Tag Archives: Forehead

EPs of 2017 (30-21)

Albums 30-21 – 20-11 – 10-1 EPs 30-2120-1110-1

30. Polarneck/Grand Pricks – Polarpricks [GoldMold]

Grand Pricks’ offer tracks that seem to always be building, replacing toe-tapping with jumping around wanting more, raucous anti-establishment punk which manages to deliver both the simple hook and feel of 80s skater punk, coupled with eloquent, carefully considered lyrics. Polarnecks hit you with thumping drums and catchy hooks, which mask the somewhat melancholy lyrics. Elements of garage surfer rock, but with a darker undertone, yet still full of swagger, coupled with self-deprecating lyrics, something that a lot of people will be able to identify with. It’s impossible to pick a side on the split, as both bands have a clear, defined style but still manage to create one record which is very difficult to put down, mostly because you will be constantly flipping it over trying to decide which side deserves to go first.

29. Forehead – Bedrooms Tapes [GoldMold]

Sean Garrett’s forehead is an extremely complex and nuanced thing, his solo act Forehead is even more so. Garrett has a number of tricks up his sleeve, not least Bedroom Tapes, the debut EP from Forehead. With catchy musical hooks – ranging in temperance – and soft, emotional and well delivered vocals, all wrapped up in quirky, sporadic, experimental production, there’s not much not to love about Forehead.

28. Radiophonic Tuckshop – Running Commentary [Last Night From Glasgow]

Crammed with distorted, powerpop riffs, dreamy harmonies, Beach Boys-inspired jams, delicious wonky pop and an anthemic footstomper of a closer with a grandiosity akin to Sparks in ‘As Hard As I Feel’, Running Commentary is unashamedly powered by a modern take on retro rock and roll which wears its influences on its sleeve.

27. Wendell Borton – Crawl [Fitlike]

Wendell Borton convey their sense of joviality and lightness quickly, kicking things off with the titular track ‘Crawl’. With some subtle, washed out production, some weird vocal harmonies and some unmistakably fun musical elements, this is a very endearing song, which opens a very endearing EP. A massive point to Wendell Borton’s credit is that their choice of musical lines is quite subversive; they would likely be decried as another group of pop-punk plonkers were it not for their habit of taking a lot of musical back roads.

24. The New Fabian Society – Choke

Choke found The New Fabian Society not wasting a second, gone are the days of 10-minute post punk epics, instead we’re hit with a more focused approach, which allows arguably a higher and more varied output from the band, who’ve been going nigh on five years. With influences that lean less on the psychedelic side here the band really take a punk focus and run with it, with drums soundings like they’re from an industrial rock album at times, bass switching from synth like to simply balls to the wall distortion and a layered production that lets the guitars shine through with more clarity than before.

25. American Clay – Sky Hooks [LP]

Sky Hooks shakes the loose skin off your face with its fuzz induced perfection, providing intelligent verses and humble choruses, forcing you to keep this record on constant repeat. American Clay’s debut EP is highly inventive with a distinctive, solid-stated sound; a ridiculously enjoyable record that gives off a playful, yet subtle maturity.

24. Lanark Artefax – Whities 011

Not one we’ve been hugely familiar with but Glaswegian producer Calum MacRae, a.k.a. Lanark Artefax, has been getting mighty praise all over for his alien techno tracks. Whities 011 fizzes with perplexing sonic complexities and crowd pleasing maximalism that fellow Glasgow boys Hudson Mohawke and Rustie have mastered, while also showing an ear from powerful emotive ambient tracks.

23. Laps – Who Me? [MIC]

LAPS returned after a three-year break and withWho Me? let everyone know that this isn’t some mere side project, cemented further by Cassie Ezeji’s other act Golden Tecaher seemingly calling it a day. It’s an EP that oozes an ultra cool vibe as the duo, who also features Organs of Love’s Alicia Matthews, woo us with an anarchic groove centred record that dips its toes into no-wave soul, mimial industirial dark rnb and dubbed-out house, with an entrancing variety of vocal deliveries.

22. Marble Gods – Songs [Marry Me]

Marbles Gods’ Songs was a wee pop gem for 2017, it’s the perfect wee fuzzy C86 channelled indie pop tape that instills bags of upbeat fun with a tongue-in-cheek humour. Here’s hoping that we get more like this in the near future.

21. Wojtek the Bear – Second Nature

Wojtek the Bear returned with Second Nature, an EP that takes the listener on a journey through changing opinions and lifestyle changes in a typically Scottish manner. The EP takes you on a journey from a band looking for answers and end with the acceptance that what will be will be, through reflective driving drums and melodic guitar. It’s rewarding listen that takes a look at some of the darker sides of Scottish culture through a relatable and almost cheery mirror.

GoldMold presents Yolo Manolo, Forehead at Bloc, 9/3/17

Another one of GoldMold’s Bloc gigs, this free mid-week matinee hosts yet another set of truly talented and eclectic Glaswegian acts.

First to grace the stage – for the very first time, since this is their first gig – is Sean Garrett’s Forehead.

Live, Garrett makes use of Cameron Orr on bass and Iain Stott on drums and what comes across is the musicianship, all three performers are talented and in sync.

For an act formed around the frontman, by the frontman, Garrett is not afraid to rely on the bass and drums, using his impressive guitar skills sparingly.

The opener is composed primarily of the rhythmic elements, with only occasional whips of psychedelic guitar lapping over the music.

Garrett’s diverse vocals go places they rarely go in the other act he fronts – Lovely Ladies, there is a more diverse and experimental approach in this band.

When Garrett does bring the guitar in fully, he delivers some profoundly technical and expertly effected noise – making use of his many pedals.

They blow the opening of their second track, but no one pulls the plug, starting again immediately and moving the punters with some funky, psychedelic rock wonder.

Throughout, the trio repeatedly impress with their way of doing things; although this band is in essence a session affair, it is evident that the band makes up more than the sum of their parts.

It will be interesting to see how future Forehead releases differ from, recent debut EP, Bedroom Tapes on account of the formation of this live band.

Headlining four-piece Yolo Manolo take to the stage, exhibiting a wide range of powerful sounds throughout their set – making wonderful use of every element at their disposal.

Their music is deep and moving, their three vocalists bringing about fantastic harmonies, which wallow lightly amidst the music.

Yolo Manolo is adept at harmonising, being sparing and utilising silence to their advantage, giving a very gentle and well-considered set; this is a tight band with a self-assured sound.

Much to the surprise of the audience, a fast and wild instrumental track makes flagrant use of the many pedals on stage, wowing whilst retaining the gentle, folky vibe of earlier tracks.

The band repeatedly delivers on a catchy musical hook before bringing the crowd into their last song, which is as lovable, elegant and original as the rest.

These two acts are perfectly well suited to each other, each is experimental, intelligent and talented; they are indicative of the softer rock germinating in the city at the moment – the only way is up from here.

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Words: Paul Aitken
Photos: Gary Taylor

Forehead – Bedroom Tapes [GoldMold]

Sean Garrett’s forehead is an extremely complex and nuanced thing, his solo act Forehead is even more so.

A busy man who fronts Forehead and Lovely Ladies – who are due a release soon, Garrett has a number of tricks up his sleeve, not least Bedroom Tapes, the debut EP from Forehead.

The opening track ‘Here’ sets the stage immaculately for his uniquely imaginative and experimental brand of self-conscious, melodic and emotional music.

An instrumental track, it conveys well the mood of the EP without giving too much away.

‘Honest’ follows suit in an apparently consistent way before inviting in some playful and out-there electronic elements – which remain sparse enough only to flavour the track rather than overpower it.

The shy and lazy but multi-faceted and well harmonised vocals arrive – compelling one to gaze at one’s shoe.

The distinctly funkier and groovier ‘Corner Pieces Falling Apart’ subverts expectations and highlights the versatility, intelligence and multitudinousness of Forehead.

The discordant audio effects on the guitar work extremely well and confer a sense of drunken dreaminess.

The track is unique amongst its fellows on the EP, the only bad thing about it is its length, or lack thereof.

After that, we get ‘Favourite People’, the EP’s flagship track; this song is delivered with a lot more confidence and volume, incorporating well the elements hitherto presented.

With catchy musical hooks – ranging in temperance – and soft, emotional and well delivered vocals, all wrapped up in quirky, sporadic, experimental production, there’s not much not to love about Forehead.

You’ll be able to catch Forehead live soon enough, and if you like what you get with Forehead be sure to keep your eyes peeled for the new Lovely Ladies EP.

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Words: Paul Aitken