Tag Archives: Deathcats

FUZZKILL XMAS PARTY with Deathcats, Secret Motorbikes at Old Hairdressers, 17/12/16

Secret Motorbikes support Deathcats with their third gig of the year; busy year.

Considering how good their stand up routine is, we half believe they have sat in a room writing out punch line after punch line or as tonight would suggest practice their Australian/Kiwi accents.

While Deathcats stopped playing two years ago, Chris Harvie and Scott Whitehill have been busy with their respective projects Shredd and Home$lice, however since the M.I.A. front man has returned Fuzzkill Records rightly so built their Christmas party around the briefly reunited garage band.

The Australasian sun has taken a toll one the once youthful frontman of Deathcats, however after James McGarragle takes his shirt off he stops looking like Wes Scantlin from Puddle of Mudd and looks like Mike Pike, funny comparison while running through of Paranoid and Sabbath type riff of ‘Danny Dyer’.

The second song is ‘DREAMZ’, still one of my favourite guitar tracks, and someone must have seen the smile taking over my face and lifted me up as the impressively consistent wave of crowd surfing begins and last to well after the band have played.

One notable surfer was Secret Motorbikes bassist, whose efforts are made extra impressive as McGarragle states, “you don’t normally see people with mortgages crowd surfing”.

With an album and couple of EPs to pull from its tracks like ‘Liquid Gold’, ‘Sprint’ and ‘You’ that stand as the strongest.

The skilful rewrite of ‘DREAMZ’ in ‘You’ is welcome to give the “ohh ohh ohh” vocal melodies a second airing of the hook, one can only wonder what tunes they could still make.

The points of reference may have aged a bit in two years (DIIV, Thee Oh Sees, etc.) and Glasgow bands seem more focused, but the conviction to have fun and try the best to destroy the Old Hairdressers by means of playing the songs for everything they are worth is superb.

Speakers toppling, guitars getting wrecked, microphones breaking (and being stolen jakey bastard crowd) and the top less guitarist and bassist being absorbed into the crowd and surfed around the room.

Songs and riffs extend, moves are pulled and everything ends with ‘Saturday Night Golden Retriever’, waiting for summer that harks back to those heady days of 2013-14; we never knew we had it so good.

You can catch Deathcats again before hibernation again on the 27th at Broadcast. And you should all go.

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Words: Paul Choi

Album of 2014

Andrew Person & Lovers Turn To Monsters – Everything We Miss17 Andrew Pearson & Lovers Turn To Monsters – Everything We Miss [Common]

A combination of two endearing singer-songwriters, brought together under the umbrella of Common Records in the dismal Glaswegian rain, resulting in an equally endearing collection of tracks. Taking a song each throughout the track listing, the single ‘Juan Antonio’ is a standout track in an octet of tracks that will coax out a tear if you let them. (Kyle McCormick)


Fat-Suit – Jugaad17 Fat-Suit – Jugaad [Equinox]

With a 15 strong collective of highly trained musicians, in the later part of 2014 Fat-Suit released an instrumental album of innumerable sounds and styles all expertly welded together. Tight grooves splashed with influences from traditional Scottish music and a heavy emphasis on jazz and experimenting ensures that Jugaad is a big, unique flag planted firmly in a Scottish music scene which is very lucky to have Fat-Suit in its midst. (Greg Murray)


National Jazz Trio of Scotland – Standards Volume III17 National Jazz Trio of Scotland – Standards: Volume III [Karoke Kalk]

Bill Wells has made his name by his collaborations and his experimentations, which often take him to pry the envelope of pop music to great result, at first, Standards: Volume III could appear to be a glossy but unwavering pop album, but upon repeated listens this record is a richly endearing effort for fans and casual listeners alike.


The Amazing Snakeheads – Amphetamine Ballads17 The Amazing Snakeheads – Amphetamine Ballads [Domino]

Amphetamine Ballads does take some warming to, but after a number of listens and a full appreciation of its delightfully refined latter half, this album is undoubtedly one to be treasured if it appeals to your sense of artistry.


Withered Hand – New Gods15 Withered Hand – New Gods [Fortuna Pop]

New Gods might at first fool you as sounding like inoffensive dentist-waiting-room shmooth-fm folk-pop; clean but still sensibly naturalistic production, tons of hooks, catchy choruses, acoustic guitars and simple song structures; yet lurking in the lyrics there’s an extremity of emotional tension that swings between stark ugly introspection on one hand and manic optimism on the other.


Andrew Montgomery – Ruled By Dreams15 Andrew Montgomery – Ruled By Dreams

Former Geneva vocalist Andrew Montgomery went solo with Ruled By Dreams, and has successfully created an album that showcases his writing strengths, both musically and lyrically.


Thin Privilege - Thin Privilege12 Thin Privilege – Thin Privilege [Struggletown]

For me, Thin Privilege is the band of 2014. With their intense live show alienating crowds’ left, right and centre, I had very high hopes for this record and was not disappointed. This noisy, duel bass assault of an album really grasps the energy of what this very short-lived band was. (Iain Gillon)


Jonnie Common – Trapped In Amber12 Jonnie Common – Trapped In Amber [Song, by Toad]

Bizarre in all the right places, in all the right ways, Trapped In Amber is perhaps best described as “bizarre pop” as a direct consequence. Pleasingly simple soundscapes provide the backdrop to lyrics that span the board from drama to comedy, with hints of balladry (‘Fractal’), hip-hop (‘Crumbs’) and amazement (‘Binary 101’) all contributing to a record of abundant imagination. (Kyle McCormick)


Young Fathers – Dead12 Young Fathers – Dead [Anticon/Big Dada]

2014 was Young Fathers’ year, taking home award after award with critical acclaim following them at every turn. Dead was the centre piece of it all, an intoxicating multicultural record that took elements of hip-hop, electronica and pop and put Scottish music firmly back on the musical map.

Rustie – Green Language11 Rustie – Green Language [Warp]

Rustie deserves every single bit of credit that comes his way, while fellow Glaswegian label mate Hudson Mohawke jets off with the glamorous names, Rustie has stuck to his guns and make a record that feels like natural progression. Green Language has all of Rustie’s punch and some very special moments, still we can’t help feel his best is yet to come and we can’t wait.

