Tag Archives: Shredd

Cutty’s Gym (EP launch), Objectified, Shredd at The Hug and Pint, 25/5/18

Contenders for hardest working band of the year, Shredd open this Cutty’s Gym EP launch at The Hug and Pint.

Shredd seem to get better every gig, what happens if you improve exponentially are these guys in danger of exploding in a puff of smoke!

Wearing their guitars higher than Simon Cowell’s trousers and with Chris Harvie pointing his like a rifle the three-piece seem ideally suited for The Hug and Pint.

The sound is great, and they take the opportunity to introduce parabolan for sale us to a new song ‘In My Head’, which sounds a cracker and due to be launched on June 18.

With Mark McDonald fertigyn hp 5000 a whirlwind on the bass (he makes it look so easy), Calum Wilson so strong on the drums and Harvie’s brilliant fuzzy guitar you must catch these guys live, if only to see if Harvie finally shakes his head off his shoulders.

They are one of the strongest live bands around especially if you like your garage rock fast and furious.

The small stage at The Hug and Pint is a whole new challenge for Objectifed with their seven members and their instruments of choice, however they all squeeze in and make it work.

In fact, they make the most of what seems to be a new lighting rig complete with Disco Ball and occasional smoke; seems the lighting guy might be on their payroll.

This all adds to the atmosphere of their haunting tunes.

Objectifed are a unique combination with members of various acts, drums, drum machine, trumpet, synth, guitars and various members taking up vocal duties whilst making a sound like no other.

Without a setlist, which appears to be their norm, they blast their way through the best of the tracks from their recent self-produced album, Taken.

Strong infectious rhythm, screaming guitars, diverse vocals and of course the trumpet work so well together with highlights being ‘The Slave Can Sing’; flowing straight in to ‘El Patròn’ and the strongest track from the album ‘Behave Tony’; they can do no wrong.

With a mild mannered looking (but for the Freddie Mercury moustache) Philip Differ setting up the mike on the stage you would be forgiven for believing him to be just another member of the audience.

With a familiar looking Ian Stewart taking the stage with guitarists Craig McIntyre and Marco Panagopoulos the wall of sound from Cutty’s Gym hits you square in the face like a cannonball, and well, it seems understated to say it was unexpected.

In fact, moving out of the PA’s firing line was required in order to preserve the eardrums.

What follows is a powerful, explosive, punk performance where Differ’s aggressive vocals are exhausting to watch.

Wild musicianship from this four-piece (previously a duo with Stewart and McIntyre) is full on and again energy levels are through the roof.

The big full on sound seems too big for the venue and Differ leaves the stage to strut about menacingly amongst the audience.

Cutty’s Gym, despite their loud aggressive sound, seem to have a low profile on the Glasgow scene but on this showing and the launch of their new EP, Zante, they’ve come out from under their rock and won’t (and shouldn’t) be ignored.

Words/Photos: Derek McCutcheon

Catholic Action and Friends Takeover at Tut’s, 24/3/18

Tonight looks a fantastic evening filled with lots of great new up and coming bands, both the bar and the venue spaces of King Tut’s are used all night to bring the audience eight bands in total.

Kicking off the night is Herbert Powell with punchy songs and big guitar sounds; the audience start to trickle in in dribs and drabs as the band play out their set.

The sound this band had is quite unique at times, which makes them very interesting and helped them stand out from the numerous other artists on the bill, along with an energetic frontman who gives a brilliant performance.

The audience usher themselves down stairs to catch Ewan Cruickshanks (Crooky) who plays a nice set of soft rock song as the bar starts to get very busy with more people coming out.

Next up is dream pop band Life Model with their lovely well-structured songs; their set is lots of fun and thoroughly enjoyed by everyone.

The band look to have an amazing time on stage dancing about and showing themselves to be a band with real chemistry and the lead singers vocals were stunning.

West Princes took to the bar stage next, they’re a great lively fun band who really got everyone moving about and enjoying themselves.

They filled the small stage with an energetic upbeat set; this band is a fantastic band with amazing dynamics and a fantastic grasp on song writing.

Shredd are next up and with their fiery energy they explode on to the stage with an amazing set that the crowd really loved.

They have an amazing vibe about them and bring to the stage a massive full on sound with their relentless guitars and drums.

