Tag Archives: LYLO

LYLO – Post Era [El Rancho]

I’ve been at many a party recently where all fuzzy 4am talk slips into the question of musical era.

It’s been a decade since nu-rave, a decade and more since the thrashing comeback of guitar-led indie; in 2018, there’s a pervasive awareness of how revivalist waves have crashed into a heady blitz of cultural pastiche that’s difficult to divide and sort.

Whether a millennial expression of existential angst or a postmodern gesture of flattened temporal cool, the title for LYLO’s sophomore record, Post Era, neatly captures a musical vertigo that pushes back from the mainstream banalities of retro-culture in favour of playful, intricate takes on electro, psych and ye olde jangly indie classics.

Where LYLO’s 2015 debut, Handsome Living, introduced us to a luminous aesthetic of catchy hooks and gloomy, suburban allure, Post Era is its extroverted cousin: sharper, funkier, stranger—pacing ritzy jazz tracks like ‘Turn My Jacket’ alongside slow-jams like ‘Submerge’.

The overall effect is indulgent, but for once the indulgence feels earned.

Opening track ‘Everything’s Cool’ sparkles into existence from a haze of gold-dripping 80s guitars, shivering snares and synth rumbles, buoying us up on rolling bass and elaborate punches of sax.

Comparisons to The Style Council’s eclectic camp and Talk Talk’s breezy new wave assurance abound, but it’s worth flagging Post Era’s more lo-fi affinities—from Washed Out’s ethereal bedroom atmospherics to voluptuously nostalgic eccojam bass to Com Truise’s starry-eyed synth compositions.

With slightly muted, dreamy production, plenty of space is given to Iain McCall’s luxurious saxophone motifs and Mitch Flynn’s sweetly vaporous vocals.

Smooth riffs on the likes of ‘It’s Good to Know Your Man’ sweep up laidback currents with the baggy psych flair of Pond, while the addition of Niall Morris on synths adds irresistible dream pop layers to the doe-eyed blues that made Handsome Living a winner.

There’s a certain ennui to LYLO’s output, ranging from their debut’s overriding concept of middle-class languor to Post Era’s cultural snapshots of “twisted youth”, where we yearn to be kept “in the hell you design”.

When sung over the snappy, jazz attack rhythms of ‘Turn My Jacket’, however, these reflective lyrics acquire a futuristic urgency that’s deftly reined in by the understated, focused production and radio-friendly song lengths.

Perhaps it’s this restraint that cements the album’s instant pleasure factor, over and above its giddy mix of complex instrumentation.

One thing’s for sure—if the band’s recent sell-out launch at Stereo is anything to go by—Post Era easily translates its latent intensity to the stage, where peachy keen grooves like ‘Yeah Boy’ are brought to life with dark, sophisticated disco vibes—at once the melancholy introvert’s lament and the lounge band’s casual extravagance.

Overall, Post Era is a record that wears its nostalgia lightly, makes alchemy of past styles that glitter with potential—a January standout, certainly.

Words: Maria Sledmere

LYLO (album launch), KAPUTT, Walt Disco at Stereo, 26/1/18

On this, the day their excellent second album Post Era is unveiled, LYLO perform at the launch party to celebrate its long-awaited release.

The album has been three years in the making, and in this period the band have expanded in number, and in their overall sound.

The production is lush, grooves flow throughout and it is an early contender for album of the year.

Given all of this and the general positivity surrounding the build up to the release, there is every reason for a celebration this evening.

Opening proceedings are Walt Disco, admirably stepping in at short notice to replace late pullouts Pleasure Pool.

It is an energetic set of angular pop and the pounding ‘No Need For A Cut’ is one such highlight.

Each of their members are born for the stage, and endear themselves to those who have made it down early enough to catch their set, with frontman James Potter coming offstage dancing with an enthusiastic member of the crowd who had been dancing at the front for their entire set.

The frantic noise pop of KAPUTT followa, providing a suitable precursor to LYLO as the venue starts to fill.