Beerjacket – Darling Darkness10 Beerjacket – Darling Darkness

Darling Darkness makes for a relaxing listen, but there’s more to it. There’s a depth and texture that goes beyond your ordinary singer songwriter. To mark 10 years of Beerjacket, Peter Kelly has released a beautiful, cosy, folk masterpiece. (Alisa Wylie)

The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave8 The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave [FatCat]

One of the years later releases but well worth the wait, aside from their debut it could be their best yet. The production values like always are superb and the songs reek of melancholic angst and pain just what you’d expect from Scotland’s gloomiest export. The album deserves all the praise it gets. (Phil Allen)


Mogwai – Rave Tapes8 Mogwai – Rave Tapes [Rock Action]

A lush set of songs that breathe a warm melancholia; flourishes of ambient and electro sounds underpinned by one of the great guitar arsenals in all of music. (Brendan Sloan)


Stanley Odd – A Thing Brand New7 Stanley Odd – A Thing Brand New [A Modern Way]

The Edinburgh sextet’s third album sees them at their creative best, with their usual concoctions of politics, pop culture and poetry shifted into the next razor sharp gear. Tackling issues of parenthood and imperialism, likely catalysed by recent arrivals and national political awakenings, among other things, A Thing Brand New is thought-provoking and head-nodding perfection. (Kyle McCormick)


Fatherson – I Am An Island6 Fatherson – I Am An Island [A Modern Way]

Incredible, conceptual debut from a band that looks set to take off in a big way in 2015. Sounds absolutely massive. (Alisa Wylie)


PAWS – Youth Culture Forever4 PAWS – Youth Culture Forever [FatCat]

Youth Culture Forever might be the perfect follow up to Cokefloat! It takes its predecessors themes and then follows up on them, while also covering some new ground; plus the production is a serious step up and it shows. (Phil Allen)


Deathcats – All Hail Deathcats4 Deathcats– All Hail Deathcats [Fuzzkill]

I never thought Deathcats would get a full LP release, 2014 truly was a brilliant year for Scottish music. From the get go Deathcats display a penchant for crafting some of the most infuriatingly brilliant melodies in recent memory. Aside from this it’s great to see the band really test their limits and put some of their live show into the record with the great linking sections between songs. (Phil Allen)


Algernon Doll – Omphalic3 Algernon Doll – Omphalic [Struggletown]

Emo/alt-rock is a genre I that I don’t often indulge in anymore but every so often something pops up which shakes me from that angsty slumber and reminds me that it’s still possible to create original and awesome sounding music in that style. Ewan Grant’s Algernon Doll and their album Omphalic is the perfect example of this, and legendary producer Steve Albini will no doubt help them carry their momentum into next year, with their fourth release in as many years. (Greg Murray)


King Creosote – From Scotland With Love2 King Creosote – From Scotland With Love [Domino]

A stirring celebration of Scottish pride and resolve; a profoundly evocative album, which handles its subject matter with gentle reverence. This record is nothing less than a masterpiece, and its release saw it receive the critical acclaim that it rightly deserves. The album provided an evocative accompaniment to Virginia Heath’s documentary of the same title, although despite its status as a soundtrack, it is a piece of art in its own right (Brendan Sloan/Ellen Renton)


Honeyblood – Honeyblood1 Honeyblood – Honeyblood [FatCat]

Glaswegian duo Honeyblood’s self-titled debut unleashes a wave of emotionally aggressive lyrics mixed with sweet melodies and harmonies reminiscent 90s grunge and fitting to their name. The band’s stripped back and minimal setup is compelling, allowing vocalist Stina Tweeddale to showcase her enchanting voice. (Jess Lavin)


Tracks of 2014

Atom Tree – ‘Sinner’19 Atom Tree – ‘Sinner’ [Hotgem]

The opening track of the Glasgow electronic trio’s latest EP, Clouds, introduced us to vocalist Julie Knox, who’s powerful and emotive voice slides brilliantly into Atom Tree’s deep synthpop, alerting people the trio on a much bigger scale than before, and rightfully so.

Call To Mind – ‘Breathe’19 Call To Mind – ‘Breathe’ [Olive Grove]

Beautiful and euphoric, Call To Mind’s musical masterpiece is the crowning jewel of their debut album, and with accenting piano and sultry vocals, it is everything that Coldplay think they are, but infinitely better. (Kyle McCormick)

The Duke, Detriot – ‘Accerate’19 The Duke, Detroit – ‘Accelerate’ [Deaf By Stereo]

The Duke, Detroit’s sleek and stylish single threw us, spinning and stumbling back in time to the mid-80s, but they managed to bring it back to life without sounding like poor mimics of the past.


Owl John__Frightened_Rabbit_Side__Project-750x018 Owl John – ‘Los Angeles, Be Kind’ [Atlantic]

Drawing from Scott Hutchison’s emigration to California, the video starts with footage of Scotland, which slowly blends into the bright, optimistic lights of L.A, and probably says more of this achingly melancholy song than a simple review could. (Greg Murray)

Hudson Mohawke – ‘Chimes’16 Hudson Mohawke – ‘Chimes’ [Warp]

HuMo keeps getting bigger and bigger and with a glorious homecoming at East End Social’s Last Big Weekend and this release on Warp it seems his momentum is still building.

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Mogwai-Rave-Tapes-608x60816 Mogwai – ‘Remurdered’ [Rock Action]

2014 saw Glasgow’s post rock behemoths shift away their meatier riffage of recent years and move towards a chilling atmospheric vive, they’re still loud though and the asphyxiating ‘Remurdered’ is one of the best examples of their recent work.

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Vasa – ‘Not A Cop’13 Vasa – ‘Not A Cop’

Intricate and captivating, Vasa’s stand-alone single has an unrelenting urgency at its core, but with layers of percussion and masterful guitars cleverly bolted on, ‘Not A Cop’ shines a light on a promising future. (Kyle McCormick)


The Twilight Sad – ‘Last January’13 The Twilight Sad – ‘Last January’ [FatCat]

Nobody Wants To Be Here and Nobody Wants To Leave was heralded as a return to form for one of Scotland’s most powerful yet emotionally draining live acts and ‘Last January’ was the pick of bunch.