By the time The Bellybuttons and ST.MARTiiNs take to the stage the crowd are full psyched.

Both bands gave an incredible performance with ST.MARTiiNs warming up the main stage for Catholic Action.

They are a highly charismatic band with a sensational vibe to them and are clearly masters at what they do.

The dynamics and song structures throughout are astounding and they have the audience eating out the palm of their hands the entire set.

It is fast paced and high energy and absolutely epic.

‘Black and White’, from their debut album In Memory Of, goes down an absolute storm with the audience who are joining in and having a great time.

We are also treated to some new music with the promise of a second album in the works.

Lead singer, Chris McCrory gives an incredible vocal performance, while maintaining his witty lines between songs.

On a whole, the gig and all the bands were incredible and showed how versatile and fresh Glasgow’s music scene is.

Singing along to the songs, the audience are given a night to remember by Catholic Action and all their friends who perform too.

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Words: Shannon Cullen
Photos: Brendan Waters

The Van T’s, Shredd, Pleasure Heads at Stereo, 16/2/18

Pleasure Heads (PLSR HDS) from Falkirk describe themselves as fuzzy pop, however on this showing they are a rock solid indie rock/pop outfit with a hankering back to 1980’s post punk.

The night sees the release of their latest single ‘Middle Men’, which forms part of their guitar led set.

Strong choruses, husky vocals and tight guitar work warm the audience for what is to follow.

Shredd is a young band in their infancy who give the impression of having been about for a while, yet they have achieved a lot in their just over a year.

Regulars on the Glasgow live scene this three-piece garage punk outfit seem to be going from strength to strength.

There is no doubt that Shredd give 110% in their set full of power and energy; driving guitars, crashing drums and infectious vocals these guys put their equipment through a fair workout.

Shredd are excellent live and I didn’t think it possible, but they seem to be getting better with every gig.

Glasgow four-piece The Van T’s deliver surf pop/grunge which could be straight out of the 90s.

Their riffs and harmonies exhibit influences from the best of American grunge pop referencing The Breeders, Veruca Salt, The Pixies etc.

In a band with twin sisters, Chloe and Hannah, it is understandable that they are so tight but their connection and interaction with the rest of the band would have you believe that they are all family.

A cacophony of distortion, reverberation, crashing drums and vocal harmonies cause a bit of a frenzy particularly during the instantly recognisable ‘Bittersweet’ and ‘Laguna Babe’.

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Words: Derek McCutcheon
Photos: Jake Gordon

Tracks of 2017 (20-11)

20. Golden Teacher – ’Spiritron’

‘Spiritron’ was the standout in an unexpected joyous surprise of a Golden Teacher full-length, No Luscious Life. The track captures the band’s effervescent live sound with an addictive mess of punk energy, otherworldly synths and Detroit funk, dancefloor hitting beats.

19. Shredd – ‘Flight of Stairs’ [Fuzzkill]

‘Flight Of Stairs’ begins with a thundering bass, and little time is wasted before the riffs are brought out backed by powerful, crashing drums. It’s Shredd by name, shred by nature as lead vocalist as guitarist Chris Harvie unleashes a relentless assault on his instrument and his distorted howls carry throughout, with a style reminiscent of Thee Oh Sees’ John Dwyer. The end product sounds absolutely massive, benefitting massively from the production of Bruce Rintoul, who has encapsulated the intensity of their riotous live performances.

18. Be Charlotte – ‘One Drop’ [AWAL/Kobalt]

The industrious trio Be Charlotte, fronted by hyper-talented vocalist Charlotte Brimner brought some damn good vibes early in the the year with ‘One Drop’, a glorious mashup, encompassing indie pop, slick beat boxing and electro. Delivered in an unmistakably Scottish accent, which, refreshingly, Brimner makes no attempts to minimise, with lyrics “filling me with doubt, that I can’t compete with the rest” are surely redundant given this band’s inevitable future success.

17. Martha Ffion – ‘We Make Do’ [Turnstile]

Running at only two and a half minutes, ‘We Make Do’ is perfect in its form, from the hook laden chorus, to the timely middle-8 and its radio-talk vocal treatment, it sits perfectly ready for you to press play once more.

