Tag Archives: Domiciles

FREAKENDER presents Levitation Room, Domiciles, Black Cat Revue at The Old Hairdressers, 22/5/18

Even though it’s a Tuesday, quite a few psychedelic and 60s reminiscent band lovers are gathered tonight at the The Old Hairdressers.

At first the venue is almost completely empty, but as soon as Black Cat Revue start their set, the energy and loudness of their music fills the whole room up with people in no time.

Just back from their successful first gig in London, the quartet has that confidence around them and their music, which is full of psychedelic rhythms as much as it’s full of boisterous garage rock.

Black Cat Revue really set the mood for tonight and get everyone excited with their intensity, which is then nicely contrasted with Domiciles and their different angle of psychedelic music.

Even though all three of tonight’s bands are considered psychedelic, they all sound very different due to secondary genres that they chose to explore.

It becomes obvious that Domiciles are going to deliver and entirely different vibe from the two synthesizers that are brought on the stage for their performance.

The music of this band can’t really be labelled – it’s a mix of noisy sounds, with melodies reminiscent of space, some gaze mixed up into it and, of course, psych.

The set leaves quite a crowd now fully mesmerized and serves as a brilliant transition between the raucous Black Cat Revue and the more dreamy and lo-fi Levitation Room.

Tonight’s headliners are the calmest band of the night, but also the ones with the most 60s feeling to them.

Everything from the lyrics about summer and love, to the looks and the groovy vintage-looking guitars just scream 60s.

They start their set of with a tranquil instrumental which is soon followed by an iconic guitar solo from one of their more popular songs ‘Loved’ from the absolutely brilliant debut EP Minds Of Our Ownreleased on everyone’s favourite record label – Burger Records.

Next song is dedicated to all the stoners out there (of course, hippies equals weed), but you don’t need drugs to enjoy the upbeat and exceptionally vigorous ‘Cosmic Flower’, which I guess is another code name for marijuana.

The band play a number of tracks from their 2016 first full length Ethos, including the hits ‘There Are No Words’, ‘Strangers Of Our Time’ and the catchy and dazzling ‘Crystal Ball’, which is the final song of the whole set.

Other highlights of the night include a slow, heartfelt ballad about not wanting to be just friends with someone you have feelings for called ‘Friends’.

A pleasant surprise is an unexpected Bob Dylan cover, which has some parts of it played on a harmonica with a fancy round the neck holder.

Another important tune is ‘Warmth of the Sun’ – released just this year, this sets the tone for the new album, due later in 2018.

It sounds a bit similar to ‘Shelter Song’ by Temples, but there is probably at least another ten songs that sound just the same, both from this decade and the 60s.

In fact, some people can find it quite difficult not to get mixed up between Levitation Room and contemporary bands such as Mystic Braves, Allah-Las or The Babe Rainbow, just to name a few,both in terms of their sound and their looks.

However, even though these bands are not revolutionary or extremely inventive and mostly produce music which fits a general cliché of a certain decade, they give this generation a chance to get a bit of a taste of the groovy, musically brilliant and extremely forward time that was the 60s and most importantly the way they do it is super entertaining and fun.

Words: Goda Bujaviciute

T in the Park, 9/7/16

Day two and the bus issues don’t reoccur, we are however met with a rather more rain soaked affair after torrential rains last night hit the festival site hard, still the news that Tom Odell and Bay City Rollers have switched sets, meaning I get to see some our local heroes for a fun time later on, sets my spirits that little bit higher.


Over at T Break Domiciles are already in action and the Fife based five-piece deliver a powerful garage tinged psych rock sound that sets the early mood and gets a few heads nodding, while also bringing a few familiar faces as it seems a large portion of Glasgow’s music scene has descended on Strathallan Castle.

There’s a hypnotic feel to Domiciles’ set that you would imagine would mesmerise in a packed venue, still the band adapt to the big stage admirably and play a set as loud as anything I’ve heard on T Break so far.

My first trip to the BBC Introducing stage is for the act that opens it, and it turns out to be the set of the weekend as CABBAGE open things in rip-roaring fashion; screeching guitars collide with powerful rhythms and an in your face sneery chanted vocal that serves up an attitude packed set from the Manchester five-piece.

Their vocalists’ look comes across a little John Cooper Clark dressed as the cast of Friends, with the baggy trousers, shirt and shades get up, still he possesses bags presence and it’s hard to take your eyes off him as he spouts highly satirical attacks on the flaws of the country right now.