A supergroup-of-sorts, comprising of members of the likes of Spinning Coin, Hairband and The Bellybuttons amongst others, it’s an introverted and intense set, but only adds to the jovial atmosphere of the evening.

Lead vocalist and guitarist Cal Donnelly gazes vacantly throughout, backed by a post-punk ramshackle, held together by Rikki Will’s metronomic drums.

Ending on the infectious ‘Feed My Son’, they set the bar extremely high for tonight’s headliners.

It doesn’t take long for LYLO to hit their heights though – a dreamy, synth-led introduction gives way to an energetic ‘Everything’s Cool’.

Frontman Mitch Flynn sings “it’s all downhill from here”, which would usually be an ominous sign during the first song of the set, however it couldn’t be further from the truth.

The intense pulsing groove of ‘Turn My Jacket’ immediately ramps things up, before the five-piece debut a new song of thrashing punk featuring the repetitive refrain of “get it in to your fucking head”.

The double header of recent singles ‘It’s Good To Know Your Man’ and ‘You Have Your Father’s Eyes’ ensures that the packed Stereo crowd is kept dancing throughout.

The only time that LYLO threaten to lose their audience is when they slow pace down with the balladry of ‘Submerge’.

The chatter that an impatient, half-cut, Saturday night crowd can bring threatens to drown out its intricacies, however this is short-lived, as a triumphant ‘Yeah Boy’ ends the set, complete with plenty of body popping from frontman Flynn.

There really isn’t another band in the country quite like LYLO.

They incorporate elements of funk, disco and psychedelia but with a thoroughly modern twist, incorporating epic, atmospheric soundscapes.

This is all without taking into account their sax (yes, sax) appeal, which elevates their sound to an almost ethereal level.

On a live stage, where they are stripped of the comfort of the production, which adds so much to the record, they transform their songs into bass-led, dirty dancefloor bangers.

More Photos

Words: Graham McCusker
Photos: Elina Lin

Tracks of 2017 (10-1)

10. TeenCanteen – ‘Millions’ [Last Night From Glasgow]

‘Millions’, and the Sirens EP that contained it, was an unexpected deep and emotional turn from TeenCanteen, but this track is quite possibly their strongest work to date. This very personal number cover reflects on singer Carla J Easton’s feelings on her dad’s passing some time after the fact, but counteracts the subject matter with irresistibly sweet melodies and pop drenched harmonies.

9. Catholic Action ‘Propaganda’ [Modern Sky]

Catholic Action marked the announcement of their upcoming debut album In Memory Of, with the release of new single ‘Propaganda’ – a tirade against club nights which only play landfill indie, it is no coincidence that the track is named after a Glaswegian club night which specialises in exactly the same thing it berates. ‘Propaganda’ is frantic glam rock banger as lead singer Chris McCrory repeatedly snarls “I will never be like you” over a wall of guitars and a melodic synth hook. This is glamorous indie rock and roll done exactly the way it should be; don’t bet against them being the saviours of the great British guitar group.

8. Breakfast MUFF – ‘Babyboomers/R U A Feminist’ [Armour Foo]

In double A-side Babyboomers/R U A Feminist’ Breakfast MUFF present a very cogent, energetic, exciting and interesting single that captures well their on-stage unpredictability, style and dynamicity. ‘Babyboomers’ employs a more traditional structure, but toys with it and messes it around; this effort is mirrored in the intergenerationally disparaging lyrics, while ‘R U A Feminist’ generalises less and is more of a personal tale. Both songs are replete with well-placed and tonally appropriate punk-rock sensibilities, fine music and wonderfully unique vocal harmonies.

7. Sacred Paws – ‘Strike A Match’ [Rock Action]

‘Strike a Match’ is a perfect distillation of Sacred Paws’ similarly titled album with its infectious, intricate and squeaky-clean indie. Inflected with warm, Afrobeat guitar, playful handclaps and tropical percussion, this track is definitely a belter for those precious afternoons spent down the park in the sun. Eilidh Rodgers’ backing vocals interweave sweetly intriguing echoes around Rachel Aggs’ effortless new wave delivery, while subtle brass brightens those addictive melodies.