16. Monoganon – ‘Black Hole’ [Lost Map]

Comparable to the all-encompassing black holes drifting through our solar systems, the five-and-a-half-minute track is an immersive experience, holding its listener in one place while dreamy synths and scattered drum beats unravel over introspective lyrical refrains of: “Crush me, I am nothing.” As ‘Black Hole’ culminates into a haunting piano and vocal ending, there is time for reflection of Monoganon’s interstellar journey through galaxies of wonder, psych-pop and gender contemplation.

15. Spinning Coin – ‘Raining On Hope Street’ [Geographic]

There’s something out of time about ‘Raining On Hope Street’, a sense of being suspended in a fleeting, wistful dream. This paean to the simple joys of friendship, collaboration and time spent just hanging out in the country and city tugs the heartstrings in all the right places, reminding us that solidarity in any form should be cherished especially in today’s volatile, isolating times.

14. FOREIGNFOX – ‘Lights Off, Carry Me Home’ [Scottish Fiction]

Dunfermline five-piece FOREIGNFOX used an intersection of opposing genres to make ‘Lights Off, Carry Me Home’ a captivating culmination of despair, hope and optimism. You can hear Jonny Watt’s pain in the track, released as a double A side split with Mt. Doubt; it’s beyond sadness and feels like there’s a need for respite, a desire to return home. ‘Lights Off, Carry Me Home’ is a climatic force in the face of dismay, building to a brutal honesty finale.

13. AMOR – ‘Paradise’ [Night School]

Inspired by the disco sounds of 70s-era Philadelphia International Records, AMOR bring their avant-garde disco sensibilities to life through epic soundscapes. The debut single from the supergroup featuring Paul Thomson of Franz Ferdinand fame, Richard Youngs, Luke Fowler and Michael Francis Duch, begins with a Blue Monday-style thumping kick drum, before a light funk instrumental gives way to a full-on funk stomp with Richard Youngs’ Bowie-esque vocal refrain of “calling from paradise/can you get through?” piercing through the heavily-layered synths. Pushing the 15-minute mark this is never going to be considered radio-friendly hit, however, there is enough here to suggest that AMOR will continue to be an ongoing concern amongst the members’ other projects.

12. Babe – ‘Wisteria’ [Kartel]

Sheer twinkling beauty in an addictive pop shell, ‘Wisteria’ was our pick of Babe’s Kiss & Tell album, however it could have been any number of tracks from that release. This slice of buoyant electronic bliss is special in it’s own right and shows Babe at thieir glimmering best.

11. The Spook School   ‘Still Alive’ [Alcopop!]

The infectious indie pop delivered by Edinburgh four-piece The Spook School has all the honest charm of previous efforts with a punchy joyfulness that has become synonymous with the group.  On ‘Still Alive’ dreamy vocals soar over traditionally catchy riffs, perfectly sound-tracking the nostalgia and hope of today’s twenty-somethings. 2017 Spook School ooze confidence, displaying the features of a band ready to emerge from the Glasgow winter gloom with self-assured melodic indie that could warm the coldest punks looking for a new contemporary musical home.

EPs of 2017 (10-1)

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

10. Foreignfox – I Used To Be A Bellydancer [Scottish Fiction]

Explosive, passionate and honest, I Used To Be A Bellydance added another EP to Foreignfox’s collection, establishing their identity and staying true to the burly Scottish accents and deep-seated, emotive melodies we’ve come to love. Huge, suspense-filled tracks, that are occasionally politically charged, Foreignfox show a concern for humanity and communicates a sense of disconcertion with the current state of things. A mixture of post-punk creativity and Scottish coloured indie-rock, the range of skill offered on this EP are is so potent and so memorable, it’s almost like a trip through a rugged wilderness with your closest friends as Jonny Watt hits you in the gut and grabs your deepest emotions through honest lyrics that convey both vulnerability and sincerity.

9. Hostel Freaks – Squad Goals [City of Glass]

Hostel Freaks, aka David Maitland, produced something with Squad Goals that used a strong formula of repetition and experimentation to set up an intriguing record, which is more than capable of breaking beyond its somewhat obscurity to break any open-minded dance floor.