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Jonnie Common – ‘Shark’13 Jonnie Common – ‘Shark’ [Song, By Toad]

Burning slowly, ‘Shark’ sees Jonnie Common’s songwriting at a conversational high, built on a foundation of electronics and ingenuity, the canned laughter at the end knows how good it is. (Kyle McCormick)

PAWS – ‘Owl Talons Clenching My Heart’12 PAWS – ‘Owls Talons Clenching My Heart’ [FatCat]

A prime example of PAWS expanded song writing, the cello-laced ‘Owls Talons Clenching My Heart’ pulses solidly along on to Phillip Taylor’s stories of heartache. (Greg Murray)

King Creosote – ‘Something To Believe In’10 King Creosote – ‘Something To Believe In’ [Domino]

The pinnacle of the From Scotland with Love record (no mean feat), ‘Something To Believe In’ combines true and traditional folk with honest lyrics and a painful poignancy. (Ellen Renton)

Skinny Dipper – ‘Hospital Bed’10 Skinny Dipper – ‘Hospital Bed’ [Olive Grove]

Haunting and heart breaking, ‘Hospital Bed’ might just be one of the most beautiful vocals of the year, never mind just in Scotland. (Ellen Renton)

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TeenCanteen – ‘You’re Still Mine’9 TeenCanteen – ‘You’re Still Mine’ [S.W.A.L.K]

Sickly sweet vocals and throbbing synths add playful finger-clicking and loving harmonies to make TeenCanteen’s single a loveable release and introduction to the gifted quartet. (Kyle McCormick)


Owl John__Frightened_Rabbit_Side__Project-750x08 Owl John – ‘Hate Music’ [Atlantic]

‘Hate Music’ is a cathartic, slide-guitar-and-overdrive pedaled song, which Scott Hutchison claims Frightened Rabbit wouldn’t get away with, about the strains and the bitter tastes left by his revered band and the industry they operated in consistently for ten years. (Greg Murray)

John Knox Sex Club – ‘Minotaur’7 John Knox Sex Club – ‘Minotaur’ [Instinctive Racoon]

Primal and raucous, John Knox Sex Club captures everything they are infamous for in this track, with measured execution descending into enjoyable chaos. (Kyle McCormick)

Tijuana Bibles-500x3726 Tijuana Bibles – ‘Crucifixion’ [Dead Beet]

Tijuana Bibles continue to prove that few bands can write snarling rock classics as well as them. ‘Crucifixion’ has a southern rock swagger that you can’t help bob your head along to, the chorus hook is sublime and the guitar solo is a piece of melodic genius. (Phil Allen)


Tuff Love – ‘Sweet Discontent’5 Tuff Love – ‘Sweet Discontent’ [Lost Map]

This track was almost everyone’s first introduction to Tuff Love and we immediately fell for the vocal harmonies and that breakneck drumming. It’s no wonder this track garnered them a lot of attention it sounds like effortless genius in the form of a song. (Phil Allen)

Deathcats – ‘Saturday Night Golden Retriever’4 Deathcats – ‘Saturday Night Golden Retriever’ [Fuzzkill]

Sure the bassline sounds like Black Flag but what an intro. Taken from the bands only debut, and looking likely to be only, length album this cut is perhaps one of their most exciting punk throw downs, however it’s given Deathcats patented surf rock treatment with plenty of great backing vocals. (Phil Allen)

Stanley Odd – ‘Son, I Voted Yes’3 Stanley Odd – ‘Son, I Voted Yes’ [A Modern Way]

Stanley Odd’s endearing referendum anthem is made bittersweet given the eventual outcome, but its message of hope and positivity still rings true in a country forging towards a better future. (Kyle McCormick)

unknown2 APACHE DARLING – ‘More Than Me’

The comparisons to CHVRCHES must get tiresome, but one thing that APACHE DARLING does share with the band is their potential for success. ‘More Than Me’ is cool, catchy and clever, and undoubtedly one of Glasgow’s best exports of 2014. (Ellen Renton)


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Honeyblood – ‘Killer Bangs’1 Honeyblood – ‘Killer Bangs’ [FatCat]

Sweet melodies and some of the crunchiest guitars recorded are staples of ‘Killer Bangs’. It’s hard to believe a two-piece can sound this massive even if it is a studio recording. (Phil Allen)


Deathcats & New Swears Split [Fuzzkill]

Deathcats, over the last year, have been hitting the releases hard and gigging every weekend that a shift pattern would allow.

Kicking off with ‘Liquid Gold’, the chorus bass provides the chugging basis for a far harder sound that a listener has sadly come to expect from a the washed up reverb sounding bands.

Thankfully the band seems to have adopted the reverb and Thee Oh See’s delay noises as merely flavours and not built their tracks on such used foundation.

Recorded at Glasgow’s Bakesale Recording Studio, with ex-PAWS man Matt Scott, the process of capturing the band has been well matched to the direction Deathcats are aiming.

Lead single ‘You’ is catchy in the same way that their previous single “Dream$” was.

We can forgive the frontman James McGarragle for this skilful rewrite of the latter, as that song is as strong as anyone could hope to write.

Set tempo for MOR for next track ‘Sprint’; a waterfall of chorus guitars and cymbals again distancing the group from previous garage rock outing, the picking guitar section reminiscent of Real Estate and all those bands that almost made the Stone Roses style guitar bearable in the late 2000s.

‘End Game’ goes all sludgy, widely known to be Black Sabbath fans it comes as a nice send off to see the band hinting where their heads are at currently.

Shame they’ve called it a day isn’t it?

Shame doesn’t cover the New Swears side of the split; the overdriven vocals, paper drums, hints of harmonica and group vocals periodically cover up the recording of the group scratching their guitars with one hand and their balls with the other.

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Words: Gayham Crisps

Deathcats, Secret Motorbikes, Pinact, The Rockalls at Stereo, 5/12/14

Wandering in to Stereo at half 7, I find that the show was an early start and catch the second half of The Rockalls set.

A band with a lot of attitude, who clearly enjoy playing their rowdy garage-rock together, The Rockalls set is very good, albeit the sound is maybe a bit too loud to make out everything the five-piece do.

With a smartly done Kraftwerk cover, they pull off their set with a swagger and rawness that ensures that they are a solid opener.

Up next are grunge two-piece Pinact and with a huge, clear cut sound, you’d be forgiven for thinking you were listening to a Pixies or Nirvana song at times, but although much of their music is clearly derived for these canonical acts, Pinact maintain a sound and image that is definitely theirs.

The band play through a well practiced well thought out set with ease, showing why they are one of Glasgow’s most promising acts at the moment.