There’s a distinct punk vibe to the whole set, from delivery down to lyrical content, and it’s a refreshing thing to see this kind music taking a stand on a stage at one of the UK’s biggest festivals.

A frontman switch and removal of the shades doesn’t quell the energy, and the alternative vocalist goes taps aff and delivers an almost half spoken half screeched track, before rocking on a jaunting rockabilly sounding track about “death to Donald Trump” that culminates in the singer rolling around screaming; enthralling stuff.

Back over at T Break and Redolent is already on, allowing their bizarrely sunny sounding, despite the overriding emo feel, tracks to float effortlessly across the crowd.

The Edinburgh four-piece seem comfortable on the bigger stage as twinkling guitars and bleepy synth loops build huge sounding instrumental tracks that sees the band at their upbeat, expansive post rock best.


Following Redolent, other Edinburgh residents Mt. Doubt open their set with quite possibly their best track to date in the encapsulating, huge sounding ‘SOAK’ and it does the trick, engrossing the T Break crowd as the band, playing today as a full six-piece, sound massive and fill the tent with soaring synths and Leo Bargery’s enchanting bellow, which is complimented perfectly by Annie Booth’s dimension creating floaty vocal input.

Recent single ‘Afterglow’ follows in the same pop edged indie rock glory, it’s a real testament to Bargery’s songwriting that having only listened to their debut album, In Awe of Nothing, a handful of times that the words already seem to be sticking.

With a bit of luck these guys will continue to progress and could easily make the next step up at a festival like this.

At BBC Introducing I catch a flamboyant burst of The Mirror Trap, the show is full of flailing hands and camp hip shakes and while explosive at points, it does seem a bit too cheesy on the whole, so I head back over to T Break for JR Green’s guitar/accordion led set.

The Highlands based brother have a real modern take on what is essentially tradition music and chants of “my youth is on fire” have the potential to be a real festival staple.

The Green brothers possess a real likable quality that’s driven on by the addition of percussion that adds another bow to their already engaging quality, ‘Nigerian Princess’, from their debut EP Bring The Witch Doctor, is the set standout, but unfortunately the set is severely disturbed by the chatter of a Main Stage crowd sheltering from the rain; apparently Jess Glyne ain’t worth getting wet for.

Back at BBC Introducing and HQFU is blasting us with clattering, glitchy electronics and it would be a real defining set had the outside clatter not been more audible than the quieter portions of the set, as a result it feels like a constant fight for audibility between the promising producer and a set of dodgems; sad reality of playing a smaller stage at a big festival.

It’s a shame as this disturbance seems to really affect the set, which is full of blindingly glimmering beats that would ordinarily see many a dance floor filled, but today, well it’s ruined simply by proximity and despite a number of signs being handed out encouraging people further forward and perks things up a little, but this is one set we’ll have to put down for another day.

Be Charlotte’s set on the same stage suffers a similar fate and for a set that hosts a series of impressive acapella sections, it’s hard for the brash sounds of the shows not to disturb.

Shame because young Charlotte Brimner’s voice is spectacular, still it’s credit to her that she manages to raise her set above it and the dancier numbers shimmer above the mire.

The set itself is full of the ever impressive and chart teasing delights we’ve become accustomed to; go see her in a better setting, you will not be let down.


The Van T’s seem to do no wrong these days, well drummer Shaun Hood’s hair and get up today is pretty questionable, but tonight they headline the BBC Introducing Stage and raise the volume up to levels that any outside disturbances are drowned out in fuzzy glory.

The four-piece has the same bounce they possessed when they played T Break last year and with impressive new EP, A Coming Of Age, in the bag, along with a couple of banging surfy garage tinged anthem singles this year is looking pretty rosy.

Tonight their set reflects exactly this as addictive harmonies and pounding rhythms punctuate reverberated guitars to produce a set that grasps your attention and never lets go.

And as the three glittered girls up front look as much the part as they sound it, and their drummer maybe even more so, it seems the only way is up.

Following this I drift off over to the King Tut’s Tent for a bit if the Rollers, get taught The Slosh and have a wonderful time; I also get pulled along to The 1975 and Catfish and Bottlemen but neither set catches me as anything of real note.

More Photos

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Words: Iain Dawson
Photos: Cameron Brisbane