8. E Bias – The Emmanuel Bias [Kick N Clap]

The Emmanuel Bias, this is not your usual release – how often do you get a supergroup with a Turner prize nominee and a member of Franz Ferdinand chucking out some quirky deep house? E Bias, the project of Luke Fowler, Paul Thomson and the ever versatile Richard Youngs, produced a pretty storming little EP, strong on Chicago vibes whilst not being oppresively old school. Great grooves, simple, stripped back Chicago style drums and bassliness; utterly functional and more beautiful for dispensing with too much ornamentation. Great record with six tracks that look back, but manage to be rather unique and forward-looking at the same time; impressive simplicity beautifully realised.

7. Dama Scout – Dama Scout [Father/Daughter]

Dama Scout’s EP veered from the conventional indie pop formula and delivered unexpected moments round every corner delivering a memorably and joyous record. Exploring a catalogue of theme the band have blossomed in 2017 and their every unravelling breezy sound is one that we can’t wait to hear more of.

6. KAPUTT – Demo 2017 [Fuzzkill]

Demo 2017 is a lively and innovative take on the post-punk, highly energetic cacophony of sounds create a very refreshing and amusing EP, setting KAPUTT but as one of the new bands that everyone should keep their eye on.

5. Frightened Rabbit – Recorded Songs [Atlantic]

Requiring no introduction Frightened Rabbit released Recorded Songs to little fanfare, still this three-track release stands alone as a strong part of the band’s ever impressive back catalogue. Most of the EP’s attention has been centred around ‘How It Gets In’, which the brilliant Julien Baker lends her voice to, but beyond that is another gem that’s well worth getting you hands on.

4. HOME$LICE – Young Creatives

Young Creatives is the sound of a band knowingly stepping up their game, and doing it with ease as HOME$LICE cement themselves as the trailblazers of a lo-fi scene which has been gathering momentum for several years. The band manage retain the edge that separates them from an ever-populated scene, however, they are evidently aware that their knack for a good melody deserves a wider, more commercial appeal.

3. Shredd – Every Time We Meet I Wanna Die [Fuzzkill]

With Every Time We Meet I Wanna Die Shredd offered a sense of levity and enjoyment without sacrificing their integrity. The EP is a party starter fusing garage, punk and pop elements, as gentle, meandering vocals juxtapose more coarse punk vocals perfectly, while fast, complicated bass; fun, entertaining, technically well executed guitar and cymbal laden, powerful drums. The release seems to descend deeper into traditional garage and punk material with each song without letting go of the vocal work and long-form guitar that distinguishes it from faster, punchier gear. It’s a border smashing debut that whets the appetite for future releases perfectly.

2. RAZA – Futuramayana [Save As]

Glasgow duo RAZA refer to themselves as a “heated conversation”, funny that, because the temperature which radiates off these four songs on show within this beautiful little EP Futuramayana is quite something else, these pieces of beats are reeking of subtly spiced garam masala (and more than a couple absolutely-stonking melodies). Dripping in grease proof stains of lovely synthesised unspoken syllables which cathartically delve their teeth into a violated surface of fun and tango, here we have profusely prolifically the wonderful dynamic which makes RAZA tick over quite deliciously.

1. The Bellybuttons – Wires [Fuzzkill]

Wires highlights an irreplaceable coolness with slick 90s vibes, ‘Referendum on you (enemies)’ captures a calming and airy dynamic, cleverly put together and creatively charged, effortlessly gliding into ‘Autumn Song’, flowing flawlessly alongside the damp and subtle bassline. There’s an immediate sense of togetherness when listening to this EP with a distinct charm drifting from start to finish. Wires is a slow and easy gem, presenting itself with resonating style, creating a playful head-space and good vibes – a severely obvious intelligence.

Shredd, The Animal Mothers, FAT BLACK CATS, Thee Rag N Bone Man at Stereo, 30/12/17

Thee Rag N Bone Man is a one man band (nee one man army!), a mass of equipment lays at the front of the stage as if to be set up later when Thee Rag N Bone Man straps on his guitar and starts at 100 mile an hour.

A bass drum, snare drum, hi hat cymbal and a crash cymbal all played by his left foot whilst thrashing along with his slide guitar blues.

A real treat – ‘Trash Blues’ one song leading straight into another with maybe in the region of 20 songs in the set.

The latecomers, as the venue is only just filling up, are missing a real treat as he gives us the blues, whether it be ‘I fell in love with a 16-stone girl, the food was good but the sex was painful’, ‘three bottles of white lightning and a smelly finger’ or ‘kill a hipster for rock n roll’.

