Tag Archives: Mt. Doubt

Mt. Doubt – In Awe of Nothing [Scottish Fiction]

We’re big fans of Edinburgh based Mt. Doubt here at Rave Child, and I’m stoked that this time around it’s my turn to wax lyrical about Leo Bagery and band’s many fine qualities.

Proving that great things don’t always have to come out of Glasgow, Bagery’s second full length release in two years builds on his highly acclaimed debut My Past Is a Quiet Beast.

Released on Scottish Fiction, in their new guise as a label, Bagery successfully showcases his meticulous solo composition and song writing, whilst utilising a full band performance.

Opening track ‘Fjords’ is a slow burning, gradual build into atmospheric dark-pop; setting the tone for an album which neatly juxtaposes introspective, at times gloomy lyrical content with an upbeat, near joyful alt-rock sound.

The result is a record which is compositionally complex, layered and swirling, and yet almost impossible not to sing-along to.

Recent single ‘Afterglow’ fuses an uplifting earworm of a tune with melancholy lyrical content.

Opening lines “consume me lonely sky I am fearful, in case I am ever justified / that is the logic of an ill adjusted thinking, but it’s mine” is the ultimate worriers’ lament, and an ode to over-thinkers everywhere.

‘Verdant’ is just that; lush and with an abundance of clever, well-executed production trickery, whilst darker penultimate track ‘Soak’ benefits from a considered and delicately placed female vocal from Annie Booth, adding to the depth of sound.

‘Thirst’, the next single to be taken from the album, is paradoxically languid and unhurried, whilst remaining gloriously upbeat; impressive but not unexpected for an album chock full of dichotomies.

I can’t call to mind another time that the inclusion of backing ‘doo wops’ have actually enhanced a track, but in this case they work well, echoing and layers under Bagery’s impeccable central vocal.

Closing track ‘Bastard Sea’ earns Bagery favourable comparison to The National, as his imposing and booming bass-baritone builds to a vocally wild and gloriously unrestrained final chorus.

Bagery and his band have successfully embarked on hefty live schedule this summer, receiving well-deserved accolades for performances at T in the Park and Belladrum amongst others.

Based on recent form, Mt. Doubt’s upcoming Edinburgh show to launch single ‘Thirst’ will be well worth venturing out of Glasgow for.

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Words: Kat McNicol

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.

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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.

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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.

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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

XpoNorth Showcases, Inverness, 9/6/16

The showcases for day two start once again in the Ironworks and this time the free drinks are coupled with music; firstly The Pictish Trail and as Johnny Lynch enters the stage air boxing you know you’re in for a treat.

This is first time I’ve managed to witness Johnny Lynch playing in a non solo capacity, tonight he’s joined by Tuff Love’s Suse Bear on synth and bass duties and it adds a real lift in Lynch’s musician offerings.

Gone is the 30-second song hilarity, but the same mid song banter keeps things light hearted amidst the uplifting but full on dream-ridden tracks that are delivered.

There’s a new album on the horizon and you get the impression this could be something really special with a full band behind it.

By the time tonight’s special guest, Rachel Sermanni, is introduced the networking event has become just that, and it’s difficult to hear most of Sermanni’s delicate, hypnotic and dreamy laments.

Sermanni nonetheless is an impressive artist, and while this isn’t the perfect setting we know all too well what she’s capable of.

Forever is a band that we thought had gone, well forever, and despite being booked on a few festival lineups I was still unconvinced as their online presence was still nil, but turns out they’re back and with a rather new direction.

The now trio have switched up to an enjoyably glitchy electronic sound, which flows nicely, however one thing is a constant and it’s something I’m still on the fence with and that’s the vocal

Thing is though, it’s one thing that is going to win or lose Forever fans, there’s no doubting the twitchy accented delivery is unique, but as I said of them in their previous incarnation, there’s a real touch of Marmite about it; I can’t decide where I love it or hate it, guess I’m waiting for new recorded material then…

The biggest clash of the showcases comes next and I find myself in a mad dash, attempting to visit three venues in 30 minutes to hopefully catch 15-minute bursts of three artists.

The first of these acts is also my first visit to cocktail bar come temporary acoustic venue Scotch and Rye for beautifully intricacies of Chrissy Barnacle.