6. KAPUTT – ‘Feed My Son’ [Fuzzkill]

‘Feed My Son’ is just a crackingly poetic track about ownership of far more than one needs encapsulated in a super addictive guitar pop shell. The energetic track uses catchy guitar and skull embedding saxophone riffs to accompany the social commentary.

5. Marnie – ‘Lost Maps’ [Disco Pinata]

If ever a record managed to be exactly on point, tick all the correct boxes and yet still be utterly thrilling, ‘Lost Maps’ by Marnie is it; it’s an absolute belter. A growling, electronic, thuggishly sleek beast of a tune by the frontwoman of Ladytron, ‘Lost Maps’ transcends its elements and delivers heavy, processed beats, a dark bassline but with the sort of dreamy top end and vocal to drag things from the gutter into the stars: a little excitable that description, perhaps, but, tracks that manage to appeal to the most tedious of disco-bores – me – yet also be dripping in pop are all too rare.

4. Bossy Love – ‘Body’

Yet another dose of dance-floor inducing brilliance Bossy Love, ‘Body’ is a high octane, pulsing bit of soulful pop that should be a smash hit. This duo are destined for something very big very soon and they fully deserve it.

3. ST.MARTiiNs – ‘othr grls’

Dundee’s ST.MARTiiNs have a real knack for a glimmering pop noir number and ‘othr grls’ is probably their best work to date. The track is a sleek, vibrant pop number that utilises a strong dream-like vocal performance that embeds into your psyche and doesn’t let go. Despite its message about disillusionment with the people around you ‘othr grls’ feels upbeat, however it never gives in to full on sugar-coated pop, providing all the hooky goodness with a hazy ethereal majesty.

2. HOME$LICE – ‘Come Up To Fade’

‘Come Up To Fade’ thrashes the Young Creatives EP into life in proper old-school garage rock fashion; lead vocalist Josh McDowall howling like a youthful Julian Casablancas as melodic guitars and urgent drums race each other behind him as HOME$LICE gave an early contender for song of the year.

1. LYLO – ‘Your Father’s Eyes’ [El Rancho]

Already an oddity unto themselves by the fact that they are one of the only bands around who have a saxophonist amongst their members, LYLO have garnered an ever growing reputation as a formidable live act. ‘You Have Your Father’s Eyes’ is a work of beauty – from the moment the atmospheric intro leads into the jazz funk of the verses, LYLO have you hooked. Mitch Flynn’s dreamy, reverb-drenched vocals on the chorus gently chime “you know it gets me every time” benefitting from their own idyllic production. By the time Iain McCall’s sax solo draws the track to a close amongst a cacophony of noise, an almost spiritual journey is complete.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Words: Goda Bujaviciute

Freakender, Day 1, 15/9/17

Now in its second year garage, psych and rock festival Freakender has excitement blossoming around it as the trio behind Eyes Wide Open, El Rancho and Fuzzkill put together a killer weekend that is crammed full of talent that’s also lovingly curated into three unique days.

Day one has an overall an experimental vibe to it, featuring five local based acts whose sounds range from jazz touch dream pop to acid touched electronics to straight up gorgeous indie pop.

During an elongated introduction Max Syed-Tollan, performing as Horse Whisperer, explains he will play his greatest work to date, ‘Quintessential Horse Whisperer Part 1 Redux’, which is part of a hundred part piece he has been working on for a number of years and after some awkward hilarity as he dons a ceremonial robe to start things off for Freakender 2017.

A rattling beat starts the piece off, as the eclectic character drops bizarre kraut touching yet jarring keys creating an unnerving yet entrancing atmosphere, while strained vocals change to something more akin to a 60s psych folk group who got a hold of more kit and went wild with it.