This guy knows the blues with his high-energy performance and a cracking sound for a solo performance.

Distortion at its best with a multitude of other effects from a plethora of effects pedals; what start to the proceedings – time to take a breath.

More blues from the FAT BLACK CATS be it the garage punk blues, where Thee Rag N Bone man was high-energy these guys are Intense, even more so when the tops come off and they are stripped to the waist.

Driving rhythms and stories of the perils of living in the jungle of Blantyre these guys switch easily between blues and garage punk as easily as they swap instruments through the set – each member eventually having played guitar, bass and drums by the end of the set; does it affect their sound? – not in the slightest.

Reminding us very much of Jacob Yates and the Pearly Gate Lockpickers (and their earlier incantation Uncle John and Whitelock) whom they have supported in the past.

The Animal Mothers are a surf punk band from Falkirk and Glasgow and where the first two acts had blues running through their veins these guys are definitely influenced more by rock n roll and garage punk.

A terrific wall of sound created by the three guitars in the band, again in short bursts with songs of two to two-and-a-half minutes duration.

All with the manic antics of Wallace on guitar and vocals who is showing where his influences lay with his black cowboy shirt that Link Wray would have been proud of.

Songs of hipster suicide, police brutality and selling drugs to kids – no lightweight topics here.

They switch seamlessly from garage punk to rock ‘n’ roll in fact taking us back to the 60’s with ‘Donovan’s Reefer’ from their latest album (did I mention Link Wray?).

Other highlights from their album, The Animal Mothers Must Be Destroyed, are ‘Hipster Suicide’, ‘A Rain Will Come’ and closing with an extended version of ‘I Am Distortion’; these guys know how to rock.

Shredd close the show with their brand of garage rock and it’s been a great year for Shredd with three releases in 2017 on Fuzzkill Records and recognition at the Scottish Alternative Music Awards where they won the best newcomer award.

A rock solid set with driving guitars, powerful drums, infectious hooks and catchy melodies; 2018 should bring bigger and better things for this hardworking band (they seem to be gigging every week).

A fine mix of blues, garage punk and rock ‘n’ roll to close the year!

Words: Derek McCutcheon
Photos: Allan Lewis

Emubands Christmas Party with Static Union, Skjør, Edwin Organ, Shredd at Tut’s 13/12/17

The fantastic Emubands throw a party featuring a few Scottish great hopes tonight and we couldn’t be anymore excited.

It’s been quite the year for fuzzy garage trio Shredd, scooping Best Newcomer at the SAMAs earlier in the year followed by releasing quite possibly their finest moment yet in ‘Flight of Stairs’ – it seems quite apt that these boys end the year in style with a set worthy of any Christmas party.

Vocalist and guitarist Chris Harvie leads the charge through a plethora of sweet saccharine punk rock numbers such as set highlight ‘Cobra’ which funnily enough, leaves us wanting more in 2018 from Shredd.

Edwin Organ brings an ostensibly eccentrically pleasing manner to proceedings, his awkward and enclosed body language only makes his whole aura and stage presence feasibly more interesting and curious as he darts through finely sliced syllabic jams such as ‘Serenade’, which hoots and howls akin to Wild Beasts finest moments yet cunningly breaks a beat or two like those slightly well-known chaps in LCD Soundsystem.

Where Shredd soar with high intensity Skjør just as delicately delight with a brittle lo-fi haziness which encapsulates around Tut’s quite remarkably tonight, Vic Galloway proclaimed the Edinburgh quartet as darlings to watch this year and on the evidence provided through the ceremoniously slick ‘Self Control’ or disco jangly ‘Living Without You’ – we would hardly argue against Skjør, that’s for sure.

Static Union brings the encore and icing on the Emubands Christmas party cake with a generous helping of genuine, honest and at times scintillating musicianship and songwriting. Equivocally important to the remainder of the naughty tens as Belle and Sebastian were to the 90s and 00s, tonight we see just why Scotland has sat up and taken note of this wonderful quartet.

‘Last of our Kind’ juxtapositions chaos and order harmoniously, with a genuinely sombre reflection on hope and anxiety – Static Union’s approach to crafting a very good rock song is curating some consistent and haunting results – ‘Last Resort’ for example floats under a psychedelic wave of blooming keys and airy guitars.