Next up are Secret Motorbikes, who possess a great stage presence as they batter through half an hour of melodic, fuzzy rock.

The band have a great sound, which sounds original, while still fitting in with the lo-fi punk scene, which is rife in Glasgow at the moment.

Stereo is now nearly full for tonight’s headliners, Deathcats, playing usual set opener ‘Solid’, the audience are definitely in the mood for tonight’s set, before new track ‘Liquid Gold’, which shows that even though the three-piece are splitting up, they haven’t stopped making music till the very end.

New Zealand bound singer James McGarragle is a natural born frontman and his reverberated vocals fill out the packed venue with ease, along with his stage patter, which includes anecdotes on both his gran and parking wardens.

Songs such as ‘Surfing In My Head’ and an instrumental cover of Black Sabbath’s ‘Paranoid’ keep the crowd jumping around until it finally becomes time for the set to finish, then the chaos begins with stage diving, crowd surfing and audience members jumping on stage.

Although not their final gig (the band have a small assortment of shows left), Deathcats last headline effort is a great night and a wonderful way to end it.

Along with their record label Fuzzkill Records (who deserve a special mention for running the show), Deathcats have helped to create a scene in Glasgow and it’ll be sad to see them go.

More Photos

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Words: Neil Hayton
Photos: Sophie Morrison

Various Artists – Bloc+ Compilation #1 [Bloc+]

Bar Bloc have released the first of four free compilation albums via their Bloc+ label featuring a showcase of innovative artists.

The compilation was born from the venues commitment to nurturing up and coming bands that are struggling to get their music out there due to the pressures of the industry.

The bar runs an abundance of initiatives to help local bands such as; subsiding the loans of touring vans and the Bloc+Music label, which gives artists complete creative freedom to counteract the restrictions that new bands encounter with major labels.

The Bloc+ compilation series is yet another way in which the bar provides their financial support to give a platform to the most talented and inspiring musicians that have graced their stage and whose sound they want to be heard by a bigger audience.

The album features an eclectic mix of artists and genres, which manifests together to create an image of the current underground scene that Scotland has to offer.

Kicking off with Adam Strafford’s ‘Vanishing Tanks’, the award winning short film and solo artist, allows mystical vocal arrangements to perfectly start the album off.

Next up is the Deathcats with ‘Solid’, which epitomises their dreamy, surf rock, punk sound and ‘Fossils’ by Tetra that mixes electronic beats over a solid foundation of rock principles.

What makes the compilation so unique is the wide variety of purely instrumental bands that are on show; ‘Basehead’ by Cuttys Gym, ‘Not a Cop’ by Vasa, ‘Trich’ by Young Philadelphia and the pun-filled ‘Generic Clapton’ by The Gastric Band.

These purely instrumental tracks weave intricate drum loops over massive hooks and rhythms that produce the perfectly complex math rock to dance to.

The tone is brought down a notch with alternative rockers Verse Metrics with their sombre ‘Aches’ and Thula Borah’s ‘Bone Ships’ that both encompass sultry lyrics with melancholic guitars.

A surprise highlight is ‘When The Girl Comes To Town’ by Chris Devotion and The Expectations, which is a joyous lyrical ode nestled among a juxtaposition of the bubbly and the edgy.

If you are sick of current musical offerings and are seeking some grassroots music from a grassroots label, then look no further than the Bloc+ compilations as the label has offered a smorgasbord of new music, with three more offerings still to come.

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Words: Katharine Gemmell

Tenement Trail Festival, 4/10/14

Today, the Tenement TV team go from the very white living room in front of a camera to some very colourful live venues in front of hundreds of music fans, this is the second Tenement Trail festival encapsulating five of Glasgow’s most popular venues, and over 30 of Scotland’s most promising acts.

We begin in the early afternoon in Sleazy’s with The Rockalls and the Glasgow six-piece seem excited to be here, although early, a decent enough crowd has gathered and a few are at the front hoist up rabble rousing frontman Dominic Orr.

‘Sad Clown’ is the first song of the day, which features a call and response chorus between Orr and bassist Ross Wood, while the garage punk band’s set highlight comes in the from of a cover of Kraftwerk’s ‘Model’, although it’s a bit too early for the moshpits the band are inciting.

Next up are Dundee’s huge sounding Vladimir who blow you away with their post punk sound, their songs flow into each other as they play an assured and dreamy set and just as we’re leaving we hear another familiar electronic hit, this time a cover of Underworld’s ‘Born Slippy’, an extremely well executed and original cover from a band with bags of potential.

Back in Sleazy’s Deathcats open with ‘Solid’, track one from debut album All Hail Deathcats, and starting from a small crowd the venue quickly fills up and is almost full by the end of second track ‘Dreamz’.

Singer James McGarragle is in wild form, swigging Buckfast while talking between songs about subjects as diverse as Annie Lennox and long-distance Skype sex, with no electro cover in sight, the three-piece’s lo-fi punk sound is great fun and while the set sits on the edge of chaos at many points, it works like a dream for the Glasgow trio.

Over at Flat 0/1 for the first time today and another Dundee band, Blood Indians, are taking to the stage, having never been a fan of the retro-styled Flat 0/1 as a live music venue, it isn’t a surprise that it takes a while for the sound engineer to get a sound deserved of the band’s intricate, but often reserved sound, however, those issues aside, lead vocalist’s Joanne Forbes and Rowan Wright’s harmonies are most definitely on point and the overall performance at times leaves you thinking of a female fronted Frightened Rabbit.

After a walk back up to Sauchiehall Street, it’s time for Scary People down in the Sleazy’s basement, our third Dundee band of the day.

Walking onstage to a barrage of atmospheric music, the band seem to hop from genre to genre getting a decent reaction from the crowd, with ‘(It’s Never Calm) On The Western Front’ a good example of this.

One of the most hyped acts of the day, Roxy Agogo are about to play their first show and their frontman announces “this is Roxy Agogo” on a few occasions, the online campaign preceding the launch of this act has been steeped in mystery, with no names named and only three songs (which are all played this evening) released via Soundcloud.

Sleazy’s is at capacity, full of intrigued music fans and the band don’t disappoint with some huge sounding, at times psychedelic-tinged tunes, the act’s 20-minute set is definitely a sign that bigger things are coming for this now slightly less mysterious act.