In fact there’s such a genre defying array of sounds on offer, from touches of jazz to tripping psych, even a bit of ska, it’s hard to fathom what might come next; nevertheless it’s enchanting stuff that may not be everyone’s cup of tea, but for those who’ve arrived early he gets Freakender off to a great start.

Marble Gods are a delight, whether donning retro football tops or not, they’re also the most conventional act of the night, delivering straight up charming, sugar dripping indie pop that woos the crowd happily into nodding along.

It’s indie as it should be, fun well-written songs that are over before you know it and always leave you wanting more and as one song ends the trio duly deliver with another fast fun number to charm your socks off.

Throw in a ton of awkward chat and you’ve got the full-on genuine indie pop experience, cos it’s not really indie pop unless it’s performed by damn lovely awkward kids.

One of the trio responsible for the weekend, Ian Crawford makes his first of a couple of trips to the stage over the course of the weekend as Banana Oil demand an introduction, he announces them as “the hardest working band in the Southside of Glasgow” and the “hardest working waiters in Stereo” among other things, but the trio more than live up to the build up.

Decked in shirts, shorts, slicked back hair and pulled up socks the trio, consisting of Joe Howe (Ben Butler & Mousepad/Gay against You) on tenor saxophone, Niall Morris (Shame Gate/LYLO) on bass and Laurie Pitt (Golden Teacher/Modern Institute), blast off into a set of heady, funk and jazz enthused sounds that flows freely without losing any of their powerful energy through smooth and jarring sax sections.

The trio is well renowned for their other acts, but this free-flowing, part improvised performance takes all the nuances of jazz, adding a spark of energy to create something that gets your moving, and despite all its complexities somehow this feels super accessible.

Going from French spoken word introduction to pulsating beats Pleasure Pool get you going from the off, channelling somewhere between a crazy 90s acid house vibe and LCD Soundsystem at their most disco slick.

They’re set seems to be constantly building with a foot moving rhythms, as chanted vocals play over guitar, drums and an array of electronics that create a party vibe, while the lyric “I’m singing to a room of corpses” hits in at a quiet moment, perhaps intentionally, to put the tick in your head you’re not moving enough.

Their set evolves through dreamy yet energetic sparkling passages to churning dance floor fury, the crowd isn’t quite the flailing arms and legs you’d want, but this is day one, there’s a long way to go and judging by the Saturday line up a lot more chaos.

Closing day one is a band that if you’ve followed the site need no introduction, LYLO have such an effortlessly cool sound that incorporates sun touched keys with a dreamily crooned vocal that hooks you in, add to that a tight groove-laden rhythm section and ounces of smooth sax and you’ve got a sound that’s as refreshing as it is brilliant.

Persuasive tropical jazzy tones wash over the crowd getting feet moving, albeit not quite as much as they are on stage as vocalist/guitarist Mitch’s Stop Making Sense channelling dance moves more than sums up the power their sound holds, sadly you need some choice positioning in a rammed Old Hairdressers to see this, but the sound is so invigorating that it’s not completely necessary.

Night one proves a success, just one sleep to nine hours of garage pop madness for day two.

Words: Iain Dawson
Photos: Neelam Khan Vela

Doune the Rabbit Hole, Day 1, 18/8/17

We’re back at Doune for another year and thankfully this year isn’t cut short for illness reasons, however what we find when we arrive is a very weather affected site; still there’s line up that on paper looks as strong as any in Scotland this year.

Sadly, after a long queue to get into the car park, we’re met with the news that Saturday headliners Songhoy Blues have had to pull out, but thankfully the weather has affected proceedings enough that we manage to catch a bit of Bdy_Prts who shimmer with the honey drenched vocals of ponchoed pair.

Their sound has an original yet classic feel about it that gives a refreshing take on pop music; it’s a shame they’re on so early as most of the crowd are still on their way or setting up at the campsite.

Of what we manage to catch ‘Warrior’ and ‘Cold Shoulder’ are standouts as the girls, now complete with full band, seem to be on the road to fulfilling the promise they emerged with a couple of years ago.

