passing some time after the fact, but counteracts the subject matter with irresistibly sweet melodies and pop drenched harmonies.

9. Catholic Action ‘Propaganda’ [Modern Sky]

Catholic Action marked the announcement of their upcoming debut album In Memory Of, with the release of new single ‘Propaganda’ – a tirade against club nights which only play landfill indie, it is no coincidence that the track is named after a Glaswegian club night which specialises in exactly the same thing it berates. ‘Propaganda’ is frantic glam rock banger as lead singer Chris McCrory repeatedly snarls “I will never be like you” over a wall of guitars and a melodic synth hook. This is glamorous indie rock and roll done exactly the way it should be; don’t bet against them being the saviours of the great British guitar group.

8. Breakfast MUFF – ‘Babyboomers/R U A Feminist’ [Armour Foo]

In double A-side Babyboomers/R U A Feminist’ Breakfast MUFF present a very cogent, energetic, exciting and interesting single that captures well their on-stage unpredictability, style and dynamicity. ‘Babyboomers’ employs a more traditional structure, but toys with it and messes it around; this effort is mirrored in the intergenerationally disparaging lyrics, while ‘R U A Feminist’ generalises less and is more of a personal tale. Both songs are replete with well-placed and tonally appropriate punk-rock sensibilities, fine music and wonderfully unique vocal harmonies.

7. Sacred Paws – ‘Strike A Match’ [Rock Action]

‘Strike a Match’ is a perfect distillation of Sacred Paws’ similarly titled album with its infectious, intricate and squeaky-clean indie. Inflected with warm, Afrobeat guitar, playful handclaps and tropical percussion, this track is definitely a belter for those precious afternoons spent down the park in the sun. Eilidh Rodgers’ backing vocals interweave sweetly intriguing echoes around Rachel Aggs’ effortless new wave delivery, while subtle brass brightens those addictive melodies.

6. KAPUTT – ‘Feed My Son’ [Fuzzkill]

‘Feed My Son’ is just a crackingly poetic track about ownership of far more than one needs encapsulated in a super addictive guitar pop shell. The energetic track uses catchy guitar and skull embedding saxophone riffs to accompany the social commentary.

5. Marnie – ‘Lost Maps’ [Disco Pinata]

If ever a record managed to be exactly on point, tick all the correct boxes and yet still be utterly thrilling, ‘Lost Maps’ by Marnie is it; it’s an absolute belter. A growling, electronic, thuggishly sleek beast of a tune by the frontwoman of Ladytron, ‘Lost Maps’ transcends its elements and delivers heavy, processed beats, a dark bassline but with the sort of dreamy top end and vocal to drag things from the gutter into the stars: a little excitable that description, perhaps, but, tracks that manage to appeal to the most tedious of disco-bores – me – yet also be dripping in pop are all too rare.

4. Bossy Love – ‘Body’

Yet another dose of dance-floor inducing brilliance Bossy Love, ‘Body’ is a high octane, pulsing bit of soulful pop that should be a smash hit. This duo are destined for something very big very soon and they fully deserve it.

3. ST.MARTiiNs – ‘othr grls’

Dundee’s ST.MARTiiNs have a real knack for a glimmering pop noir number and ‘othr grls’ is probably their best work to date. The track is a sleek, vibrant pop number that utilises a strong dream-like vocal performance that embeds into your psyche and doesn’t let go. Despite its message about disillusionment with the people around you ‘othr grls’ feels upbeat, however it never gives in to full on sugar-coated pop, providing all the hooky goodness with a hazy ethereal majesty.

2. HOME$LICE – ‘Come Up To Fade’

‘Come Up To Fade’ thrashes the Young Creatives EP into life in proper old-school garage rock fashion; lead vocalist Josh McDowall howling like a youthful Julian Casablancas as melodic guitars and urgent drums race each other behind him as HOME$LICE gave an early contender for song of the year.

1. LYLO – ‘Your Father’s Eyes’ [El Rancho]

Already an oddity unto themselves by the fact that they are one of the only bands around who have a saxophonist amongst their members, LYLO have garnered an ever growing reputation as a formidable live act. ‘You Have Your Father’s Eyes’ is a work of beauty – from the moment the atmospheric intro leads into the jazz funk of the verses, LYLO have you hooked. Mitch Flynn’s dreamy, reverb-drenched vocals on the chorus gently chime “you know it gets me every time” benefitting from their own idyllic production. By the time Iain McCall’s sax solo draws the track to a close amongst a cacophony of noise, an almost spiritual journey is complete.

Photo Review: Belladrum Tartan Heart Festival 2017

In a chaotic affair we ending out not having any reviewers up at Belladrum this year, but we felt we’d be missing out if we called a halt on our photographers Allan Lewis and Stewart Fullerton going, so up they went and they got some great shots. Here’s some of the picks that we thought we’d share.