Sadly most of Barnacle’s delightfully intricate guitars, Joanna Newsome touching extravagances and generally hilarious mid song banter is lost in the cacophony of the noisy cocktail bar, which seems to have become the go to venue for those not interested in the live music on offer.

Over at the Market Bar is a different matter, as everyone is crammed in to the tiny space solely to hear the music as Mt. Doubt delivers a set that’s warm and captivating, while also managing to grasp the hugeness of The National’s live set and somehow squeeze it in a cosy living room; these guys seem to be doing everything right just now and this set only cements that notion further.

Sadly my mad dash mission fails slightly as when I arrive at Hootenanny’s The Youth and Young have nearly finished.

It’s a slower number that the band haves chosen to close their generally rambunctious set, however this short glimpse they manage to maintain that high octane energy that their set has become renowned for; these guys are one of the best folk rock acts in Scotland right now and their live show is one of the main aspects in that.

Following this I decide to give Scotch and Rye another go, sadly this proves a larger futile trip as Laurence Made Me Cry suffers the same fate Chrissy Barnacle and no doubt everyone else in this venue had before her.

I do manage to squeeze close enough to the front to hear a little bit of her set over the mire and what I get a hint of Jo Whitby’s hypnotising array of soothing electronics and smooth, enchanting vocals, well worth seeing at a venue where you don’t have to make a concerted effort to hear her.

Following this I was initially torn on whether to catch Breakfast Muff or not having seen them a couple of times in the past week, however a combination of the drink taking effect and just the fact that they are bloody brilliant makes up my mind and they don’t let down pulling out what might just be the set of the weekend.

The trio’s instruments swapping high-energy riot pop is a joy to behold, and new track, sporting the repeated line of “you’re not a feminist”, stands out as a future mainstay in a set that’s just bags of punk tinged fun.

Upstairs at Madhatters and Halfrican keep that same high-octane punk touching energy running as their reverby pop ticks all the right, riotous boxes for this time of the evening.

Halfrican is fun, addictive and make you want to fucking move; they’ve been promising bigger things for some time now, hopefully that elusive album will appear soon.

Popping downstairs for The Van T’s and I’m greeted by a mobbed venue, so there’s absolutely no chance of the seeing the four-piece surf rockers, but they are rightfully the reason why this place is so packed as they quash the venue’s questionable sound to irrelevance with their fuzzy guitar sound that oozes as much rock ‘n’ roll attitude as it does pop chops; we can’t recommend these guys highly enough.

Back over at the Ironworks I find myself bewildered that the bar staff have deemed tins not allowed and decant their cans of Red Stripe into a plastic cup. I. Only. Bought. It. So. I. Could. Have. A. Can… Raging.

Still, that coupled with a rather underwhelming set from reformed 90s Glasgow guitar pop act Astrid are soon forgotten amidst a night crammed with some brilliant acts and plenty of great people.

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Words: Iain Dawson

Mt. Doubt – ‘Afterglow’ [Scottish Fiction]

‘Afterglow’ is the dark and brooding euphoric dichotomy that is the latest single from Edinburgh outfit Mt. Doubt.

Those of you who are familiar with the much acclaimed first album My Past Is A Quiet Beast, will not be surprised by the force of which this song hits you.

It is quite simply one of the best tracks of the year, released by Scottish Fiction and produced by Mark Morrow (The Winter Tradition), the single is a masterclass in dark dynamic and uplifting, mood shifting melody.

Mixing the deep timbre of Leo Bargery’s smoky vocal with a metronomic and pop-infused melody, this is a song for a Scottish summer; beautifully disjointed and all encompassing; it is simply wonderful.

The new album in Awe of Nothing is just released and already an air of anticipation is following everything Bargery touches; a regular now on the gig circuit in Scotland and various festival appearances this year will establish Mt. Doubt as one of the hottest prospects currently in Scotland.

If you do one thing this year, get along to see Mt. Doubt live.

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Words: Bobby Motherwell

Scottish Fiction presents Mt. Doubt (single launch), Earths, Hamish Hawk & The New Outfit, Jargo at The Hug and Pint, 30/4/16

After enjoying another tasty meal from The Hug and Pint’s ever delightful kitchen we pop downstairs in time to catch a bit of Jargo, who delivers a bare set full of charming little acoustic songs which compliment their general misery with pleasant touches of humour; this set was billed as ‘intimate’ I’d be interested what a full band might offer.