Over at the Baino Stage, in a new home from previous years next to the bar, (its former place to the right of the Jabberwocky Stage is held with a circular structure, which is supposed to the be the 0///Dome remains still in construction), LYLO suffer a similar early festival slot; a stage trying to figure out their sound and a crowd that is still yet to fully arrive.

Regardless the band deliver a profound set the merges space age tropical bleeps with jazzy undertones and foot moving post punk that makes them one of the most exciting bands in Scotland now.

Add to that an addictive frontman, whose dream filled yet punchy vocal tones are only upstaged by some serious dance moves.

Over at the slightly smaller The Lodge stage Fallope and Friends play super lo-fi garage tinged pop in front of a giant inflatable squid while dressed as planets, that’s a mouthful and a half.

The instrument swapping all girl six-piece is a spectacle to behold, true their yelped vocal opening track can take some adjusting too, but ultimately it’s rhythmic fun, and when they hit their groove it’s somewhere between good family fun and utterly bizarre perverseness.

Not long into the set there’s kids flailing around with the giant squid, looking like their having the time of their lives and as the band switch from growled punk with powerful basslines and dirty synths to hypnotic actioned numbers that build to frantic ends – dogs barks with confusion and by the end the kids have killed the squid; truly entertaining stuff.

Dashing back to Baino, the clashes between Baino and The Lodge become a theme of the weekend, we manage to catch the end of Adam Torres’ set and we’re treated to a settling retro beauty, with Torres’ sunshine coated vocals creating a real sense of calm with a touch of sadness thrown in.

On the Jabberwocky stage BMX Bandits are delivering in all their guitar pop glory; as a band they’re an odd proposition, it’s super fun and impressive indie pop, but there’s this touch of cheese lingering under the surface, from the call back boy girl chorus to Duglas T Stewart’s banter, that is full of comic wit, however is delivered in the tone of a children’s TV presenter yet still oozes charm.

‘Serious Drugs’ may be 15 years old now, and comes with a Grange Hill pre warning to the kids in the crowd, but as a track it’s perfect; as Stewart’s gentle vocal float over the evening crowd it’s a pleasant start to an evening that’s set to go up a gear.

It has to be said that LAPS’ EP completely passed me by, strange as Cass’ former band, Golden Teacher were a personal favourite; for this project she’s joined by Organs of Love’s Sue Zuki and the duo cut an insanely cool image.

That image is only matched by a sound and energy that fits perfectly; soulful vocal interplay and dirty electro beats combine with a dubbed up post punk vibes to create an a act that are really one to look out for; proper sultry stuff.

Next up on the Main Stage are Liars, who manage only a couple of songs sans lead vocals before the set is pulled to the disappointment of the crowd and anger of the band; that’s the two headliners not playing this weekend, seems like promoters nightmare – still what could they have done.

Still if you head over to The Lodge everything is forgotten as, what is becoming a familiar yet never old thing for us, Happy Meals absolutely kill it.

The duo of Lewis Cook and Suzanne Rodden are an infectious experience, soaring electronics hit disco honing, genre expanding beats topped by Rodden’s irresistible French vocals; go see these guys immediately they are the best band in Scotland right now.

Next up I make my first journey to the Thunderdome stage, through a muddy walkway and down a treacherous path into the woods you find a rather magical stage set up, tomorrow’s line up down here is packed full of quality local acts, but tonight revellers have filled out the space as snooker star DJ Steve Davis spins some tracks.

Yes, there’s a novelty value too seeing a 60 year old snooker player perform a DJ set in the woods at a festival, but such is the selection of tracks from the potting legend that you soon forget the novelty and get carried away in a set full electronic gems that swells from the less heavy end of techno to the more bangin’ end of IDM.

Closing the night at Baino Ubre Blanca are proper apocalyptic, just as you want them to be; yes the duo look heavy pissed off at the range of dreadlocked tie dyed messes dancing around at the front – cultural appropriation seems a sad theme of the weekend, but these people seem to be a fixture of most small, boutique style festivals these days, especially ones like Doune that insist on putting on a stage dedicate to repetitive super bassy dub for 16 hours a day – still Ubre Blanca are emphatic.