THURSDAY

SISTER SLEDGE

FIRST AID KIT

LOUIS BERRY

FRIDAY

THE PRETENDERS

FEEDER

DR. FEELGOOD

THE NINTH WAVE

INDIGO VELVET

THE YOUTH AND YOUNG

REVERIEME

HAMISH HAWK

LILURA

SATURDAY

FRANZ FERDINAND

BIRDY

SLOW CLUB

BOSSY LOVE

SAINT PHNX

BLOODLINES

TAMZENE

EMME WOODS

JOSEPHINE SILLARS

POSABLE ACTION FIGURES

WOJTEK THE BEAR

METRONOMY, Bossy Love at ABC, 16/5/17

Touring an album that wasn’t made to be toured is an interesting prospect; METRONOMY announced a tiny three night tour last year to promote the release of Summer ’08.

Having seen them live a plethora of times over the years, I must admit there’s very few bands that make me excited to go out on a Tuesday night after a full day of work.

At this stage, shockingly, I even manage to catch the support act, Bossy Love, who I must admit are absolutely brilliant live and seem to have a collection of absolutely brilliant tracks.

Even more shockingly, losing some cool points here, they’ve been around for a while; definitely check them out, they’re magic live.

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METRONOMY start off their set with ‘Back Together’, which sounds immense live; I mean they’re a wee bit loose with some parts of the song – Joe Mount smashing the drums out of any rhythm for example, but in all honesty I’m pretty sure only syncopation Nazi’s care at this point; they generally just sound and look like they’re having fun.

METRONOMY have this thing that only truly great bands possess, they take new takes on songs, including songs never played live before, and make them sound unique; the songs from Summer ’08 certainly strike new despite having listened to them countless times.

There’s the inevitable huge cheers for ‘The Bay’ from the Glasgow crowd, but a few songs later ‘My Heart Rate Rapid’ brings surely the set highlight for long term fans, they’ve not played it in five years live and it’s played here with a gusto and imagination that’s beyond most mere mortals comprehension (massively exaggerating here but trust me, it was phenomenal).

‘Lately’ is debuted tonight and is fitting with the general synopsis of the set, while ‘Love Song For Dog’ gets an airing and is predictably re-imagined in a way no one could predict.

At this stage in the concert I draw massive comparisons to Stop Making Sense, this band have fun playing funky off beat songs that resonate with an audience, not as large as they should have.

The encore whizzes in and Mount is on drums now having “Binned Anna”, he’s joking as Anna Prior takes full stage for ‘Everything Goes My Way’.

And just like that it’s over, a breathless, surprisingly frantic and unpredictable performance; it’s the reason I rate them so highly, having seen them live so many times over the years, it’d be easy to grow apathetic, but with METRONOMY that’s really hard, they’re easily the most interesting live band I’ve seen in the past few years.

More Photos

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Words: Andrew Melrose
Photos: Ang Canavan

Doune the Rabbit Hole, 19-21/8/16

Doune the Rabbit Hole is now been pretty high our list of summer events, the family friendly vibe, typically diverse and entertaining line up and an array of delightful food, plus the influx of dogs make it one of the most delightful festivals of the summer.

Sadly my experience this year is smattered with illness and severely cuts short my festival experience, illness coupled with the rain drenched conditions weren’t the best pairing, but that’s no disrespect to the festival just an unfortunate scenario.

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My weekend begins on relatively well footing at the Jabberwocky Stage with Glasgow favourites Babe, after a long and painful, but completely necessary set up, get people moving from the off with glitchy synths that twinkle above the soggy field.

Still it’s rewarding stuff as Gerard Black, kitted out in green trackies and umbro training top, lets his soft yet high-pitched tones drift and sooth, never failing to put a smile on your face.

The band is joined later on by the delightful Rozi Plain who brings an extra touch of charm to set simply oozes it.

Hoping for a bit more glitchy brilliance we head over to the Parabola Stage to catch a bit of HQFU, sadly the stage suffers from a host of sound difficulties and the set’s low volume becomes somewhat lost in rain and chatter.

It’s a shame as Sarah J Stanley’s performance at its peak is an infectious experience, sadly this isn’t quite the ideal setting and the tunes simply meld into the surroundings.

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12-piece Scots-Irish folk super group, Treacherous Orchestra fill up the Jabberwocky Stage as they treat the crowd to an engaging, high-energy musical showcase which encompasses bagpipes, guitars, whistles, fiddles, double bass, banjo and drums alongside many others.

Their cabaret style set-up complete with outfits that could stand up to the likes of My Chemical Romance creates a truly entertaining performance, which encourages not only foot tapping from the crowd, but also some full on ceilidh dancing.

Both Treacherous Orchestra’s style and sound is the perfect fit for the eccentric Doune The Rabbit Hole and just what is needed to get you in the mood to dance the night away.

We’re in high-sprits as we make our way back to the Parabola to catch personal favourites Bossy Love.