Having caught a few of Hamish Hawk’s songs in passing I was totally not expecting what I got today, on record his songs are wonderfully written and his voice stands out in charming sort of way, but his live set is delivered with such driven energy and slanted humour that it’s hard not to love.

Hawk dressed in a full suit is a charismatic frontman, punctuating his songs with full on facial expressions and disjointed yet hugely comical chat, while his band, the New Outfit, bring it all together in a powerful performance that’ll see this guy do very well.

Earths step up to the challenge of the night too, delivering their intriguing shoegazy indie material with a real punch that elevates their sound from record.

The dynamic between the two vocalists is a real engager for their set as mellow indie, even folk touching ,vocals and shouts that meander towards emo without becoming cringe worthy merge that with their loud lo-fi instrumentation to give something that really works.

Mt. Doubt is an act we’ve had our eye on for a while and new single ‘Afterglow’ is another example of Leo Bargery’s warm infectious songwriting and almost goes as far as matching triumphant previous single ‘SOAK’, which essentially made many stand up and take notice.

Tonight Bargery and his band provide an indulgent set with a full on indie rock sound that calls to mind moments of The National’s huge live sound, Bargery’s commandingly gruff delivery harmonises wonderfully with Annie Booth’s softer vocals, and Booth’s addition to the seems to be something more permanent since she featured on ‘SOAK’.

There’s an album out very too, also released by tonight’s host Scottish Fiction, and if what we hear tonight is anything to go by in could be something special.

Buy the 7″ here!

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Words: Iain Dawson

Premiere: Mt. Doubt – ‘Afterglow’

You may recall we put on Edinburgh’s Mt. Doubt back in January, and the project led by Leo Bargery has been one we’ve had a keen eye on ever since the captivating single ‘SOAK’ last year.

This Saturday sees the launch of the band’s follow up single ‘Afterglow’, which are chuffed to premiere here on ravechild.

2016 has seen Bargery working with the extremely sadly defunct Scottish Fiction, however what we hope is not one of the final acts of the brilliant Scottish music showcasing radio show and blog is to release this single along with a full length due later this year.

‘Afterglow’ once again pairs Bargery with producer Mark Morrow (The Winter Tradition), and combines sombre writing with full on quiet-loud-quiet dynamics, resulting in a track that displays a welcoming warmth yet remains slightly aloof.

The single is twinned with B-side ‘Hotel Key’, where Bargery’s deep vocals come to the fore amidst a more stripped back set up, before building to a climatic encore.

The single will be launched on Saturday at The Hug and Pint with support coming from Earths, Hamish James Hawk, and Jargo.

Tickets are on sale now for the advance price of £5 (+£1 sc) and you can also reserve your copy of ‘Afterglow’ on 7″ vinyl by buying a ticket and vinyl bundle.

Tracks of 2015 (30-21)

30-21  –  20-11  –  10-1  –  EPs & albums

30 Washington Irving - We Are All Going To Die30 Washington Irving – We Are All Going To Die [Naked Emperor]

As the opening chords of ‘We Are All Going to Die’ begin, it becomes clear why Washington Irving is on the road to success. Written following a period of unrest between the band, ‘We Are All Going To Die’ perfectly blends an upbeat, almost frantic, tempo with an intense and meaningful choice of lyrics. Washington Irving have yet to write a song that doesn’t demand to be listened to, what emerges from this single in particular is the juxtaposition between a sense of isolation and togetherness.