The duo’s thunderous Italo enthused performance is as doom infected as it is dancingly contagious, a real powerful experience that closes off the first night, unless you’re into dancing off beat to monotonous bass; I tried to sleep to it instead.

More Photos

Words: Iain Dawson
Photos: Allan Lewis / Harrison Reid

Preview: Doune The Rabbit Hole (Friday)

With Doune the Rabbit Hole coming up next weekend we thought we’d give you a run down of some of the acts to check out, problem was we felt the line up so strong that we couldn’t limit it down to a certain number, here’s a wee day by day effort to keep you occupied:


Headlined by Liars, a band that now has a fairly hefty and still consistent back catalogue, and featuring a DJ set from snooker legend Steve Davis Friday opens the festival in the evening til the wee hours of Saturday morning, here our recommendations outside of the headliner:

BDY_PRTS (16.00, Jabberwocky)

The colourful duo, now turned trio of BDY_PRTS, Jill O’Sullivan (Sparrow And The Workshop, James Yorkston), Jenny Reeve (Strike The Colours, Arab Strap, The Reindeer Section) and Jonny Scott (The Kills, Chvrches), returned this year with new with subtle harmonies and avant pop of new single ‘Rooftops’ and if the single is anything to go by we can expect big things from a band that have been slowing building for a few years now.

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UBRE BLANCA (01.00, Baino)

The rather unsettling, yet always dance floor filling duo, have promised something new at Doune, expect something ferocious come 1am!

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HAPPY MEALS (23.00, The Lodge)

Playing two sets over the weekend, the duo that we consider one of the most exciting acts around just now start with what would be there pop set that will set you with as much compulsion to dance as it will intrigue at their beautiful mix of bleeps that borrows sounds from as far as Italo disco, 80s synth pop, acid house, through in a few gorgeous vocal hooks to boot and hugely entertaining live show they’re ones not to be missed.

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ADAM TORRES (19.00, Baino)

Over the course of the last ten years Adam Torres has attracted much critical acclaim for his gorgeous vocal, now his songs have grown into something more wild and growing a lovely chill slot to ease you in or calm you down when things get too wild.

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FALLOPE & THE TUBES (19.00, The Lodge)

With costume changes almost every song and still some proper great, weird punk pop songs to boot Fallope & the Tubes could the one that sticks with you. Expect loads of fun and the girls dressed as giant vaginas at some point.

LYLO (17.00, Baino)

Another band that have allowed themselves time to grow are LYLO and they are beginning to show the sign of blossoming into something that could be much more than the Glasgow scene favourite they currently are. Live the guys are formidable, delivering jazz enthused post punk vibes and plenty of presence upfront, a perfect catch for any time of the evening.

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HQFU (01.00, The Lodge)

Sarah J Stanley’s electro alias HQFU will thrive given the right slot, last year her set got a little lost in the rain and chatter at the at times sound affected Parabola Stage, but trusting the festival have found her a more suitable setting her sets can be truly infectious and hypnotic experiences. A perfect pick me up for those late evening lulls or one to hit the dancing to late on.

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LYLO – ‘You Have Your Father’s Eyes’ [El Rancho]

‘You Have Your Father’s Eyes’ is the first release from Glaswegians LYLO since their 2015 mini-album Handsome Living.

Already an oddity unto themselves by the fact that they are one of the only bands around who have a saxophonist amongst their members, the band have garnered an ever growing reputation as a formidable live act.

The single is a work of beauty – from the moment the atmospheric intro leads into the jazz funk of the verses, LYLO have you hooked.

Mitch Flynn’s dreamy, reverb-drenched vocals on the chorus gently chime “you know it gets me every time” benefitting from their own idyllic production.

By the time Iain McCall’s sax solo draws the track to a close amongst a cacophony of noise, an almost spiritual journey is complete.