Our first and only trip to the ABC2 is for psychedelic blues rockers Tijuana Bibles who fire straight in to fantastic recent single ‘Crucifixion’, and frontman Tony Costello rattles his tambourine to near death before they launch into the single’s B-side, ‘Toledo’.

The band play much last year’s Wild River EP, as the audience lap up their bluesy riffs as Tijuana Bibles play a fantastic half-hour of what is some of the best music heard all day, putting on an extremely professional, tight performance, deserving of the rapturous applause at the end.

Cherri Fosphate are our first visit King Tut’s and, before opener ‘Neighbour’, frontman Jonny Sharpe jokes about the crowd having to walk fairly far to get here, this might not be far from the truth as although it later fills up a little bit, there are far less people than any other of the sets seen today, still, the band don’t let this get them down, and play an excellent set of archetypal 21st Century indie rock music, much of which will appear on their upcoming debut album.

Making a quick jaunt up to Flat 0/1 to catch The Velveteen Saints, we arrive just in time for opener ‘Die Alone’ and the four-piece deliver an assured set of pure rock ’n’ roll.

Having toured huge amounts with a high-calibre of artist, the Glasgow quartet know how to work their huge Flat 0/1 audience, in their last gig before they release excellent debut single, ‘Postcard’s From Rome’.

Our final act of the night is indie folk outfit Randolph’s Leap, often a solo venture for lead songwriter, guitarist and singer Adam Ross King Tut’s tonight is treated to the full eight-piece band.

Catching the last half of their set, Ross jokes about how Tut’s is only ever given its full “Wah Wah Hut” name these days by older generations, which is a clever and (from my experience) true statement.

‘I Can’t Dance To This Music Anymore’ is ironically the last song of our Tenement Trail, but sadly Scotrail have dictated that we’re unable to dance any longer.

The Tenement Trail has been a real success, highlighting a togetherness of the music scene in Glasgow (and beyond), as well as showing the truly high standard of artists that exist in the Scottish music scene.

If there was any doubt in the minds of the Tenement TV team about making the Tenement Trail an annual event, there won’t be now after the roaring success of this year’s event.

More Photos

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Words: Neil Hayton
Photos: Bill Gray

T in the Park, Friday, 11/7/14

There’s sweltering sunshine around the now legendary grounds of Balado, and Scotland’s biggest festival is ready to say one big goodbye to the airfield that many have enjoyed the best parties of their lives in for just short of two decades.

Yes, T in the Park, whether you personally love it or hate it does have a special place in the hearts of the masses and it’s for that reason that for over its 21 year history it has risen to be one of the world’s biggest festivals and for one weekend a year a lonely airfield near Kinross becomes the fourth biggest town in Scotland.

This year it’s advanced further with Friday becoming a full day event for the first time and Saturday’s curfew extended to 1am, albeit we do see the absence of the Transmission Stage, the festival’s usual fourth stage, which does leave slightly less choice on the bill but allows the opportunity for BBC Introducing and T Break to really step up to the plate.

It’s T Break where I start my day for the fuzz layered swagger of Dundee boys Vladimir, and they don’t let down in front of a reasonably healthy crowd for a first act at the notorious local band tent.

Their sliding guitars and sneery vocals are blanketed in plenty of rock star attitude and after bursting on the scene last year they’re now making a firm grasp, expect plenty more from these guys in the next year.

Following Vladimir I get my first taste of music in the sunshine as upcoming popstress Charli XCX opens the main stage, as I wander over she’s performing a funky cover of ‘I Want Candy’ in what appears to be just a nighty and one that does become rather revealing in the windy conditions up on stage.

Still this is the moment that T in the Park 2014 gets to enjoy it’s first number one single of the weekend in the form of the track XCX penned and performed with Icona Pop, ‘I Love It’, and this gets the first unsuspecting screams for those who have came down for the early afternoon sunshine.

This is quickly followed by another top 10 effort with her featured track with Iggy Azalea ‘Fancy’ and followed by the only track I witness from last year’s glorious dark wave album True Romance in ‘Grins’, before choosing to end proceedings on latest single ‘Boom Clap’, it’s a fun way to start the day in the sun and shows wee Charli’s progression since we saw her in front of 100 or so people a year ago in the ABC2.

Following that I take a bit of time to re-familiarise myself with the set up taking the time to catch a few potential soaring pop hits at the Radio 1 Stage from the foot tappingly captivating Foxes, whose face is everywhere this weekend, and some powerful grunge grooves from Derbyshire brothers Drenge, who play to responsive crowd in King Tut’s Tent.

All that wandering about in the sunshine becomes a bit tiring but at a festival like T you always want to try and take in a bit of everything on offer, still the potential of seeing the disco enthused, pop rocking sisters HAIM in the sunshine of the Main Stage is too good to resist.

The addictive handclaps and bass licks of ‘Falling’ kick off proceedings as the trio instantly get into their sugar coated groove, but they quickly prove their more than just Stevie Nicks wannabes as Danielle Haim’s grimaced solos and the rollicking hard rock of Alana Haim fronted ‘Oh Well’ prove testament to that.

The trio returning from last year hold T in the Park in high regard as Este Haim admits losing herself to Kendrick Lamar last year was one the best moments she’s had in recent times before pulling off a sun drenched cover of Beyonce’s ‘XO’.

A three girl drum assault polishes of ‘Let Me Go’, and the set, as HAIM provide one of the early festival highlights before giving way to Imagine Dragons, who I give a couple of songs before moving on from their rather mediocre alt rock to cover some new names, to myself at least.

This comes in the shape London Grammy nominated produced MNEK who sports a colourful shirts/shorts combo and a powerful soulful voice that saw him reach number four in the charts on Gorgon City’s ‘Ready for Your Love’.

The set is loads of fun and jam packed with funk filled beats, sassy pointing from wonderfully harmonious backing vocalists and a few well picked covers includes Sly & the Family Stone classic ‘If You Want Me To Stay’.

Over at the King Tut’s Tent Glasgow trio CHVRCHES have the crowd in the palm of their hand from the off with recent single ‘We Sink’ and it’s truly testament to how far these guys have come in such a short time that the huge tent is rammed.

Still, this would be my fifth time of catching them since they graced the Transmission Stage last year and although the set, entirely taken from debut album The Bones of What You Believe, is strong it does feel time for a breath of fresh air, time to take a step back produce that follow up.