As revellers begin to empty back on to the cold streets of Glasgow, there is whisperings on the way down the infamous venue stairs that perhaps, just maybe – one of the acts who played here tonight will one day have their name enshrined on the Tut’s stairs next to some of the esteemed artists to have graced this stage.

More Photos

Words: Chris Kelman
Photos: Brendan Waters

Shredd – ‘Flight Of Stairs’ [Fuzzkill]

Surfing on a wave of hype after being voted Best Newcomer at October’s Scottish Alternative Music Awards, Shredd release their latest single, ‘Flight Of Stairs’, following on from what has been a very successful year for a band formed just over twelve months ago.

The track begins with a thundering bass, and little time is wasted before the riffs are brought out backed by powerful, crashing drums.

It’s Shredd by name, shred by nature as lead vocalist as guitarist Chris Harvie unleashes a relentless assault on his instrument and his distorted howls carry throughout, with a style reminiscent of Thee Oh Sees’ John Dwyer.

The end product sounds absolutely massive, benefitting massively from the production of Bruce Rintoul, who has encapsulated the intensity of their riotous live performances.

The three-piece have been compared to acts like King Gizzard & The Lizard Wizard and Ty Seagall, and it’s not difficult to see why.

‘Flight Of Stairs’ already merits itself as a classic, and is further evidence that Shredd are currently at the forefront of the UK garage rock scene.

Words: Graham McCusker

Freakender Day 2, 16/9/17

Kicking off a day sure to be filled with riotous revelry for Freakender day two are local act Kaputt, playing their first ever show, and at six bands in to the weekend we’re seeing a little sax revival as 50% of the acts on offer have contained saxophone thus far, not that we’re complaining.

The five piece are built of fine stock, coming from some of the best DIY acts in Glasgow at the moment (Spinning Coin, Lush Purr, Breakfast Muff, The Bellybuttons, Chrissy Barnacle) and it’s credit to them that there is a uniqueness to their other projects; fast paced dizzying guitar, basslines full of bounce, chanted three way vocals and the addition of sax, which gives them fluidity and fullness in sound it would be difficult to achieve otherwise.

All in all they’re a really fun garage pop act that we are very impressed with and hope we can see grow from this promising beginning.

Another first ever set, Acid Cannibals deliver an invigoratingly loud set, like we expected any less from this duos background (The Cosmic Dead, Sick of Talk, Droves, Thisclose, Mantilla).

They are a blast of powerful riffs and bullet speed drums that do enough to shake away any hangovers in the room lingering from yesterday.

The duo create a churning wave that’s hard not to drowned by, plundering you to the depths, smashing you off the rocks only for you to come back for another go.

At times they hook you into a strong grooves, at others they pulverise with sheer power; either way they’re an experience to behold.

With a warm DIY pop sound and some delightful harmonies Hairband get upstairs started for the day.

Another relatively new Glasgow DIY supergroup of sorts (Breakfast Muff, Rocky Lorelei, The Yawns, Lush Purr) the five-piece deliver three way harmonies, all coated in plenty of sweet stuff.

The lackadaisical beauty of their guitars float just below the enchanting vocals, while meandering rhythms keep you on your toes without ever wandering too far into the strange.

They’re essentially a left field pop band keeping things delightful yet odd in subject matter, while maintaining a warmth that challenges just enough while keeping you in a dizzying high.

Psychedelic proto punk five-piece The Dreads are the first non Scottish band on the bill and they more just than justify their place with a set crammed full of rocking grooves, acid touched organ and a real garage rock croak of a vocal that creates a vibe of early Stooges.

Dressed in all white the Belfast based band pose a stirring presence and set in motion the first hints of the wild times to come from the crowd later on, blistering through half an hour of classic sounding tracks with a chaotic feel, that ends with the vocalist nearly out the door before returning to the mic and near swallowing it whole with a sickening scream.

Back upstairs The Birth Marks play the sort of garage pop that tempts you in with fun vibes and keeps you there with solid rhythms and brilliant tracks.

They may not be as odd or powerful as some of the acts on already, but that’s the beauty of this line up as the charming Mancs deliver real earworms of tracks that demand you to move along against your will.