In fact, the lusciousness of ‘… Father’s Eyes’ is only matched by the b-side – ‘Submerge’, the Pink Floyd-esque instrumental only broken by Flynn purring “submerge me in his love”.

With far too many artists so eager to release music as quickly as possible, LYLO have taken the time to let their material organically come to fruition.

With a full-length album, tentatively titled Post Era, slated for release later in the year, LYLO have swooped under the radar to become trailblazers in what is an already thriving scene.

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Words: Graham McCusker

QMU Live Fest with Tuff Love, Tijuana Bibles, GoodCopGreatCop, Copper Lungs, The Youth and Young, The Rockalls, Josephine Sillars, LYLO, The Insomniac Project

“Did anyone used to go to Rev?” “Is Cheesy Pop still a thing?”

You can tell what bands went to Glasgow uni tonight!

Let’s be honest, it’s totally weird being back at the QMU, this was a regular daytime haunt in my early uni days and seven years on a lot has changed, but yet nothing has changed.

Coffee shops and stationary shops have swapped places and Jim’s Bar has lost its legendary booths, but the same aura of cheap food lingers, the pints are still very affordable and it still very much feels like a student union (good or bad thing you decide), whether you can still get a shot of giant Jenga I don’t know, but after it fell on my ankle and left me limping for a week I wasn’t going to try.

There is some confusion as we arrive to catch favourites Mt. Doubt, only to find an empty stage.

After some aimless wandering we bump into the remaining members of the band, who had travelled from Edinburgh for today’s performance, but had to pull out at last minute due their keyboardist suffering from unanticipated illness.

Even though no fault of their own I can’t help but feel a little disappointed that I’ll have to wait for their next Glasgow date to catch their incredible live show again.

After this confusion we able upstairs to Jim’s Bar and The Insomniac Project are just finishing their of pop tinged electronic set, which although a little rough in the vocal department has the potential to be huge.

Following this I get my first opportunity to witness LYLO in a live setting, albeit a rather questionable one; the bar isn’t the greatest space with the sound being lost in certain portions of the room and sounding pretty mucky in others, it has to be said that only a single door between two stages of live music does not do either area any favours.

Still, LYLO’s combination of reverb laden vocals, hints of saxophone and a strong rhythm section hold the performance together admirably.

There’s plenty of presence and attitude coming from their engaging frontman, who even pulls a touch of Samuel Herring-esque dad dancing at one point, as lengthy instrumental sections wash over the crowd in a settling fashion, until the band push things up a gear with a powerful dream pop tinged post punk sound; this certainly won’t be the last time I try and catch these guys.

Being a fan of Josephine Sillars I was excited to finally have the chance to see her live and she doesn’t disappoint.

Sillars is joined by her band and the three-piece treat the audience to a number of gentle pop tinged tunes, which do more than enough to cement a smile on your face, including a creative cover of Massive Attack’s ‘Teardrops’.

The Youth and Young

Downstairs The Youth and Young keep me grinning from ear to ear as they showcase their brand of folk, with plenty of upbeat melodies and complimenting harmonies thrown in.

The band’s stunning dual vocals are even more impressive live than on record and their sprightly stage presence creates an extremely memorable performance.

Since the venue stopped serving food earlier on we decided to run out to grab a quick bite, making it back just in time to catch the end of the Perth’s GoodCopGreatCop energetic set.

Copper Lungs

The band’s combination of catchy riffs and upbeat melodies revitalises the crowd leaving them in high sprits before Copper Lungs take the stage.

Copper Lungs who hail from just further north than GoodCopGreatCop do there best to get sparse crowd moving, their anthemic alt-rock sound and heartfelt vocals fill up the venue and would be suited to a much bigger stage.

There is a surprisingly large amount of late arrivals to the venue who fill up main hall in time for Tijuana Bibles’ set, which is packed full of heavy guitars and pounding riffs topped off with some soaring vocals from frontman Tony Costello.