Regardless the Balado crowd lap it all up as energy levels fly through the roof for Martin Doherty fronted soarer ‘Under the Tide’, which provides a nice contest from Lauren Mayberry’s always delightful but almost delicate delivery.

Still, closer ‘The Mother We Share’ sounds fresh as ever and will be a staple for years to come as they end on a high and the majority of the crowd make the difficult choice between a ginger muppet and some Welsh bore-rock behemoths.

Naturally I choose a stint in T Break as the stage ends with three of Glasgow’s most encouraging acts, Deathcats are up first and turn up their usual summery surf pop style and provide an ultra fun set to a small but enthusiastic crowd, which reads as a who’s who of the Glasgow alternative pop scene at times.

These boys are consistent as ever and frontman James McGarragle’s slanted vocal hooks dig in deeper with every listen, last year’s ‘I Wish It Was Summer’ feels the most apt, McGarragle introduces it by quipping “this one’s about getting your taps aft,” after a day of scorching sunshine – there’s total sunglasses tan coming my way for certain.

The next local favourites are TeenCanteen and I’m again thanking my lucky stars that T Break is here, as the four girls appear faces covered in shiny stuff and sweetener covering their tunes.

It’s a pure sugar coated delight as ‘Honey’ rings round for a growing T Break crowd, some slightly bashful soft spoken chat introduces another charming fuzzy indie pop ditty and this continues through the entire set that culminates in the soft keyboard led ‘Vagabond’, delightful stuff.

It wouldn’t be right if I didn’t head over to see at least some of the Pixies, but as I arrive for the Tut’s Tent headliners you’re instantly hit with the poor turn out and the ultimately flat, rather underwhelming performance only goes to justify why; at points it could well have been that guy from The Shield up there as Black Francis’ usual howl seems lost in the midst of performance.

Still as they throw in some hits the gathered crowd take things up a notch, ‘Hey’ being a particular early highlight as Francis manages to hit comfort zone for a few minutes, it’s not enough though and I head back to T Break for a performance sadly seen by few that could be one of the sets of the weekend.

Tuff Love don’t seem to care about the lack of crowd as they blister through an engrossing set filled with head nodding hooks and summery vocals, the Lost Map signed trio are a delight as their bright grunge tinged guitar pop sound more than outweighs a lacklustre Pixies or the tartan trousered, bearded twits doing their Scottish Foo Fighters impression for the masses.

After Tuff Love, just out of intrigue, I wander over to make the last twenty minutes of the Pixies, and although I am greeted by the glorified majesty of ‘Monkey Gone To Heaven’ and ‘Debaser’ back to back a touch of needless guitar wankery from Joey Santiago kills the vibe and even fan favourites ‘Tame’ and ‘Vamos’ can’t seem to lift it again.

Closing on ‘Where Is My Mind?’ gives everyone a glorious if short lived reminder of how good the Pixies back catalogue is and allows one more track to be ticked off the bucket list, however it’s all too unconvincing and it’ll simply be a case of if we’re ever to see the Pixies again it’ll need to be a case of simply Deal or no deal!

Words: Iain Dawson
Photos: Bill Gray

T Break: Find Your T Highlight Here

It’s another year, it’s another summer and here’s hoping it’ll be as nice last year, yes the blistering heat of T last year left a few people a little worse for wear, staggering about looking for the next luke warm lager, but we can have no argument that’d it’s more fun in the sun.

However we also know that it’s nice to wander into a wee tent get some shade, or possibly shelter from the rain, and stumble upon your next favourite band, whether that’s cos the likes of Calvin, Biffy et al don’t quite float your boat or cos you’re actively seeking it T Break always holds some hidden charms for those Saturday afternoon where you don’t quite no what to do.

This year we’ve gone and done a wee bit of ground work for you and given you a guide to all the acts playing T Break this year giving you something to listen to, a wee bio and a quote about being able to play the famous stage, and needless to say there’s some belters on there.

So, if you’re hunting out the next T Break to Main Stage behemoths or just seeking a wee gem to surprise you’re pals with have a look through, you’ll be presently surprised.

Atom Tree

Atom Tree

Glasgow’s Atom Tree transcends genres, blending organic tones with electronic pulses, submerging the listener in beautifully haunting soundscapes.

“T in the Park is one of the biggest festivals in Scotland and to be considered for it let alone playing it at this stage of our careers is a huge privilege.”

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Intense dentist-drill synths and sharp, cyclical guitar patterns make out with perky motorik drums and probing bass to produce a prog/post-punk metronomic groove rock thing with plenty of intensity.

They are reminiscent of Nought, Public Service Broadcasting or Plank! with some unhinged, sparse, yelpy vocals; Krautrock reborn with balls.

“We are absolutely over the moon to be picked for T-Break.

“T in the Park is a festival I’ve been to more times than I can count, and to be able to be part of it from the other side of the fence is amazing.

“I can’t wait to give a performance as memorable as the ones I’ve seen down the years!”

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10309563_254873318033802_5278610803308943612_nBlood Relatives

Blood Relatives who met through Glasgow’s gigging circuit, and bonded over Lidl’s Western Gold Bourbon share no DNA, but they do share an aim of making quality pop music, with a bit of depth to it.

“We are really chuffed to be playing T Break, because it’s a little validation that we’re doing something right, and I’m really self-doubting and easily discouraged.

“It’s lovely to have a vote of confidence, and be part of a line up of quality acts.”


Deathcats is a fuzz pop trio based in Glasgow who formed in the summer of 2012 based on a mutual love of noisy guitar bands and cats.

Since then the band have gigged non-stop all over the UK, from London to Lerwick, and have supported a number of touring acts such as Drenge, Splashh, Hooded Fang and Mazes.

“We’re really stoked to be playing T Break this year; we’ve worked pretty hard over the last year and to be asked to play at Scotland’s biggest festival makes it feel worth it.

“Also, our new album will have just dropped so hopefully we can sell loads to steaming wee bams.”

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10372556_785692311455188_2496077165768542007_nFat Goth

Dundee based three-piece Fat Goth have successfully risen from local underdogs to rock fan favourites appealing to those looking for proper meaty, old fashioned rock music.

Recently, they’ve found themselves the subject of Kerrang’s legendary Pandora strip twice, featuring in the magazine and receiving stellar reviews for their humorous and brazen style.

“Playing TITP on the BBC Introducing Stage last year was definitely one of our major 2013 highlights.