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29 Ubre Blanca - The Sadist29 Ubre Blanca – The Sadist [Giallo Disco]

‘The Sadist’ that is worth the price of admission to Ubre Blanca similarly titled EP alone. A stunning track, beyond the sometimes (let us not kid ourselves) boring 80s synth OST type groups; Ubre Blanca stand out as they venture away from the midi life crisis and more into prog/organic sounds of dare I say fusion bands. The first generation that used synths in the studio as an instrument… not everything including the studio. The track has the atmospherics part then the “banger” part. Heavy on poppers and Roxy Music guitars live they have taken the best most primal elements of the live show and successfully released them to us… the grateful listener. (Paul Choi)

28 Mt. Doubt - SOAK28 Mt. Doubt – SOAK

Led by songwriter and producer Leo Bargery, Mt. Doubt released the beautifully atmospheric ‘SOAK’ earlier this year. The track is packed full of heartfelt melodies and the addition of indie-folk songstress Annie Booth’s gentle and charming vocals compliment Bargery’s to create captivating harmonies. The instrumentals compliment both the vocals and lyrics creating a soothing sound that continues to build throughout into a triumph finale. (Jess Lavin) (she smells)

27 King Eider - Fire27 King Eider – Fire

‘Fire’ sees King Eider reach a delirious and feverish level, the track breaks down for a sparkling interlude of piano and violin before grabbing us in with a threat to topple the senses, as vocals are harmonised to startling effect. King Eider took a leap of faith with this more driven sound from their modern twist on toe tapping folk-blues and it worked.

26 Foreignfox - Driving Drunk For Christmas 26 FOREIGNFOX – Driving Drunk For Christmas

Despite the Christmassy theme FOREIGNFOX’s latest release may not have been the jolly seasonal tune many expect to hear during the colder months; it explores relationship problems around the holidays and how they can lead to dire consequences, however the track does showcase both frontman’s Jonny Watt’s vocal range and songwriting skills as well as the band’s signature passionate and intense sound, making a favourite on my Christmas playlist. (Jess Lavin) is a goose

25 WHITE - Future Pleasures

25 WHITE – Future Pleasures [RCA]

2015 has been a great year for WHITE’s and ‘Future Pleasures’ was the jewel at the centre of it all. A host of airplay, a profile in NME and a record deal with Sony was all fuelled by this high-octane indie-funk romp that seeks to bottle some of the rays of sunlight. You can even successfully Google them now, well to a certain extent now.

24 Hudson Mohawke - Scud Books24 Hudson Mohawke – Scud Books [Warp]

Having worked with Kanye West and had music featured in Apple adverts and Grand Theft Auto V, it’s fair to say that Glaswegian producer Ross Birchard aka Hudson Mohawke can now boast an influential, global reputation. Much like fellow Scottish export GTA, he marries American ideas such as hip-hop with an unmistakable Scottish wry sense of humour and a humble, self-awareness of his impressive achievements. ‘Scud Books’ is an NBA-ready banger with a shot of euphoria in its bright, primary-coloured chords and melody. For every Scot sniggering at the title there is someone else in the world obliviously head banging to the hallmark brass booms that Birchard has forged into his indelible signature on electronic music. This track epitomises how Hudson Mohawke has became Scottish music’s success story; instead of breaking the national shackles that hold back others, he has inconspicuously circumvented ever being tied down. (Liam Gingell)

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23 The Lapelles - Seventeen23 The Lapelles – Seventeen

Fiery, energetic and exhilarating, The Lapelles are able, on stage and in the studio, to encapsulate both the highs and the lows of youth, not to mention the chaos in between. ‘Seventeen’ is a sterling effort, with its impressive instrumentation and strong vocals, one can only imagine how powerful it will be when performed live. The track, and shared single ‘Snakehips’, is a striking statement of intent from a band that is rapidly building a name for themselves.

22 Pinact - Anxiety22 Pinact – Anxiety [Kanine]

‘Anxiety’ is a track filled with ferocity from the very first riff. With lyrics that include “I don’t feel so hopeless anymore” it has everything you could want from a great punk rock song; a great drum beat, scratchy guitar riffs with the distorted guitars bringing the track to a defining close. A top class single featured on an excellent debut album, ‘Anxiety’ will make you rush to hear Stand Still and Rot in its entirety. (Lorne Gillies)

21 Catholic Action - L.U.V.21 Catholic Action – L.U.V. [FUZZKILL]

In a year where Catholic Action quite rightfully grasped their claim as one of the hottest properties in Scottish music just now, ‘L.U.V.’, from their Fuzzkill released split with Poor Things was the standout track. It finds its feet firmly in the danceable indie/alternative wave that took over the UK in the 00s, however the band’s affinity for heavier groups lives on in the crunching and wailing guitars that speckle the surface of the song. At points ‘L.U.V’ breaks out of its danceable groove to give way to more outlandish influences and even features homage to Thin Lizzy in the form of a guitar solo. 2016 looks to be Catholic Action’s year.