At first I’m worried Bossy Love’s huge sound will suffer the fate as HQFU did earlier in by appearing on this smaller wooden stage, however Amandah Wilkinson’s sweet, thick vocals and catchy chants power through showcasing her true talent.

Per usual Wilkinson holds an enormous presence on the stage encouraging the audience to dance their hearts out as she leaps off the stage to join the in the crowd.

Bossy Love possess everything you could possibly want from a RnB/pop duo as both Wilkinson and her partner John Baillie Jnr.’s immense energy, catchy melodies and defining facial expressions create a highly entertaining performance.

By the time Blanck Mass takes to the Baino Stage it’s getting a bit late, but such is Benjamin John Power’s mastery of this drone-y experimental dance sound that it’s something that keeps you dancing to entrancing end.

Every part of the set seems to fall into the right place without ever needing to hint a big drop; it’s expressive, glowing and immersive stuff and the perfect end to an evening before things take a downward turn that sees me spending most of Saturday in the medical tent.

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Leaving Iain behind to get some much-needed rest I head to the arena in time to catch some of Admiral Fallow‘s uplifting set.

The Scottish folk ensemble treats the crowd to tracks both old and new as their soaring guitars, tender harmonies and atmospheric melodies feel perfectly at home.

The highlight of their set comes in the form of personal favourite ‘Guest of the Government’ as even those not familiar to the band can not help but move to its catchy beats.

With a temporary change in lineup Polarnecks are the next on tonight’s list, providing a darker emotive sound than tonight’s previous performances, the trio act as a refreshing change to the festival’s scene.

Combining gloomy melodies, thundering guitars and echoing vocals with a touch of unnerving distortion Polarnecks live show truly showcases their strong musicianship, which, alongside thought-provoking lyrics, create an overall a distinctive sound.

Having only recently arrived back in the country after some months away in Thailand I am excited to see the effects travelling have had on December ’91‘s sound.

Playing solo tonight doesn’t hush frontman Craig Ferrie’s booming vocals as he gives a truly heartfelt and powerful performance.

Ferrie’s onstage presence is as endearing as always, as he continually cracks jokes with his intimate audience.

Even though smaller than most crowds this weekend, its size works in Ferrie’s favour allowing him to deliver a set more than capable of sending shivers down your spine.

By the time I make it to along to Whistleblower Stage for Shopping‘s set the night is beginning to become quite blurry, however the trio still manage to make quite a memorable impact as they bounce around the stage and encourage the crowd to do the same.

Combining lo-fi guitars, angular riffs and yelping vocals Shopping treat their audience to a variety of catchy upbeat tunes from a mix of their albums, which truly showcase both their showmanship and musical skill; a wonderful end to an excellent evening of live music.

Sadly the aforementioned illness means we only make it along to one of Sunday’s performances, however we have saved the best to last as the incredible TeenCanteen serve as the highlight of the weekend.

Covered in glitter and dressed like they’ve just come from a fairy themed-fancy dress party, TeenCanteen’s aesthetics perfectly match their sound as they deliver a set packed full of catchy beats, heartfelt lyrics and elegant harmonies from the band’s three frontwoman.

Their sickly-sweet indie-pop melodies are the perfect soundtrack to this afternoon’s sunshine, and being able to sit on the grass by the Jackerwocky Stage brings back good memories of last year’s better health and weather.

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Words: Iain Dawson / Jess Lavin
Photos: Leif Nicholi Alexander Langvand

Tuff Love (album launch), Bossy Love at Stereo, 5/2/16

Tonight’s set is any Tuff Love enthusiast’s dream with the band playing through nearly everything they’ve ever released.

Most of this is featured on Resort, the band’s new release, a compilation of the three EPs; Junk, Dross and Dregs.

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The show highlights all the best features of Tuff Love showcased on the compilation, with their weird, shifting harmonies, the crisp guitar lines and gear changes between woozy dream-pop and spiky grunge.

There’s a stark contrast between, on the one hand, Julie Eisenstein and Suze Bear’s inward and self-effacing stage personas, with their soft, intricate vocal harmonies and on the other, the tough, grungey sounds of the guitars, the monosyllabic song titles and the riot-grrrl influence.

Songs like ‘Slammer’ play on this the best, jolting in and out of its (ironically murmured) “I’ve got rage chorus.

While it’s Tuff Love’s night, there’s an acknowledgment that support act Bossy Love bring a kind of atmosphere that’s hard to follow, and so they take the closing slot.

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Bossy Love takes a leftfield approach to R&B, skewing hip-hop beats with Amandah Wilkinson’s sweet, thin vocals and shouty chants.

Wilkinson, formerly of Australian noughties dance-punk Operator Please, holds an enormous presence on the stage.

She’s a complete performer, part-rapper, part-singer, part-dancer and whose facial expressions is as much a part of the performance as anything else.

Though an early curfew brings the party to an abrupt and frustrating halt, the two Loves have hosted an unmissable night.

More Photos

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Words: Tony Boardman
Photos: Aimee Boyle