“To have the opportunity to play again the following year on the T Break stage is incredible so we’re very much looking to adding some weird to the line-up.”

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10013299_1418670885055418_493068720_nMedicine Men

Psychedelic music for the dancefloor, Glasgow’s Medicine Men are already causing quite a stir after just a handful of live shows, drawing excited comparisons with bands such as LCD Soundsystem, Tame Impala, The Chemical Brothers and Death In Vegas, the band mix soaring synths with kinetic breakbeats and bruising basslines, creating a glorious fusion of styles from sublime psychedelic rock to pumping dance music and everything in between.

“To be chosen for T Break is massive for us, we thank the judges for the opportunity and intend to put on the show of our lives.”

10418143_397514107053209_4798724912313766410_nModel Aeroplanes

Fresh and fun pop music, Model Aeroplanes are young and have the world at their feet.

“T Break is a platform for new music which started out many of our favourite bands and after playing T in the Park last year, it is a great honour to have been invited back to perform on the T Break stage this year.

“T in the Park is a great festival with one of the best crowds in the world and it means so much to us that four friends making music can be part of it at such an early stage in our career”

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NAKED is like walking through Japan at night; neon-lit, hard punching beats filtered under dissonant guitar sculptures and hypnotising vocals.

The sound explores the novel condition of physicality and sensory experiences – tied to the technological advancement, it’s about the interaction between the accelerating technology and a classical notion of humanity, between synthetic and organic, future and tradition.

It speaks to non-belonging inspired by a fictional Japan, viewed as a signifier of post-millennial, post-digital urban ennui and the pure absolute loneliness of crowds.

“As the late, great Chic Murray might’ve said: This is a red letter day for the group. The letter being T. “

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1507066_238271506365899_5317352052050645099_nScary People

Born from the partnership between two tour technicians, Scary People had only one week to form a band and rehearse a set before their first gig at a sold out show in Dundee.

Rising to the task, Dan Forouhar and Scott Anderson called upon friends, Steven Anderson, Jamie Brown and Troy Lynch to join them to prepare for a show that would immediately gain them an impressive crowd response and, since then, a dedicated following.

“Having been a band for just over a year, it’s incredible to be playing this year’s T; it’s encouraging for new acts all over Scotland.”

1932258_589416391154641_401537262_nSecret Motorbikes

“We initially met at the auditions for Britain’s Got Talent in 2010; Tino and Paul were a vocal harmony duo, Gordon was part of a ventriloquism act (he was the dummy) and Iain had a sheep herding act.

“The judges put us together as a group because of our looks, things have been blowing up ever since!

“Different day, same shit.”


TeenCanteen are four-girls split between Glasgow and Edinburgh who, since their formation in 2012, have played some of Scotland’s key festivals as well as supporting The Pastels, Wave Pictures, Evan Dando & Juliana Hatfield and Stealing Sheep.

“We are really excited to have been selected to play this year’s T Break Stage and to be part of a great and diverse line-up.

“T in The Park is a big event for a lot of people who attend – for some it might be the only live music they see all year – and so for a new band it gives us the opportunity to perform in front of an entirely new audience that might not even be aware of us.”

10341644_436891056448565_4137251139114951103_nThe Moon Kids

Fuelled by powerful pop hooks and chiming six-strings, The Moon Kids are shooting for the stars.

Bright lights, big tunes, funfair love affairs and dizzy, dizzy days; a carnival of pulse-quickening anthems and heart-stopping thrills where space is the place and the place is wherever you want it to be.

It’s how The Small Faces might have sounded if they’d starred in A Clockwork Orange; 21st century pop shot through with shades of The Beatles, The La’s and Mark Rothko.

Music made to blast out through the tannoy of the waltzers or maybe the PA in a nightclub owned by Billy Fury and Ringo Starr.

Five-star hooks, king-size choruses and big, big melodies.

“If you’re from Scotland, the festival season is all about T In The Park – it’s the biggest, the brightest and the best.

“We’re thrilled to be added to a line-up that features acts like Arctic Monkeys, Paul Weller and Bombay Bicycle Club.

“In fact, you could say we’re over the moon …”

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An electronic producer who makes bass heavy dance music

“It means a lot to be chosen for T Break because it’s a brilliant platform for smaller acts to gain more recognition and a wider fanbase.”

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10177499_765731573460290_8377689270503180587_nTuff Love

Tuff Love are Julie, Suse and Michael – two girls and a dude from Glasgow who cut beautifully distorted guitar gems.

Their debut, Junk EP, is the sound of pure summer; dazzling, sun-streaked fuzz pop, with soft, burning melodies, and big smiling harmonies.

They’re like a DIY version of all the best bits of Electrelane crossed with early-MBV and a bit of Breeders swagger – and they’re gonna make your year a whole lot brighter.

“T in The Park was the first festival we went to when we were teenagers, and I never thought I’d play in a band that played at big events like that.

“It’s daunting because the T Break line up is really good this year and we’re in there with some bands who are killer live, but it’s very very exciting for us to have been picked and to be playing! Yahoooo!”

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Rising out of the depths of Dundee and describing their sound as simply ‘bleak’, Vladimir burst onto the scene late last year and have quickly won themselves a reputation as one of Scotland’s most exciting new acts.

Emotionally heavy and sonically dense the four piece have become masters at crafting tightly wound layered fuzz and raw Dengler-era Interpol-esque rhythms.

“Its Great to be asked to play a festival we all grew up going to and watching on TV. “When we started this band we were playing to nobody in small pubs now we are going to be playing one of the biggest festivals in the UK.

“It’s not totally sunk in yet.”

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1489268_612992008748115_1061074658_nWe Came From Wolves

Jaggy rock/bastard pop from Perth, now based in Glasgow, We Came From Wolves have just returned from a UK tour, dates in France and Germany and sold out release shows supporting their EP Paradise Place.

“As T is in our home county of Perthshire, we have loads of memories of summers spent and bands watched at T.

“It has always felt like our home festival.

“We are so excited and can’t wait for the opportunity to play our music, on home soil for our first major festival appearance”

Label Focus: Fuzzkill Records

Label Focus is a new feature on Rave Child where we plan to run regular articles highlighting those hard working folk that put out some of the best music in Scotland.

For the first edition we didn’t look further than fuzzy lo-fi fans Fuzzkill Records, who have had us hooked since their first release less than a year ago and now are less than a week away to their ninth and biggest release to date.