30-21  –  20-11  –  10-1  –  EPs & albums

Mt. Doubt – ‘SOAK’

Anyone that knows me well will also know my love for both folk and punk music, so when these genres are combined and done well, (as this combination can be disastrous – not pointing any fingers) you can be pretty certain I’ll love it.

Therefore when I first saw Mt. Doubt (aka Leo Bargery) play live a couple of months back I was instantly hooked, but upon listening to his recordings the next day I felt like the passion present in his live show was missing.

Nevertheless, I was excited to hear the next single and to my pleasure found that ‘SOAK’ manages to capture that passion from Bargery’s live show – gripping my attention from the start.

Bargery’s gruff vocals are captivating and the addition of Annie Booth’s vocals beside his creates some wonderful harmonies.

While the instrumentals compliment both the vocals and lyrics creating a soothing sound that continues to build throughout into a triumph finale.

It’s been quite a while since I’ve stumbled upon a band that I’m really excited about, but I can certainly picture myself singing Mt. Doubt’s praise over the months to come.

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Words: Jess Lavin

Scottish Fiction presents Mt. Doubt, Akela, Dec’ 91 at The Hug and Pint, 4/8/15

Scottish Fiction, the platform created by Neil Wilson to champion new local bands through a website, radio show, and gigs, is responsible for tonight in The Hug and Pint, a tiny new venue on Great Western Road.

First up is Dec’ 91, the musical moniker of Craig Ferrie, who has recently recorded his first album Quebec in Canada.

He opens with a couple of acoustic solo songs, then is joined by a drummer who ups the volume.

This next part of the set sounds like Keaton Henson if he discovered Adderall and amplifiers; his onstage presence is endearing and light-hearted between songs, during which he glares out into the audience from under a fringe and baseball cap.

Together the musicians have the contrasting dynamics trick down to a tee, going from quiet verses to thrashing choruses in a few drumstick clicks, this is demonstrated in ‘Fuck You’ with its comically intense lyrics.

Second act Akela are a late addition to the bill, as a replacement for Deadly Rides, and sadly Ben Gracie’s soft vocals are often lost under the noise of the band, so lyrical content is hard to discern.

The music is otherwise enjoyable, with bright and dreamy guitars that are a combination of classic folk and contemporary acts like DIIV; tracks like new single ‘Past Sunrise’ are very much in upbeat indie-pop territory.

Headliners Mt. Doubt takes the stage with a dramatic art-rock sound, thick with robust guitars and keys.

The band is Edinburgh based, led by songwriter and producer Leo Bargery and this gig marks the Glasgow launch of the recently released album, My Past is a Quiet Beast, which has been well received by fans including the like of Vic Galloway.

Bargery performs deep and commanding vocals reminiscent of The National as Mt. Doubt’s atmospheric soundscape ends the night on a high for an enthusiastic crowd.

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Words: Ellen MacAskill

Mt. Doubt – ‘Feathers’

Pretty on point offering here from, currently one man project, Mt. Doubt; a taster for the album My Past Is A Quiet Beast coming later in the year, by which time a band may have been assembled.

Mr Doubt reckons putting the music together more or less solo has allowed him total control of direction and, while that’s hard to argue with, there is sometimes wisdom in the guiding voices (and strums and clatters) of others; for this gets firmly filed under ‘okay’.

It’s certainly not bad in any way whatsoever; some nice soaring keyboards and lively bass, along with his beguiling and strangely attractive 70’s-ish vocal pricks up significant interest in the long player to come, which I guess is the idea.

But it ain’t no musical revolution; it sits nicely in the current indie-type market without exactly reinventing the wheel.

We don’t do marks here but if we did it would be three stars (out of five) with a proviso: competent, but feel there needs to be more to come if it’s to stand out from the miasma and convert the Doubt doubters to dancing devotees.

It’s good and I wanna encourage a new pretender to the throne, but there’s some trees need pulling up here; perhaps that’s where a tyrannical producer comes in?

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Words: Andrew Morrison