Born out of some of Manchester’s best garage acts these guys are more than taking on the mantel, delivering perfectly crafted pop nuggets with dual sneered vocals and a sound that can engulf a room without any gimmicks, and just when you think you’ve heard all they’ve got their final track pulsates with a screamed velocity that lifts them up another notch.

Fruit Tones continue in a similar vibe downstairs, with more hooky garage pop that explodes into tangy psych tinged segments.

The Manchester band has been up in Glasgow plenty with their association with Fuzzkill Records and have plenty acclimatised themselves as they swig from a Buckfast bottle before blasting into another fast number, punctuated by vocals that go from hooky sneers to high pitched yelps; they can do slow numbers too as they calm it down with tracks dipped in soothing 60s surf vibes.

London based, but hailing from as far as Sweden, Italy and Australia, Yassassin come with bags of sassy punk attitude, yelped vocals that turn to four way chants to almost cabaret moments with a rhythm that drives them forward into strong 90s alternative vibes.

The five-piece, born out of acts like The History Of Apple Pie, LUST, Bonfire Nights and Loaded, has a never giving presence and compounding energy that recalls the likes of Kim Deal in Breeders mode, as loud yet haunting backdrops hush the crowd while getting people moving at the same time.

Hilarity ensues as the enthusiastic Raissa Pardini tries some Scottish slang (“shut up ya roaster”) in her thick Italian accent, before she burst into the crowd bass flailing on for the band’s last number.

Downstairs there’s a proper urgency to COWTOWN as the Leeds based trio blast through a set of hooky yelped vocals, explosive drums and addictive attitude.

Add to that a polite likeable stage chat and you’ve got a band you can’t help but warm to.

As has become the norm of the day they are super fast and lively and as they progress the crowd gets more and more energetic, as the band go from breakneck garage pop to synth heavy robotic rock to potential indie classics, whatever we get it’s a whips up a fury of fun vibes.

Fun seems like a word I’ve used a lot in this review, but that’s exactly what this festival is, but that said I can’t stress I mean it most when I say The #1’s are the fun.

They’re a power pop four piece out of Dublin that play with smiles on their faces and the most addictive delivery you’ll witness.

This is the stuff that should be chanted along to on mass in much bigger venues, they hark back to the poppier end of the late 70s punk movement; at one listen you’ll be in love, at two you’ll know all the words at three you’ll be belting them out with them.

All four members deliver lead vocals throughout the set, yet it never seems to drop in quality, they may not be the most innovative or technical band of the weekend but they deliver the most unabashed fun; they even pull festival organiser Ian Crawford up on stage to sing The Buzzcocks’ ‘Ever Fallen In Love’ and get the crowd surfing started for the day.

The riotous atmosphere that begun upstairs continues from the off downstairs as Shredd raise a ruckus with their howling, swirling fizz filled take on garage rock that leans on the side of good heavy riffage, with only Chris Harvie’s heavily reverberated vocals stopping the sound going all the way to full on metal assault.

It’s well documented how much we like these guys and today they again prove why with a churning fury of a live experience that you can’t help but let blow you away and see where it takes you.

When I say the room is totally packed for Manchester’s DUDS that is not an understatement, this is seriously the busiest I’ve ever seen The Old Hairdessers and the band, who’re selling their soon to be released debut album via Castle Face Records today, look in no mood to let down.

Their angular post punk sound is completely different from anything else on the bill, while still fitting into the day’s line up perfectly.

Trumpet and cowbell add original touches to their jaggy fast pop sound without ever getting anyway near corny, they’re just the right side of experimental with their discordant post punk that hooks in deep with both creativity and originality.

There’s an element of danger to their sound, a dark urgency, an impending chaos that makes them all the more appealing; at points it’s hooky and fun at others you’re on tenterhooks at where the next three minutes are going to lead, but are never let down.

Falmouth’s The Black Tambourines keep up the pace downstairs with their break neck, sun kissed surf pop.

An early cover of Creedance Clearwater Revival’s ‘Bad Moon Rising’ sets crowd moving and the trio don’t let it stop, well until the kick pedal is broken, quickly resolved and things kick off again.

At points they deliver lackadaisical surfy pop at others more punk tinged material that is still somehow indebted to 60s surf, while their live show is a flurry of addictive energy as they thrash about looking like they’re having as much fun as the pit that’s formed in front of them.

Closing tonight’s festival are a band it seems like a age since we last saw and Holy Mountain and don’t let down, as killer sludgy metal riffs engulf the room, the volume hits max, churning drums blast at break neck pace, while Andy McGlone’s sporadic guttural gruff tones add that extra bit to transform the sound into a full on aural assault.

We once wrote them a negative record review citing them as “70s arseholes” who walk “in and out of bars like they own the place”, just cos they wanted one, tonight you they could easily do that in the Hairdressers, well if they aren’t kicked out first for breaking curfew.

The lights go up, the band keep playing, the leccy gets cut the drum keeps going with the rest of the band triumphantly holding their instruments over their heads while the security look on clueless at what to do; proper riotous stuff to end a crazy day at Freakender’.

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Words: Iain Dawson
Photos: Allan Lewis

Ten acts to check out at Tenement Trail 2017

Tenement Trail is back for another year and as they spread a ridiculous amount of bands over 10 venues and over nine hours we made some hard choices for who we think you should go see:

Catholic Action
King Tut’s, 11.15-11.45

This one promises to be a packed one so get yourself along early, not only cos Catholic Action are the last band at the whole festival and have a whole time slot to themselves, but also cos they’re one of the hottest property’s in the UK just now. The Glasgow four-piece are less than a month away from releasing their debut album and from the exuberant, glam tinged guitar pop the have unleashed to date the full could be the thing that ushers them to the huge audiences that have been edging to for a while.

Flat 0/1, 9.45-10.15

With a live set that goes from Ty Seagall channeling garage pop to full on heavy riffage Shredd have carved out a reputation for themselves as one of the best live acts in Scotland just now. Expect to see the band being surfed over your head at some point; expect to have the time of your life.

Spinning Coin
Nice N Sleazy, 9.30-10

Spinning Coin’s DIY pop aesthetic has you falling in love with it from the instant you hear it. From luscious melodies to hazy garage, the somewhat Glasgow indie supergroup adds to the right amount of nostalgia and nods to their home town to have you flustered and the lovingly crafted songwriting does the rest.

The Great Albatross
Broadcast, 9-9.30

Wesley Chung’s subtle and beautiful acoustic tracks have been brought to real life as a full five-piece band now puts together The Great Albatross. His recorded material is a transfixing road trip of coherent splendor, however live there’s something vital about the tracks that give them a true glory.

Calva Louise
The Priory, 8.15-8.45

Based in London, but hailing from France, Venezuela and New Zealand, Calva Louise is a band with a high octane, punk attitude of a live show. They may only have a limited amount of music available online, however their surfy shredding, garage rock riffs and squealing guitars make them a live prospect not to be missed.

Edwin Organ
The Garage Attic Bar, 7.45-8.15

Variation is key to Edwin Organ’s sound, still everything he touches comes out golden, his slick, but not unbearably polished production gives his head nodding organic left-field electronica a real desirable sheen. At points it’s super catchy at others a welcoming hug that fuses soul and jazz elements with obvious dance knowledge.

Nice N Sleazy, 7.30-8

I’ve not had the opportunity to see ST. MARTiiNS in a live setting as of yet, but their luscious dreamy pop sound has me more than looking to change this this weekend. From our previous reports you could see a set of tropical sunshine or sultry wonder, but either way this duo are definitely ones to keep your eyes peeled for.

Emme Woods
The Garage, 6.30-7

Emme Woods is a talented and witty songwriter with an addictively gruff vocal that transforms her live show from a punk show to a pink swilling blues-rock powerhouse. She also has her wee dog on stage with at all times, you had us at Bubbles!

Wuh Oh
Nice N Sleazy, 5.30-6

While Pete Ferguson aka Wuh Oh’s recorded material is a headily eclectic array of catchy samples, glitchy synths and a peculiar yet entrancing set of time signatures, his live performance takes up a notch both musically and in his bewitching presence; it’s playful, infectious and will get you dancing well worth catching.

Stevie Parker
Broadcast, 5-5.30

Reports would suggest that Stevie Parker’s live show is an immersive, mesmeric experience and that’s what we fully expect from her recorded material, a delicately crafted emotional repertoire powered by Parker’s rich haunted tones that soar with enviable ethereal qualities.