I caught up label co-starter, and the man who has contacted us from that first release in August last year, Ross Keppie for a wee chat before the launch of the labels seventh release, the Deathcats/Shithawks split tape Shit Death, at The Old Hairdressers for a wee chat to discuss the story of the label and what the future holds.

To go back to the start we need jump back a measly ten months to find friends, punishingly loud Highland act, CLEAVERS looking for a label and as the rather modest Keppie puts it “me and my pal Marshall (Brill) said we’d do it”.

Of course, before that saw the light of day the Shetland boys cut their teeth by firing out Brill’s band Frankeneinsten’s Volume 1 on cassette: “it’s trashy pop punk stuff but that’s Marshall’s band so we thought we’d start small with 25 tapes that we sold out”.

Keppie is first to admit that when they started Fuzzkill they did so with very little experience under their belt but feels that once they got into a routine it came reasonably easily, something that their prolific output in such a short time would suggest.

Of course these days the name Fuzzkill kind of goes hand in hand Glasgow based fuzz pop trio Deathcats, four of the labels nine releases to date includes the trio (a cassette EP, two split tapes and the upcoming full length).

Brill had previously been a promoter in Shetland and had brought Deathcats up to play and after partying with band Keppie asked them if they wanted to do a release, which has now blossomed into a fruitful partnership.

In fact Keppie, a music business student in his other capacity, admits his proudest moment while doing Fuzzkill happened a few moments before I met him, when James (McGarragle) from Deathcats handed him the test pressing of their upcoming full length, All Hail Deathcats; Fuzzkill’s first 12” vinyl release and easily their biggest release to date.

Previous to All Hail Deathcats all Fuzzkill’s releases has been limited runs, with a maximum of 75 tapes pressed for their biggest to date, Deathcats and Manchester act Fruit Tones thplit tape.

It’s also fairly interesting to note that none of their releases have been release on CD, sticking to tape for the majority of releases (mainly due to the cost of vinyl), but Keppie seems to like the charm of a tape despite them being a rather unpractical listening medium: “the thing with tapes are they’re good merch, I don’t know how many people listen to them, but they buy them and they look cool; they all come with download code anyway.”

A couple of releases, the upcoming full length and the CLEAVERS/The Kimberly Steaks split are available on vinyl – of course all the releases are still available in digital format via the Fuzzkill bandcamp and we would urge you to go make a purchase not just cos a few days after speaking to Keppie the Fuzzkill HQ (Keppie’s flat) was robbed and all the Fuzzkill money taken, but because their releases are of a bag of fun if you prefer your pop noisy and super lo-fi.

When it comes to money it seems that at this point in time is not something that bothers Keppie: “we make money but all it just goes into the next release or show, if I took money out of it I’d feel quite guilty; I’d love it to be a full time thing but at this stage it’s just an expensive hobby.”

Hobby or no hobby if your sound fits within the lo-fi punk, garage, noise pop bracket in Glasgow, or play music that Keppie takes a shine to then you’d not go far wrong by taking the opportunity to get your band’s name on a Fuzzkill tape, indeed the amount of acts approaching Keppie is increasing: “we get email quite a lot of emails from bands from Glasgow; as well as bands from Brazil, Scandinavia, Spain, France and up and down the UK.”

In terms of what’s the next step for Fuzzkill after the Deathcats album, Keppie is playing his cards fairly close to his chest: “There’s a lot of bands in Glasgow I’d like to work with so keep my options open with them before going overseas.

“We’ve got a couple of things lined up; maybe we should professionalise things a bit, we’ve got a few big releases planned, keep doing gigs, we’re starting a club night at Bloc but it’s pretty laid back.”

Still, we’re convinced on the evidence of their previous output that whatever is on the horizon will be worth checking out and these upcoming Bloc club night no doubt will be a riot.

Here’s a few things those on or involved with the Fuzzkill’s roster had to say:

Jon Anderson (Electric Company Music)

“Good lads who know how to throw good party; this is our first time licensing Future Glue’s music to a third party and we’ve been impressed with Fuzzkill’s handling of the track, the cassettes and with the organisation of the launch.

“From our chats with Ross, we know he wants to progress Fuzzkill to more than a bedroom project and if he continues as he is doing, he’ll have a chance of achieving those aims.”

James McGarragle (Deathcats)

“Since starting to work with Fuzzkill it’s been a really relaxed affair; there have been no contracts or stats etc, myself and Keppie just have chats about stuff and it’s been very casual, but at the same time I know that Keppie really cares about us and our music

“I really dig the fact that they have put out so many releases in their first year and put on a ton of great shows, a lot of folk want to start a label and sign one band that is going to do really well, Fuzzkill just want to constantly put out releases for bands that they care about.

“I’ve felt pretty involved with the label since Deathcats started working with Fuzzkill and that has been a good thing, it’s good to know that Ross will pretty much go a long with every idea we come up with as we’re on the same wave length with a lot of things and they’re happy with us doing our own thing – Fuzzkillas for life.”

Asian Babes

“When some wild-eyed, eight foot tall maniac grabs your neck, taps the back of your favourite head up against the bathroom wall, and he looks you crooked in the eye and he asks you if ya paid your dues, you just stare that big sucker right back in the eye, and you remember what ol’ Asian Babes always say at a time like that:”Have you paid your dues Fuzzkill?” “Yessir, the tapes are in the mail.””


“I’ve seen Ross dance at least three of our gigs and that boy has got some serious dance moves, admittedly most of them are more like stumbling lurching motions than moves, but in his defence I should point out that he’s not really in control of any of them.

“That he manages to run a record label is nothing short of bewildering, and I can only put this down to some kind of accident, even more bewildering is the fact that such an awesome collection of bands have found themselves affiliated with the label, and that Ross has somehow managed to organise gigs for them, suggesting that perhaps this is less the result of an accident and more indicative of the fantastic cosmic absurdity that is inherent in all aspects of life.

“ But seriously Ross put out our EP despite the fact it was pish and poorly recorded just because he could and just because he wanted to, that’s the Fuzzkill model, if it sounds good to him then he does his best to bring it to as wide an audience as possible. “The focus on the bands as part of a family (bands outwith Fuzzkill are regular cards on Fuzzkill shows) proves the respect and enjoyment other bands have for what Ross is doing – he’s a good egg, ken?”

Check out some Rave Child reviews of Fuzzkill releases below: