Tag Archives: CHUMP

SEXTILE, CHUMP, WomenSaid at Broadcast, 21/1/18

The streets are empty due to the icy roads and legends about an oncoming snow storm.

The fact that today is a Sunday doesn’t help either, however there is still quite a few dedicated people here tonight at Broadcast ready for a dose of post-punk and 80s reminiscent synthesizers.

The first support band of the night is a four-piece from Glasgow called WomenSaid.

The band confidently starts their set of slightly electronic, but at the same time dark both in lyrical and auditory sense tunes.

The dimmed down colourful lights of Broadcast work extremely well with the genre of music played tonight and people don’t seem to need much time to start nodding their heads to the beat.

Next up is CHUMP and they manage to make the evening even more atmospheric with their grunge sound, which is enhanced by the venue’s speakers.

Tara Hally as always keeps it fun with her lighthearted observations about everyday life.

Even though she’s having a bit of a trouble while tuning her guitar, the new song the band performs tonight sounds absolutely great and rhythmical and gets people excited for their new material.

The main act of the night, SEXTILE, are a Los Angeles based band that describe their music as primitive post punk from outer space.

All the guys in the band have a very certain signature look – leather jacket, skinny jeans and a very blonde haircut.

They start their set off with ‘French Song’, which is one of the few songs played tonight that are not from the band’s latest 2017 album, Albeit Living.

Follow up is the way more familiar ‘Who Killed Six’ – a catchy and heavy synthy track that actually doesn’t seem that synthy anymore after the highly electronic ‘Ripped’.

Quite a lot of people are dancing to this computerised post-punk madness, but it’s easy to see why.

The beat is always very catchy, energetic and almost club like and even though one might say that SEXTILE have something in common with post-punk contemporaries such as Holograms, who are also very keen to use electronic sounds, feels like with Albeit Living they went in a bit different direction.

‘Flesh’ sounds way more serious and aggressive in comparison to the other songs played today and it’s a reminder of the band’s heavier 2015 debut A Thousand Hands.

It’s time for a brand new, just this year released single ‘Current Affair’ and the evening is back at it’s original heavy 80s sound.

Synthesizers in ‘Situations’ get the 80s meter even higher up and together with the highly enthusiastic dancers in the front row, showing off moves I’ve never seen before in my life, Broadcast’s basement is basically transformed into a time machine.

The lead singer is constantly abusing the microphone stand and never deciding whether he prefers to stand on the ground or on the stage, but the crowd seems to enjoy his uncertainty.

It is quite an entertaining thing to watch and the band manages to keep up the same energy levels throughout the gig, without taking off their heavy leather jackets.

The gig finishes with a catchy post-punk banger ‘I Can’t Take It’ and the average sized, but very dedicated crowd seems pleased with the musical time travelling journey that has been blessed upon them.

SEXTILE is a band that performs aggressive music, that you can still very easily dance to and even though it takes a bit of time to get their vibe, after that you are hooked on the heavy synthesizer goodness and you even stop worrying about how are you going to get home through all that snow.

More Photos

Words: Goda Bujaviciute
Photos: Brendan Waters

Tracks of 2017 (40-31)

40. Marble Gods – ‘Washing Machine’

“a song about finding your feet and washing your socks”, it couldn’t have been put any better. Marble Gods are a band that exude joy, and ‘Washing Machine’ is the perfect example of that with its delightful lo-fi indie pop jangle, sugar coated C86 vocal displays and whimsical lyrics.

39. L-space – ‘Aloe’

‘Aloe’ is about someone being turned into a giant metal bird, need we say more. It’s also a dark, sinister yet dreamy piece of pop that stood out as the best work of an exciting band to emerge in 2017. L-space released a couple of promising EPs this year but it was this single released towards the end the calendar that caught our attention the most as it built from atmospheric beginnings to a ominous climax and left us wanting more.

38. Dama Scout – ‘Suzie Wong’ [Father/Daughter]

‘Suzie Wong’ was just one example of the creative and unpredictable charm of Dama Scout in 2017, and the track centred around a recording of a child’s guitar the band found while on holiday in Portugal is a delightful effort. Another modern pop number that takes in warm and classic indie influences while maintaining a truly fascinating sound, while sugar-coated, dreamlike vocals and and buzzing off-kilter melodies make it one that we’ll keep coming back to.

37. Walt Disco – ‘Jackets’

Walt Disco emerged this year with a shimmering, flamboyant talent and their debut single ‘Jackets’ gave us a taster of what to expect in the near future. The young five-piece here have meshed a charismatic lead falsetto with dynamic guitars and synths to great a sound no doubt indebted to a time before these guys were born, while feeling refreshingly current and exciting.

36. The Vegan Leather – ‘Shake It’

Instantaneously the massive, dirty electronics kick ‘Shake It’ into life, with the boy/girl trade-off between vocalists Marie Collins and Gianluca Bernacchi. Around two and a half minutes in, ‘Shake It’ essentially stops before becoming a different beast altogether. An instrumental seemingly custom-made for big dancefloors reverberates before the chanting finale of “SHAKE! SHAKE IT! SHAKE IT OUT!” Despite still being in their relative infancy, The Vegan Leather already now have an absolute banger, which sets them in good stead for fulfilling their definite potential.

35. And Yet It Moves – ‘Second Earth Song’

Free Pass To The Future was such an intense and genre spanning album that selecting a song wasn’t easy, we’ve gone for ‘Second Earth Song’ though, It’s a bit discordant but you can see the lineage to Glasgow bands of the early ’80s though naturally some of the vocals are then fed through a vocoder and things get rather raucous. It may be nuts, it may be yelling, “Fuck you”, all over the place but it has a joyousness about it, a celebration of itself.

34. Sister John – ‘Sweetest Moment’ [Last Night From Glasgow]

Meeting through the Parsonage Choir, Glasgow’s Sister John make beautiful lo-fi pop with a touch of Americana to their lush, warm harmonies. It’s startling just how assured the songwriting feels right off the bat on ‘Sweetest Moment’, from the conversational opening bars to the beautifully simple refrain “I’ll take it, break it and just before it cracks, it’s the sweetest moment,” it’s one of the most charming and effortlessly melodic tracks of the year. Keening fiddle adds a touch of Gillian Welch, while the gentle backing vocals lend a Laurel Canyon lushness to a track that floats past like a hazy evening breeze.

33. CHUMP – ‘At Least We Got A Song Out Of It’ [Gerry Loves]

‘At Least We Got a Song Out of It’ is rhythmically hypnotic and oozes professionalism and poise as well as laid-back resignation; it’s vocally endearing and musically explorative, well engineered and beautifully recorded. The wash of the cymbals is well placed and overlays the other instruments with a sense of distance. CHUMP do a good job of embracing and balancing the sound of its global and local acoustic elements.

32. December ’91 – ‘Starin’ At The Freaks’ [GoldMold]

We’ve been used to dark, misery drenched sometimes beautiful, sometimes frantic lo-fi punk come alt-rock from Stirling resident Craig Ferrie, aka December ’91. With ‘Starin’ At The Freaks’ is noticeably less lo-fi, with a lively optimistic sounding constantly driving backdrop that comes with an addictive vocal line that recalls the likes of Kurt Vile’s drawl delivery. A bright bit of alternative pop that brings in all the sunshine of the boat journey captured in the track’s video and brings a welcome upbeat addition to the ever growing December ’91 catalogue.

31. Emme Woods – ‘I’ve Been Running’ [Last Night From Glasgow]

Emme Woods is an act that has been rather underlooked by us over the past year, so much so that this single completely bypassed us when it came out, ‘I’ve Been Running’ is a dark contemplative track that perfectly shows Woods’ unique and impressive vocal stylings along with her unquestionable songwriting ability.

Freakender Mega Xmas Party with Sweaty Palms, LYLO, Creatures, KAPUTT, Fat Black Cats, Chump, WomenSaid at Flying Duck, 16/12/17

On a Saturday night, a bunch of music lovers and people who just like to have a good time come to Flying Duck to celebrate Christmas while listening to a bunch of great Glaswegian bands.

The festive evening starts with WomenSaid, a four piece that plays music that is hard to define with just one genre.

The at first seemingly electronic sounds change into something more straight out of a David Lynch film, as the bass gets replaced by a saxophone.

The music works well with mysterious, dark look of the band and soon enough everybody starts getting into the mood that is being conveyed from the stage.

Next up is the slightly more known Chump, who begin their set with apologising about the harsh sound of the lead guitar.

The distorted sound works particularly well with the band’s grungy playing and the crowd seems engaged into the music.

The lead singer makes a remark about how performing tonight at Flying Duck feels exactly like being in a film scene about gigs that are the opposite of good.

A certain vibe really exists tonight, however it works surprisingly well and people generously applaud the short, but nevertheless absorbing set.

Fat Black Cats continue the show with firstly raising all the sound settings to their maximum values.

The set starts at high energy and gets more and more vigorous as the evening progresses and as the shirts of the band members are going off, one by one.

Everyone is gradually getting closer to the stage and the garage three piece finish their set with a cover of Limp Bizkit’s ‘Break Stuff’.

The venue gets strikingly busy for a relatively young band KAPUTT, but as soon as they begin playing it gets clear that the hype isn’t for nothing.

“Merry Christmas” the Cal Donnelly reminds us about the main reason behind today’s musical odyssey.

The set includes all of the tracks from the exactly on this day released debut EP, Demo 2017.

Saxophone works incredibly well with the band’s chaotically brilliant sound and a bottle of Buckfast serves well as the new version of a cowbell.

By the end of the set everyone’s well into a disorganised dancing craze and KAPUTT earn a status of a band to keep a look out for 2018.

The party moves to the main stage and the first ones up on there are the only London based band tonight, Creatures.

Although not a lot of people seem to be familiar with the band, they deliver a joyous 60s/70s sounding set of pop jams.

It is impossible not to see some similarities between these guys and the famous Californian beach goths The Growlers.

Due to some technical difficulties the lead singer’s microphone stops working for a short while, but that doesn’t buzzkill the crowd and the people keep on dancing.

It’s getting pretty late and so it’s time to get groovy and bring back the saxophone, which LYLO manage to do miraculously.

The dreamy pop sounds exceptionally funky tonight and the strong rhythm brings back the previously encountered dancing craze back to Flying Duck.

They prove themselves once again as a brilliant live act and leave the crowd well hyped up for the last band of the night.

The night culminates with one of the Glasgow’s finest bands – Sweaty Palms.

The noisy distorted guitar sounds and Robbie Houston’s loud, riotous vocals contrast sharply with the previous act’s chill tunes and sends people into a state of euphoria, which is well understood after such a long night of listening, playing and drinking.

And so this giant, almost 8 hour lasting Christmas feast comes to an end, leaving everyone fully satisfied with their musical cravings; well, at least for one day.

Words: Goda Bujaviciute

CHUMP – ‘At Least We Got a Song Out of It’ [Gerry Loves]

The A-side – ‘At Least We Got a Song Out of It – is rhythmically hypnotic and oozes professionalism and poise as well as laid-back resignation; it’s vocally endearing and musically explorative, well engineered and beautifully recorded.

The wash of the cymbals is well placed and overlays the other instruments with a sense of distance.

The name of the track seems really obvious and I feel like I should have heard it before, but I haven’t, nor have I heard the sound of this song before, it is quite original and messes around with a lot of ideas and approaches.

CHUMP do a good job of embracing and balancing the sound of its global and local acoustic elements.

Starting out as the bedroom project of Tara – the singer and guitarist – the addition of the bassist and drummer in Tony and Matt respectively has brought out some highly engaging musicality between the two tracks presented here.

The B-side – ‘Lose Your Life’ – features softly spoken vocals from Tony, the fact that this track has made it onto the release suggests a highly collaborative atmosphere prevailing when CHUMP are CHUMPING – this will doubtlessly add to the long form wanderings of the bass and guitar and the tight but relaxed feel of the drums.

The production on the drums is especially apt on ‘Lose Your Life’, the poetic nature of the vocals are also well placed, speaking in a relatable voice about relatable subject matter – many bands try and fail to deliver a track such as this, CHUMP seem to succeed without trying.

[soundcloud url=”https://api.soundcloud.com/tracks/310199924″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Paul Aitken

Spite House presents Doe, Charla Fantasma, Chump, Curdle at Transmission, 22/9/16

Despite the typically rubbish weather, relative newcomers (to Glasgow) Spite House have put together an excellent show at the also relatively new venue of Transmission, which is traditionally an art gallery, which is packed tonight.

Headlining are London’s brilliant indie/punk trio Doe who have been touring relentlessly for the best part of four years now and are now being rewarded with their debut full-length, Some Things Last Longer Than You, out on Specialist Subject Records a couple weeks ago.

Before all that however, we are treated to two also fairly new Glasgow bands.

Spite House’s mission statement is to feature bands with a queer and or female identified presence, and tonight’s all-female openers Curdle warm things up with their charmingly ramshackle and minimal dream-pop, in what is only their third show ever.

The slightly more established Chump, however, play an intriguing mix of fuzz-out grunge and occasional forays into more psychedelic post-rock and are a particularly interesting prospect.

Tour support Charla Fantasma, also hailing from London, are an excellent three-piece, bringing together all the fun and toughness of the riot girrrl movement.

They manage to get the whole room moving and suitably ready for the headliners, making songs about tough subjects into something very enjoyable.

doe3

Doe, despite their ever-increasing successes, still remain an excellent staple of DIY punk attitude and aesthetic.

They are one of the hardest working bands in the country and it really shows in their seamlessly great performances.

The three connect and interplay perfectly on tracks such as ‘Something to Tell You’, with Nicola Leel’s soaring voice and bass-toned guitar backed by some ferocious drumming and melodic guitar lead parts from her bandmates.

Meanwhile tracks such as ‘Last Ditch’ display the bands wonderful Weezer-esque power-pop sensibilities, proving once again they are one of the best live acts out there today.

More Photos

[soundcloud url=”https://api.soundcloud.com/tracks/275453658″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Adam Turner-Heffer
Photos: Ann-Christin Heinrich

Fear of Men, CHUMP at The Hug and Pint, 5/4/16

CHUMP are so nice. I love CHUMP.

Downstairs in the Hug and Pint expectation is not to be captivated by a gig so intimate you really feel it is more of a Saturday afternoon bedroom jam, but some singers really pull you in with their lyrics and easy between-song banter; and I guess lyric subject matter, in this case, matters.

Conjuring up sleepy, hazy days like on ‘Sleep In’, “I slept all day again… it just makes life easier to let the time pass by”.

Sleep or lack of as an indication of the state of affairs is a common theme.

Like not being able to sleep next to a new lover in ‘Shut Eye’, “I’ve been up all night / lying at his side / I can’t shut my eyes,” punctuated with a drum crescendo, deep, grungy distorted chords and a candid vocal that calls to mind Warpaint in moments.

Another band they equal in tight co-ordination and fantastically powerful, witchy vocals are Mothers, set to play The Hug and Pint next month. Go check out CHUMP!

Fear of Men have a fantastic band name that seemed tightly married to CHUMP’s overall ambient, sad and reflective style.

Their blend of indie pop, dance-y synth tracks and amazing vocal pitch strangely struggles to find purchase in the same venue following the intimacy before.

The band’s lead, Jessica Weiss, is an enigmatic figure; diving into creative inspiration as nuanced as Sartre quotes and with an interest in critical theory and feminism, the song material couldn’t be more refreshing and independent.

Yet through the lucidity of her voice some of the more interesting points are lost in it all.

It’s clear though that this is a well-hearsed band, and that everyone is acutely working to bring together the rapturous post-punk melodies; the guitarist have a nice sound and style, translating exactly as recorded.

I’m a big fan of their ‘Pink Frost’ – The Chills cover that feels way more creepy, Kate Bush-influenced than the cleaner tracks they play on the night that all go effortlessly record-smooth.

Perhaps it is just not the right venue or the right collaboration of bands, the connection between audience and band seems a bit lost, but perhaps that was also to do with it being Glasgow and, a particularly chilly night.

Fear of Men is definitely worth checking out for summery, upbeat indie post-punk.

[soundcloud url=”https://api.soundcloud.com/tracks/243896203″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Heather O’Donnell