Tag Archives: Min Diesel

Min Diesel – Mince [Albino/Cool Your Jets/Struggletown]

Min Diesel are hardly newcomers to the Scottish scene, their first EP was released nearly five years ago.

The band spent 2014 delving into their extensive catalogue of songs before recording Mince, their first full-length record.

Famously hard to pigeonhole, the band define their sound as “mindie-rock”.

If this record is anything to go by, “mindie-rock” is a fantastic blend of Dinosaur Jr. style off kilter riffs and more obscure garage punk.

First track ‘War Band’ starts with a simple guitar riff before building slowly into a barrage of drums and Min Diesel’s signature shouty vocals with a Scottish twang.

‘Pagan Pageant’ opens with a folk style riff then later erupts, showing the bands knack for grafting unruly riffage to unabashedly bittersweet choruses.

The lyrics aren’t the primary focus here, but it’s hard to argue with the weird mix of catchiness and dreariness on display throughout.

‘Trail of T-Shirts’ is up next, full of more strange hooks and spoiled melodies that continually seem to be appealing, leaving the listener wanting more and continuing on this weird journey that is Mince.

‘Kirk Session’ provides a break from the otherwise unrelenting timbre we have grown familiar with over the last three tracks.

It is mellower, but by no means has this watered down the bands sound.

‘Down on the Green’ brings us back up to familiar Min Diesel territory, the bass rediscovers the sonic growl, over which voice and guitar interweave with a true sense of organised chaos.

Arguably the best song on the album, ‘Last Bus’ seems to mesh pop sensibilities and Min Diesel’s penchant for discordant guitars perfectly.

It perhaps sums up Mince as a record in five minutes; if someone were new to the band, ‘Last Bus’ would be a more than encompassing introduction.

Album closer ‘North East Soul’ is perhaps one of the darkest tracks on the album; for the first time, the band’s Scottish accent is really allowed to shine through.

This provides a slightly heartwarming yet sombre tone, at least to my Scottish ears.

It is clear from the opening 30 seconds that Mince won’t be a record to everyone’s taste.

The discordant nature of the music can be jarring to begin with but makes more sense with each listen.

Given time it grows into a whole different beast; melodies you may not have noticed pop out, hooks begin to appear and the songs start to make more sense.

It is a strong, if challenging record from one of the weirdest bands in Scottish punk music; I for one am excited to see where the band goes from here.

Words: Andy McGonigle

Tuff Love (EP launch), Min Diesel, The Pooches at Sleazy’s, 6/2/14

First up is James Hindle from The Pooches, who gives a strong set despite seeming a little nervous; but who wouldn’t be nervous performing solo when you’re used to being accompanied by others.

The Sleazy’s basement is already busy, but the atmosphere remains relaxed as Hindle treats the audience to a number of soft rock songs with honest lyrics.

The highlight of this intimate set is the short tribute to actor, Jonah Hill, ending with the lyrics: “he really is a very talented actor, and one day I hope to shake his hand” and leaving the crowd with a smile on their faces.

Min Diesel grab the audience’s attention the moment they step on the stage, it’s clear the band have brought a large number of supporters tonight as the end of each song is greeted by enthusiastic claps and cheers from the crowd.

Min Diesel treat the audience to a number of edgy post punk and grunge influenced tracks, which fill the crowded basement with the sound of loud instrumentals, showcasing some superb drumming and expertly plucked guitars.

What stands out most about Min Diesel’s is their frontman’s impressive vocal range, which makes the band stand out from many other early 90s sounding Scottish bands, a fitting addition to tonight’s line-up and one the crowd is obviously grateful for.

At the start of headliners Tuff Love’s set the basement is packed, however I manage to squeeze myself through the crowd to get a less obstructive view of front duo Julie Eisentein and Suse Bear performing a number of tracks from their two EPs, Junk and Dross (which is being launched here tonight).

“We were gonna come on stage to ‘It’s Raining Men’, I’m so glad we decided not do that” states Eisentein, providing the first of many funny anecdotes and clarifying that Tuff Love aren’t just here to play songs and leave; they are here to give the crowd a show.

Tuff Love’s performance is tight, the duo’s soft harmonies fit perfectly together and somehow manage to be heard over the sound of crashing drums.

The crowd is extremely vocal about their enjoyment of tonight’s show, providing the band with the loud claps and cheers they deserve for giving it their all.

Tuff Love only stop to slow things down around halfway through their set, by playing softer track ‘Penguin’, showcasing the duo’s vocals, but it isn’t quite as pleasing as hearing their harmonies in contrast to heavy instrumentals.

Before Tuff Love play their final song they thank the crowd for spending their Friday night at Dross’ launch and state that they spend “a lot of time practicing”, which shines through into tonight’s set and certainly gives the crowd more than their money’s worth.

More Photos

Words: Jess Lavin
Photos: Bill Gray

Various Artists – Now That’s What I Call Music 666 [Fuzzkill]

Fuzzkill Records is a name gaining a lot of kudos in the Scottish music just now, centred around a lo-fi sound, much of the music released by the label has a distinct DIY feel to it.

Released for Cassette Store Day the creatively named Now That’s What I Call Music 666 gives listeners a sense of what the label is about, showcasing some of the best raw Scottish talent around as well as a few from further afield.

Opening with noisy, well-acclaimed two-piece Pinact, the label don’t show any signs of easing us in to what their roster about, indeed a reverb-soaked garage punk sound provides the main base of this compilation, but there are a number of styles on show; from the surf-rock of New Swears through Min Diesel’s Pablo Honey era Radiohead sounding ‘Bastards’.

From 16 bands there a few standouts, including Poor Things’ ‘Unsure Of Myself’, which could be mistaken easily mistaken for Pixies, adopting their quiet/loud/quiet idea, while having a memorable chorus section.

A straight-to-cassette release may not be very conventional, albeit quite the norm for Fuzzkill, but with this release selling out within a month it is clear the label are doing more right than simply putting together an excellent roster of artists.

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Words: Neil Hayton