Tag Archives: Hector Bizerk

Hector Bizerk – The Bell That Never Rang

Hector Bizerk EP The Bell That Never Rang continues the naming theme of their previous EPs, noting objects from the Glasgow coat of arms, and they continue to make tracks that push their sound in new directions.

Opener ‘Skin and Bone’ mixes up Greek mythological references, alongside talk of the referendum and “morons in Smart cars”, and follows a quiet/loud style for the verse-chorus, making for an effective and memorable song.

‘Festival Boy’ is about a gadgee who seems to be living his life in a festival bubble, and ends with a 70s funk sound to it; drummer Audrey Tait flexing her production muscles, with sweet fills and rolls permeating the EP, and are integral to the band’s sound.

‘Rust Cohle’, named after the damaged character from the show True Detective, is darker sounding than the previous tracks, with an Americana guitar riff giving way to sharp synths, while Louie’s couplets are as well thought out as ever, “I only learned to swim because I had bridges to burn”.

Closer ‘Best Man Speech’ opens as if it’s going to be lighter than the previous numbers, but is about infidelity, and the chorus unexpectedly sounds a little like Paulo Nutini, with singing rather than rap, hammering home that they don’t just stick to one.

Too short, as ever, leaving you wanting more, but that’s the trick, isn’t it; one more EP in the series to go, but can’t wait for an album.

Words: Stevie Williams

Hector Bizerk (EP launch), Charlotte Brimner at Broadcast, 20/2/15

Despite the biblical cold that I’m afflicted with, it’s hard to not feel good as Broadcast takes on an impressive atmosphere, filling to the rafters with people who are anticipating a reason to jump around.

Hector Bizerk are launching the third of a four EP project inspired by the Glasgow crest, The Bell That Never Rang, but before Louie and co. take the stage Charlotte Brimner, a young singer songwriter from Dundee has her turn to see if she can hold the room’s attention.

I thank any God which might listen that her set-up is more interesting than just a singer with an acoustic guitar; she’s also using a loop pedal, two microphones, and an Apple Mac with a curious little drum-pad type thing to spice it up.

By the end of her second song I’m sincerely awed at how well she can craft a pop tune and her voice seems incapable of hitting a bad note as it dances coolly around pleasant melodies.

Carving out a particular highlight, Brimner uses the mini-drum-pad gadget for a percussive number and on reflection it has maybe the best vocal hook of the night.

Hector Bizerk are on in no time, swinging a fierce uppercut in the form of Nobody Seen Nothing track ‘Party at the A and E’ and it takes a millisecond for the familiar drum beat to register with the crowd, who begin to dance manically along with it.

For the purpose of damn good fun, the line “Woop Woop… Sound of da Police” by KRS-1 is slotted into the song and for much the same reason, mid-way through Louie dives into the crowd and surfs around for a while.

So as far as good starts go, the tone is clearly set and done so in a superbly upbeat manner.

As the band fires track after track at the crowd, there isn’t a quiet moment.

Announcing it as his favourite song from the album, Louie introduces ‘Fingerprints on the Drumkit’, which lends itself to drummer Audrey Tait, and percussionist David Calder as a chance to be under the limelight.

New single ‘Skin and Bone’ also gets a play and it grinds along with the same reggae flavour present in some of their other work, but with a fresh sense of menace and a hooky, sang chorus.

It’s hard to pick my favourite part of such a fun gig, but based purely on song-writing and delivery, this is probably the best song that Hector Bizerk have played tonight.

A part of the band’s shows, which clearly means a lot to them, is visual artist Pearl Kinnear’s contribution – a big, on-stage canvas that begins the set blank and ends it covered in artwork.

Momentary confusion early on sees the canvas taken off the small stage, but once Kinnear finishes up, it receives an invite back up for a song inspired by her art, ‘Pearl’s Pictures’.

In a way, the gig seems almost tribal; pounding rhythms, passionate onlooker dancing around Hector Bizerk’s fire, and lots of well encouraged sing/shout-alongs.

To be honest, hip-hop has never really been a genre I’ve enjoyed very much (save for a few exceptions), but the four musicians that make up Hector Bizerk do very well, and I believe that regardless of prior persuasions, many a music fan would find their live show as impressive as I have tonight.

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Words: Greg Murray
Photos: Arpad Horvarth

ravechild meets Hector Bizerk’s Audrey Tait

Hector Bizerk has been obscenely productive in the three or so years since they formed, blazing a trail of Scottish hip-hop and now heading over to Texas to play SXSW. Drummer, and one of the two founding members, Audrey Tait, sat and chatted about how she got involved in music and of her band’s current movements.

Hector Bizkerk is going to South By South West, which is amazing. How did that come about?

Well it came about because we applied, that’s how you get it. Probably about two or three years ago, I remember me and Louie sitting with my brother and setting out goals that we wanted to achieve and SXSW was on that list. We were fortunate I suppose that the first time applying for it we got it, cos I know a lot of people don’t, and I think because we’ve got a bit of help management wise now that added credibility to our application too.

Was there a conscious decision made about holding off on applying until the band was totally ready?

Yeah definitely, it’s something that we’ve always kept an eye on and the bands that have been going over from Scotland, we always felt were just a wee step ahead of us. Not last year, but the year before we played about a hundred shows, and in between all that we made the Nobody Seen Nothing album, which we got shortlisted for, something we felt took us up another wee notch. If we didn’t get it we would just move forward and try again next year.

How do you think Austin will respond to a style of music that most of the audience will be used to hearing in an American accent?

Hip-hop is huge in America, so I think we’ll go down well, we played in New York last year, just Louie and I and we got a great response and that was just as a duo. When we do that the songs are just drums or guitar and rap, but we’ll be going over as a full band, which I think will be more accessible cos it’s not as hardcore. I’d like to think we’ll go down well. Hopefully.

Setting aside your US adventures, can you tell me about Hector’s recent EP releases?

Yes, but Louie’s better at this one! We were writing a song in our wee rehearsal room with the idea of making an album and in the chorus Louie was mentioning the Glasgow coat of arms, so it was like, “The fish that never swam, the bird that never flew, the bell that never rang, the tree that never grew”.

We had Jen on synth, percussion and singing before we had a transitional period where Dave came in and this song was him making his mark on things. Separate from that Pearl Kinnear, who regularly draws on stage with us, was telling Louie about this new design she was working on which was “the Glasgow coat of arms with hip-hop flourish”, and nobody had heard this song apart from the four of us in this rehearsal room and we just thought there was a kind of serendipity in that, and that we needed to do something with it, so we decided to split it and make it four EPs.

It gives us a chance to experiment with the sound, and because the last album went down really it feels like we’ve got something to live up to and that we need to make the next one as exciting as the previous one. The best way for us to get the sound is to try four different things, so with the first EP we had Bombskare’s brass section, which gave it a pretty summery feel, then the second one is a collaborative project with Pearl and two film makers called David Henderson and Andrew McKenzie. It’s a 15-minute film and the songs all intertwine so it’s pretty out there and we’ve got Liz Lockhead on it, which was incredible even her knowing who we are, never mind wanting to be involved, so that was brilliant.

Female drummer and sound engineer in a Scottish hip-hop band is a pretty diverse job title, so what initially inspired you to get behind the kit and into the production side of music?

With drums I don’t really know! People always ask that so I maybe I should start making up something. But aye, I was always into music and I’m the youngest of five siblings all with very different tastes in music, so I grew up listening to hip-hop and I just kinda liked the look of the drums. I had this wee pad set when I was nine, and thought I’d ask my mum for a proper kit, so when we were in Belfast visiting my dad, cause he used to work there, we walked past a music shop with a kit in the window and he actually took it back piece by piece on the boat to give me that Christmas. Since then I’ve just loved it.

Production wise, again that was when I was younger. Me and brother got a wee four track and I would just sit and try and record tunes with it. Then I had a job at Carlton Studios doing the nighttime shift where Danny the engineer, a brilliant guy, showed me bits and bobs on their computers, and then when they got a new system they gave me the old one, which was a really old version of Pro-Tools and all the first Hector recordings were done on that.

Traditionally, hip-hop is infamous for having a sexist aspect ingrained in it, and I’d maybe be surprised if any Scottish artists were ever so blatant in their writing, but have you ever come across any challenges in your music work because of your gender?

I’ve not personally felt any challenges industry wise, but see after gigs – it’s actually become a joke in the band – the amount of times people come up to me and say “oh, you’re really good at the drums… for a girl”, and you know, people look at Louie, hear his accent and think “oh, for a Ned, he’s got some good things to say”, so we’re kind of battling those things at times.

People should just appreciate music, because if it’s something that they like then me being a female shouldn’t have anything to do with it. At the same time I think it’s good if it inspires girls to maybe take up drums because a lot of instruments are perceived as male orientated and if I say to somebody that I’m in a band they’ll go “oh right, are you a singer?” and then they give you that surprised look when you tell them you play drums.

In the event that any young women who are interested in drumming or sound engineering, but don’t know where to start happen upon this interview, what advice would you give them?

Just start, somehow. If you want to play drums then get lessons, because it’s really accessible now. And especially with recording, because so many young people are on phones and iPads now, which have so many programs and apps for recording available to use. Always try and write a masterpiece, but you don’t have to dive straight into a studio, just get something simple to start with, like the equivalent of that wee four track I had and learn how to get five tracks out of a four track and from there everything will build naturally. Then hang about a studio because it’s as much about watching and listening to folk as it is about being hands on.

Finally, what future plans does Hector Bizerk have?

Quite a lot actually. We’ve been commissioned to write the music for a play, so we’re kind of working on that just now as well as the next two EPs. The third one is pretty much finished and we’re launching that on the 20th of February at Broadcast with my wee favourite Charlotte Brimner supporting us. Then in September we’ll have the Hectember weekend and launch the fourth one. In between all that we’ll just keep playing shows and we’ve got a couple of festivals, so hopefully we’ll add a few more too.

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Words: Greg Murray

EPs of 2014

Daniel Mutch – Remedy & Therapy18 Daniel Mutch – Remedy & Therapy

With Remedy & Therapy, Mutch has managed to present us with five remarkable tracks well worth spilling out of any speaker or set of headphones over the winter period and we’d be fools not to oblige.

[review]

So Many Animal Calls – Burden18 So Many Animal Calls – Burden [Bloc+]

So Many Animal Calls are most definitely back, and they state their intent from the off on Burden, with huge sounding guitars and some well thought out, melodic bridge sections. This is a coming of age of So Many Animal Calls, who’s first EP since 2011’s Eulogy is a fine showing of the unique brand of Scottish indie they’re trying to create.

[review]

Foreign Skies – This Human Error18 Foreign Skies – This Human Error

This Human Error is a fierce and talented post-rock torrent that will not leave anyone indifferent. Foreign Skies is one of the best new bands that could be added to this already massive musical Scottish layer’s cake.

[review]

The Great Albatross – Roots14 The Great Albatross – Roots [Count Your Lucky Stars]

Originally from the USA, Wesley Chung of The Great Albatross has been seen bringing his fantastic acoustic music round Glasgow over the last year or so. His debut EP is something that not enough people are talking about; featuring some the of the most fantastic acoustic tracks, with great songwriting and a great voice, The Great Albatross is really something to check out. (Iain Gillon)

Happy Meals – Apero14 Happy Meals – Apero [Night School]

Where Happy Meals’ debut release Apéro differs from their kid targeting meal namesake by providing all the fun and colour without any nastiness. From first listen the organic natural vibe stands out, distinguishing Happy Meals from a majority of lo-fi electronic acts, whose identities often feel too contrived to have any soul.

[review]

Bellow Below – BIG WHOOP14 Bellow Below – Big Whoop[Good Grief]

Following a brief absence, Bellow Below return with a second serving of atmospheric math-rock, in the guise of Big Whoop. Continuing the themes of previous EP, Hooks, in less immediate terms, the band expertly weaves intricate rhythms and melodies with floating vocals throughout. (Kyle McCormick)

[review]

The Monty Hall Problem – Holy14 The Monty Hall Problem – Holy

Holy continued the Glasgow four-piece’s reverberated rock n’ roll momentum, while a couple of high profile support slots will have done their popularity no harm at all.

 

Machines In Heaven – Hindu Milk10 Machines In Heaven – Hindu Milk [Hotgem]

Hindu Milk is a clutter of weird bleeps and bloops tidied into the shape of an awesome electronic EP. While label mates Atom Tree took a more commercial route for their own latest release, Machines in Heaven went in the opposite direction and created something that sounds like a particularly melodic and rhythm-heavy 90’s Gameboy game dipped in production knowledge and a songwriter’s imagination; strange and joyous. (Greg Murray)

[review]

Skinny Dipper – Masks10 Skinny Dipper – Masks [Olive Grove]

Skinny Dipper are “Almost a girl band” because eight of their nine members are female, including their incredible vocalists who supply harmonies in abundance on this EP. In terms of composition you could draw similarities with the traditional aspect of Fat-Suit, this being owed to the jubilant and emotional sounding strings which contribute to an EP that is everything you could want from a Scottish indie-folk-almost-girl-band; really, really beautiful. (Greg Murray)

[review]

Cara Mitchell – Afraid of the Dark10 Cara Mitchell – Afraid of the Dark [AGP]

Folk tales that occupy a sparse and beautiful landscape; Mitchell’s hushed vocals and expressive lyrics combine to enchanting effect. (Brendan Sloan)

[review]

Hector Bizerk – The Fish That Never Swam10 Hector Bizerk – The Fish That Never Swam

From supporting Public Enemy to putting on their own club night, Hector Bizerk have always blazed a trail for Scottish hip hop and now with added bass and horns they might just be the soundtrack to its Saturday night out.

[review]

Polarnecks – Never Heard of Sports9 Polarnecks – Never Heard of Sports

I feel like the title might be a play on words/reference to Modern Baseball, although I can’t be sure; if it is, then it works. They do share a sound, although Polarnecks are heavier and less whiney. Polarnecks sound like everyone’s first favourite band; it’ll be interesting to see how they progress next year. (Alisa Wylie)

[review]

Poor Frisco – Poor Frisco8 Poor Frisco – Poor Frisco

On their eponymous EP, Poor Frisco find themselves channeling classic era Guided By Voices, commendable indeed; a tight and melodious band set firmly in the classic indie rock mold. (Brendan Sloan)

[review]

Nieves – Nieves7 Nieves – Nieves

Nieves first self-titled EP offers listeners a beautifully simple and stripped back record with mature honest lyrics sung in a warm authentic Scottish accent alongside an enchanting piano and softly plucked guitar. The simplicity of this record is what makes it so captivating allowing Brendan Dafters beautiful vocals and heartfelt lyrics get the attention they deserve. (Jess Lavin)

[review]

SHARPTOOTH – Come Cut Me Open4 SHARPTOOTH – Come Cut Me Open [NUMBER4DOOR]

Come Cut Me Open has most of the things I love about music in it: slow guitars, haunting vocals and a hell of an atmosphere. The pace of the album is also a big selling point, if most bands were to write songs like these they’d probably try to speed them up, the fact SHARPTOOTH haven’t done this adds to the EP and makes them stand out from the crowd a bit. (Phil Allen)

[review]

Atom Tree – Clouds4 Atom Tree – Clouds [Hotgem]

A classy and assured young act, producing sounds that are both intimate and expansive. (Brendan Sloan)

[review]

Great Cop – Stay Human4 Great Cop – Stay Human [Struggletown]

I had heard about these guys for a while and I’d always meant to check them out; listening to Stay Human makes me wish I’d done so sooner. It’s a great introduction to the band and pulls you in right away. Though there are only three songs, it’s rammed full of big riffs and staunch vocals; cathartic, obviously Scottish, grimey – but not dirty – punk; also fucking great. (Alisa Wylie)

[review]

Cutty’s Gym – Sick Glass3 Cutty’s Gym – Sick Glass [Bloc+]

Without uttering a word, Cutty’s Gym portrays an unavoidable air of immediacy and anger in their debut EP. Building a following from a string of sweaty live shows, these four tracks present the band as a more exciting, yet wordless, Royal Blood, set to blister into the instrumental big leagues. (Kyle McCormick)

[review]

Tuff Love – Junk2 Tuff Love – Junk [Lost Map]

Junk is a masterpiece of pop and sublime vocal harmonies; the tracks are sparse but everything about every track is memorable. Everything holds together so well and Tuff Love have crafted one of the finest EPs to come from Scotland this year, let’s hope the follow up is just as good. (Phil Allen)

[review]

Pronto Mama – Niche Market1 Pronto Mama – Niche Market [Instinctive Racoon]

Pronto Mama is a band capable of leaving great mood. Niche Market is packed full of charming harmonies, hearty melodies and cheerful brass sure to warm your heart and leave with a smile on your face. (Jess Lavin)

[review]

Hector Bizerk – The Bird That Never Flew

Hector Bizerk are taking Scottish rap to the masses, blazing a trail in the wake of Young Fathers the band have been getting recognition up above the underground scene this year, with name-checks in NME and a new management deal.

This EP, the second in a series of four, is more experimental-acoustic-spoken-word than any preconceived notion of hip-hop.

On opener ‘Pearl Pictures’, guitar and ethereal backing vocals replace the driving drums of their usual work.

When the percussion and crackly bass do kick in it brings the sound into a forceful context of electronic sounds mixed with African drumming.

Louie’s insights interrogate modern urban life and the “inner city wilderness” of Glasgow on subjects including, but not limited to: the internet, picket lines and dirty washing that’s “fuckin’ boggin’”.

There are also tongue-in-cheek lyrics mimicking the clichés of People Make Glasgow in the year of the Commonwealth Games, touching on the city’s role in colonialism and today’s UKIP racism.

Makar Liz Lochhead’s appearance is a perfect intermission from Louie’s guttural vocals.

‘Trouble is not my Middle Name’ is a poem that tears apart the buzzword that keeps youths from achieving their potential and dreaming bigger than the estate they grew up on.

It is a badge of honour to get the approval, let alone the borrowed talents of one of the most prolific and respected contemporary poets.

The “multi-art form collaboration between Hector Bizerk and Pearl Kinnear” was presented at a launch night last month, as a short film directed and produced by Ian Henderson and Andrew Mackenzie.

Not a bad gateway to the genre if you’re bored of regulation Americanised hip-hop, but want some social commentary and dark atmosphere.

Words: Ellen MacAskill

Hector Bizerk – The Fish that Never Swam

If you’ve not stumbled across them before, Hector Bizerk is a fiery rap n’ drums duo featuring talented MC Louie and the inimitable Audrey Tait on drums.

This new EP is a curious mix of acoustic and electronic elements, once again expanding their sound from the punky sonic minimalism of their debut.

Audrey’s powerful swing propels Louie’s engaging raps but some of the elements feel a little out of sync here.

As always Louie is a smart chronicler of Scottish life, from the grim to the glorious, but though the music is ambitious, it is sometimes so scattergun as to undermine his fierce flows and as such, The Fish that Never Swam lacks the coherence of their breakout sophomore album Nobody Seen Nothing.

Synth clouds explode and reggae rhythms skitter around Louie’s rapid-fire delivery but their creative expansion runs into as many roadblocks as it steamrollers over.

If this is the sound of Hector Bizerk pushing themselves into new shapes to avoid creative stagnation that is always to be encouraged but by the time of the title track you’re wondering whether some hoops were just not made for the duo to jump through.

That’s not to say TFTNS is a bad EP, Louie and Audrey are genuinely some of the freshest and most exciting talents in Scottish music with lyrics that are short to strike a chord with anyone who has ever strolled Sauchiehall St on a Saturday night, drawing pin-sharp pictures with a keen eye for detail, particularly on the brilliant ‘Little Man Say’, which sketches and then dismantles its protagonist with brutal efficiency.

From supporting Public Enemy to putting on their own club night, Stigma, Hector Bizerk have always blazed a trail for Scottish hip hop and now with added bass and horns they might just be the soundtrack to its Saturday night out.

Words: Max Sefton

Public Enemy, Hector Bizerk at ABC, 30/7/14

Public Enemy are pretty iconic, there’s no doubting that, but can they still pull it off live more than 20-years after their last big selling album – the answer is simply yes, but more on that later.

As I arrive in the ABC, Glasgow hip-hop duo, turned full band tonight, Hector Bizerk are just polishing off their set, I was unaware of their slot tonight but Louie seems to be revelling in playing to a more seasoned, and pretty big, audience.

Hector Bizerk have been flying high recently after last year’s album being shortlisted for the SAY Award, and deservedly so, as Louie’s distinct Glasgow accent complimented by Audrey’s drums allow for a full band set up to take place, something lacking from a lot of Scottish hip-hop.

It’s safe to say that most people attending a Public Enemy show would quickly brush off the idea of Scottish hip-hop, it’s an acquired taste to say the least, the accent doesn’t quite roll off the tongue and references generally feel a little too close to home, but with Hector it’s different somehow, the live band aspect gives them that extra dimension and Louie’s flag waving stage presence will surely have won many round this evening.

Then it’s the turn of the legends, they were recently inducted into the Rock and Roll Hall of Fame after all, as Flavor Flav cockily points out fairly early on, but as the crowd get worked prior to Public Enemy’s emergence and DJ Lord does his stuff the atmosphere starts to build.

The crowd is an odd mix, Public Enemy seem to appeal to vast spectrum of people, from hip-hop fans to metal heads to old ravers, but in general the crowd is over an older generation many of whom may well have been at that legendary ‘80s Barrowlands gig Chuck D mentions every time they play Glasgow.

If you’ve seen these guys before you’re not going to be in for anything particularly different, but that’s not to say it’s not impressive, The S1W group strut their military stuff before Chuck arrives on stage introducing his crew before blasting into the opening track, there’s something missing though, but we don’t have to wait long before Flavor joins them onstage and injects some of the absurd into D’s politically inspired raps.