Back upstairs and there’s an air of awkwardness hovering as it seems The Rockalls have riled up a few members of staff and student volunteers alike, still they know how to perk up an audience as they seemingly shun the awkwardness and simultaneously kill it by getting the crowd on their feet and down the front.

They certainly possess a punchy live show and frontman Dominic Orr possesses more than enough attitude and presence to keep them interesting, as waves of garage rock riffs spark an energy in the room before asking the crowd onto their knees proves a step too much and their set gets cut mid song for curfew related reasons, or maybe something they did pre-set.

Tuff Love1

Before Tuff Love take to the main stage we have the small confusion of someone jumping off the balcony, collapsing to the floor and then limping away as fast as he could, but this one remains a mystery for the time being and it’s all pretty much forgotten as tonight’s headlines deliver what is by far the standout set of the day.

‘Poncho’ gives way to ‘Sweet Discontent’ and their infectious fuzzy pop sound never fails to leave a smile plastered across your face.

It’s been a while since I’ve seen Tuff Love live, but their set hasn’t dipped at all in quality, in fact they have only grown in confidence and presence since they merged their three previous EPs into one album, for release earlier this year.

Tuff Love are quite rightly one of the jewels in Scotland’s crown rightly so, we’ve covered them so often in the past it’s barely worth repeating ourselves, but yeah, these guys are great and the sound in the venue is greatly improved by the band’s finishing upstairs.

The front duo’s nonchalant stage presence is an ever present, but so are the glowing harmonies and sugar coated delights that are their songs, the crowd may be slightly reduced from the Bibles set, yet it’s still a healthier crowd than the rest of the day, and those who have stayed are rewarded with a sheer feel good set full or quirky moments, like Julie cracking up to ‘Carbon’ or Suse enquiring about Cheesy Pop.

Well worth the wait, a lovely end to a long, but rewarding day.

More Photos

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Words/Photos: Iain Dawson/Jess Lavin
Photos: Cameron Brisbane

LYLO – Handsome Living

“Disappear Here” is the image that this well constructed and thought provoking debut album puts out.

It’s steady saxophone introduction puts you right in the picture, and in luxurious style.

Almost every element, right down to the album cover, assures careful and deliberate artistic decision.

This work by young Glasgow’s LYLO makes for an apathetic, almost despairing commentary on modern middle class living, fluctuating through its highs and lows, exploring its scenes one song at a time with bleak, sterile judgement.

The voice of singer Mitch resonates with Radiohead’s Thom Yorke, carrying elaborate and at times unpredictable vocal lines over a varied temperament of airy guitar and stylistically recorded drums especially in tracks such as ‘Naked Rich’ and ‘Drips’.

His voice is key in setting a melancholic tone required to project the idea of a sort of lost generation, quite relevant in the musical age of today.

This is all accessible on first listen; a praiseworthy achievement.

It’s clear that a generous measure of thought has gone into the recording process as well; in particular, the well-placed piano interlude titled ‘Alone in The Dining Hall’ stands out as a great piece of recording, independent of the rest of the album in its ruggedness, but not so as to disrupt the works continuity.

As a collective the album works extremely well in terms of it’s musicality, with resurfacing saxophone motifs and an awareness of consistency in the mood of the tracks.

The blend of surrealist Tame Impala-esque effects on the guitar and a loose, distanced sound of the vocals and drums distinguishes the forceful and original LYLO sound.

It is a sound one is left wanting more of, however, it is powerful enough that this relatively short LP may be considered complete.

In short, LYLO tick all the boxes for the making of a bright concept album and have produced a strong and absorbing first full-length release.

There is something about it that brings Easton Ellis’ Less Than Zero to mind, its themes cutting deeply into the ideals of the modern Western lifestyle, but in a way that is pleasing to the ears.

For this latter reason it succeeds in being moving and engaging, both emotionally and intellectually besides.

Make sure to lend their previous EP’s – Forever, Spaced & Lylo – for your ears to get a sense of where they’ve come from.

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Words: Patrick McCafferty