For a couple of guys in their mid-50s they move about the stage in a chaotic fashion, whipping the crowd into a frenzy with classic material from their late-80/early-90s catalogue; they do take a fair few pauses, but that’s no bad thing, when Chuck D addresses the crowd it’s always encouraging, he’s a man who knows his stuff and he quips “don’t let them take your money, or your oil, or your water” when talking about the upcoming referendum he draws himself that bit closer to Glasgow’s heart.

Flavor Flav’s audience anticipation seems a touch more forced however, shouting out for innocents in wars and world situations where previously he had talked about his TV appearances is a little odd, but not quite as odd as his totally bizarre track dedicated to Michael Jackson, which undoubtedly comes from on a good place doesn’t cut it lyrically compared to his group’s output.

Still, he’s got a few moments of comedy up his sleeve, like shouting “where’s my clock at?” back at an audience member before pulling it out his shirt, and he’s a more than capable foil to Chuck D’s booming baritone and the band’s intoxicating beats and deep funk sound, Flav even gives us bass and drum solos during the set and throws himself through the audience at one point, proving he’s not just that guy with the clock.

Still D is the epicentre of Public Enemy, he’s an ever powerful presence and his words are strong as ever some 26 years since It Takes A Nation of Millions To Hold Us Back launched them into the public eye, it’s certainly the most revolutionary and rock ‘n’ roll as hip-hip gets and as long as these guys keep delivering shows like this the people will keep coming.

Words: Iain Dawson

West End Festival All Dayer at Oran Mor, 29/7/14

The all dayer at Oran Mor is shaping up to be a highlight of the West End Festival, with 14 acts on three stages in one building the event boasts something for everyone.

Starting in the Whiskey Bar Gav Prentice plays a set accompanied by a lone electric guitar, an assortment of drum machines, keyboards and gaffer tape; influenced by traditional Scottish folk music, charmingly awkward, Prentice delivers a quirky and at some points touching set.

The Burns inspired ‘John Barleycorn’ recounts the agony of alcohol addiction with a catchy drum beat and the assistance of a digitally reanimated Richard Burton.

Following Prentice, the folk two piece Reilly and Boyle and they take turns at the mic, the difference in the two singers voices go well together especially in exceptional harmonies throughout.

A Milk Carton Kids cover fits well among original material in particular ‘Heart Break Song’ with its immediately memorable melody and bitter sweet lyrics.

Venturing upstairs to the Auditorium to find now converted (or unconverted?) church, softer folk acts are in residence; initially, only Siobhan Wilson’s Spanish guitar is audible.

As soon as this is fixed a blast of Wilson’s voice is like a light coming on, strong but with a powerfully delicate nature Wilson’s style harks back to Carol King and the early seventies singer songwriters boom, as well as having a distinctly country flavour, original songs, ‘Cowboy’ and ‘White Robe’ shine with quality.

Turning Plates bring a grown up instrumental side to the evening, ghostly violin and cello working created flourishes of discord, raspy trombone and interesting lyrics made for an atmospheric but otherwise dull performance.

Meanwhile in the bowels of the Oran Mor harder rock acts gather; mixing ska, rock and rap Hector Bizerk are a colourful addition to the subterranean venue stage with calypso percussion and a hard rock edge the group create a party atmosphere.

Enigmatic frontman Louie provides rapid fire rhymes attempting (though admittedly unsuccessfully) to bring an 8 Mile level of audience participation to the indie crowd, undaunted Hector Bizerk play a set of uniquely Scottish rap songs and one of the most memorable performances of the day.

With so much on offer on different locations, it is frustrating to decide which bands to choose especially when it comes time for the headline slots, however The Vaselines make it an easy choice.

Famously dear to a certain Seattle group of the 90s, The Vaselines formed in Glasgow in the mid 80s at a time when alternative music was a real alternative to a bland, sanitised  MTV driven music industry.

Recruiting a band of “Vaselines virgins”, Frances and Eugene are back with their pure guitar powered indie rock presented with their own brand of “how’s your father” humour.

Squeezing hit after hit into their set The Vaselines have a way of making a long set short, with familiar tracks and a performance of their new single ‘One Lost Year’ they triumphantly return and bring the evening to a satisfying close.

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Words: Peter Johnstone
Photos: Stewart Fullerton

Live review: Doune the Rabbit Hole Festival, 26-29/8/13

DTRH2013-012 Continue reading Live review: Doune the Rabbit Hole Festival, 26-29/8/13