Tag Archives: Shredd

Stag & Dagger, 30/4/17

Perhaps the most highly anticipated annual event on Glasgow’s musical calendar, Stag & Dagger heralds in the start of the festival season and once again floods Sauchiehall Street’s venues with an array of excellent talent.

Over the years, the festival has put on up-and-coming acts in intimate venues before they have exploded, with the likes of Royal Blood and Catfish & The Bottlemen having played pre-stardom sets at the festival in recent years.

As the festival takes place over six venues and eight stages, we take on reviewing tasks as a duo in an aim to cover all of the best offerings Stag & Dagger has to offer

An early stage time at an all-day festival can be a hindrance to artists who often are subjected to empty venues as audiences try to pace themselves – not here.

As LUCIA takes the stage for her early afternoon set (14.45), the Broadcast basement is packed to the rafters, and her brand of catchy punk sets a high standard from the off.

Her raspy vocals shine on the swaggering ‘What Am I’ before ending her short and sweet set on the riotous ‘Saturday Is Dead’.

The venue stays equally as mobbed as Shredd follow her and it’s Shredd by name, shred by nature as the three-piece make an absolute racket, making noise that sounds at least twice the sum of their parts.

Their set peaks on the excellent ‘I’ll Leave It’, sounding like The Vines in their heyday.

With more venues starting to open as we draw into the later portion of the afternoon, there’s more competition to attract crowds, however absolutely no one gives up their coveted spot in Broadcast for Rascalton.

One of the most hotly-tipped acts in Scotland at the moment, they are greeted with frenzied “RAS-CAL-TON! RAS-CAL-TON!” chants as they come onstage, and they haven’t even finished their first song by the time crowd surfers appear overhead.

The four-piece sound like Terry Hall fronting The Clash and the likes of ‘Hey Hottie’ and set closer ‘This Is It’ (where they are joined by Baby Strange frontman Johnny Madden) are indie anthems in waiting.

Immediately following them next door a cacophony of noise has another packed crowd witnessing a band that certainly has us excited in Edinburgh’s Bluebirds.

Regardless of the volume, and there definitely is volume, there is a real melody to them that runs through the four-piece, while pounding rhythm’s and Daniel Telford’s snarled vocals come up front and centre giving a punk edge to their heavier end of post rock sound.

Bluebirds carry a real confidence in their presence, and with their debut single, ‘Subcultural Love’ just out they could be onto a winner with Telford’s vocals at times taking a haunting reverberated spoken word format, akin to what we’ve come to expect from Dale Barclay in both Amazing Snakeheads and more recently in And Yet It Moves, before diving head first into powerful sections, backed by rhythms that stay clearly in place and keep their urgent tracks from tipping over the edge.

There is a massive queue outside the ABC as the excitement builds for The Vegan Leather, granted the venue isn’t quite open yet.

The band specialise in finely crafted effervescent electro-pop, and have everyone in the ABC2 dancing from the off.

In fact, the only person enjoying themselves more than the crowd, is frontman Gianluca Bernacchi, who has a smile plastered on his face throughout.

The Vegan Leather is The 1975 that it’s cool to like; fun, smart and accessible, their set is just one big party, and this is them just getting started – they play a midnight set at Broadcast later this evening.

It is then up the hill to the Vic Bar at The Art School for Roxy Agogo.

Fresh from being on lead guitar duties for LUCIA earlier this afternoon, Agogo and his two-piece backing band, featuring Christopher Ballantyne of The Lapelles, immerse themselves into their set of avant-garde performance art.

Agogo wishes the packed crowd luck early on, and his indulgent set is often a difficult listen; he does manage to sound refreshingly original as a result though.

‘When You Dress Up’ is a sleazy romp, before the immense ‘Crocod!les’ shocks everyone into submission as Agogo shrieks “I NEED SOME ATTENTION!” with the urgency of a man demanding his audience’s full undivided focus.

Meanwhile back down at Broadcast Berlin duo, touring as four-piece, Gurr become one of the highlights of the festival with a sparky dose of 60s girl group wonder that comes with a heavy dose of the 90s thrown in.

The fronting duo, Andreya and Laura Lee, are dripping with an addictive attitude as they tear through fast paced numbers even throwing in a chorus of ‘Hollaback Girl’ before launching into another charmer.

Gurr are fast, fun and completely endearing, the duo give a real engaging presence complete with welcoming smiles, cemented at the moment they request the crowd move forward and the crowd take the cue without a beat of hesitation.

Their surf tinged pop is just the dose for the early evening, as we start to move into regular gig times, and even if some mid song banter seems to get a little lost, the girl’s likeability wins through and we’re left with a truly rewarding set.

After making the dash up the hill to The Art School only to find that Shogun’s set has been canceled, there isn’t a better alternative than Artificial Pleasure down in The Priory’s dark, dingy basement.

If The Vegan Leather are The 1975 it’s cool to like, then Artificial Pleasure could become what The 1975 wish they were; their groove laden electro-artpop, complete with Phil McDonnell’s warbling falsetto are much grander than the setting forgives, indeed the frontman challenges people to dance with “if you dare”, in the tightly packed space.

Their sound packs all the indie dancefloor filling vibes you could wish for and McDonnell’s heavily accented banter is engaging in its crowd praising, which results in heckles of “fuck Newcastle” echoing around the venue.

Gang Of Youths are one of the surprise of the day; playing their brand of anthemic indie-rock, the Australian’s absolutely smash it.

They use their time onstage as a platform for some politically inspired rants, with frontman David Le’aupepe preaching “if you’re scared, I’m scared too”.

There’s a feeling of unanimous uplift in the atmosphere, also in the literal sense as Le’aupepe dives into the crowd and lifts people in the air as they end on single ‘Magnolia’, and the cacophonous ‘Vital Signs’.

The floorspace isn’t heaving by the time Marnie takes the stage in The Art School’s Assembly Room space, but it should be as the Ladytron singer’s set is shimmering in all the right ways; on point drumming from Jonny Scott, ethereal synths courtesy of Sarah J Stanley aka HQFU, and those dream glossed vocals that allow everything to soar in this space.

Marnie’s second solo outing, Strange Words and Weird Wars, is due very soon and given the chance to breathe there’s no reason why this collection of up-tempo dream pop won’t be as successful as her full band’s material; Marnie and her sound is effortlessly cool feeling in this space and leave those that have made it up the hill in a tranced daze.

Back at Broadcast and we have a distinctly less upbeat vibe from London trio Girl Ray, still Poppy Hankin’s distinctive Nico tinged vocals and the band’s lo-fi pop sound is a real warmer, possessing a timeless feel that’s hard to achieve.

Their sound draws a lot from the heartbreak hits of C86 indie pop; the twinkling keys, bouncy rhythmns and high lovelorn vocal passages, however it is when the slightly accented vocals dip into Hankin’s enriched deeper range that lift them beyond just an indie pop band to something a bit special.

A jump next door and Calva Louise start their set to a sadly sparse crowd, but the London based trio, who hail from Venezuela, France and New Zealand, and only have one track available online to date do not let this phase them, blasting though high octane garage rock riffs, crashing cymbals and squealing guitars that keep anyone that does wanders in firmly staying there.

Frontwoman Jess Allanic’s manic facial expressions almost match her vocal delivery and her on point surfy guitar shredding is seriously impressive, there’s plenty of reasons why Calva Louise have been hotly tipped for 2017 and it’s plain to see from their set today.

Calva Louise presented the one big clash of the festival with them taking the stage the same time as 2015 SAY Award winner Kathryn Joseph, lucky there’s two of us ay?

There are very few singer-songwriters on this year’s bill, and Joseph’s diversity to the rest of the lineup and clashes with some of the festival’s bigger names means that the CCA is barely half full, however this just adds to the beauty and intimacy that makes the Aberdonian so great.

Joseph is still surprised at how many people have turned up, and she can’t contain her excitement at playing a Wurlitzer piano for the first time live.

The natural reverb from her instrument adds depth to the likes of a hauntingly beautiful rendition of ‘The Bird’ and stark ‘The Blood’.

The venue is deathly silent throughout her performance, people scared to even take a breath so as not to interrupt the ambience, emanating from the songstress’ gazely stare.

Kathryn Joseph is easily one of the highlights of the festival, and to be lucky enough to witness her perform in such an intimate setting is a privilege.

Talking of highlights, up in the Vic Let’s Eat Grandma are about to take the stage, and the incredibly young duo, who met aged four, started making music together at 13 and now, just four years later are on a mission to transform pop music, sure create a sound that simmers the room to a hush.

Whether the crowd don’t know quite what to make of the girls or are just dumbstruck by the talent on show is debatable, however one thing is for sure, Let’s Eat Grandma produce music that is way beyond their years as delicate and haunting ethereal electronics, match with subtle guitars and laptop beats allowing the girl’s vocals to shimmer.

Bizarrely both girls disappear off stage after the first song, but after sorting/locating what they needed they return with a xylophone opened track that is linked up with sharp keyboard chords, giving way to a pounding beat, cue dancing as the teenagers set a real swagger before breaking out a ukulele and then a clarinet, neither of which break the vibe of the track instead creating an interesting instrumental dynamic to the duo’s set.

Still, as much as their multi-instrumental forays work and are impressive, it’s in their more straight forward moments that this duo shine most, that said when they introduce a saxophone you can’t help be impressed again, however in moments when it’s just them with a beat, keys and dual vocals that come across as the most impressive.

There’s something wonderfully eclectic about these girl’s, they’ve been accused of being too dead-pan in their delivery and indeed they don’t utter a word to the audience until the very end of the set, but things like starting songs laid flat on their backs, engaging in handclapping routines mid track and posing in sitting positions simply staring at the audience come across more as an interesting curio that standoffish.

You do get the impression it would come across as annoying if the music doesn’t work, but it does, and if these girls can harness the special talents they have at the tender age of 17 there could be very, very big things to come.

Entering the mix upstairs one of the festival’s big hitters has already started his set, still probably three hours earlier than would be prime for a Gold Panda set, yet he already has the room drenched in powerful beats as he bobs away seemingly entranced by the creation of his intricate sound.

Club atmosphere’s can’t really be expected pre-11pm but this is as close as we’re going to get here and Gold Panda doesn’t let the illusion go as soaring electronics are enhanced by bleeps and beats that get every part of you moving, while engaging visuals keep a focal point behind, his hunched busy presence.

In terms of music this year’s Stag & Dagger is another success, with Scottish music lovers being spoiled with a plethora of excellent sets over the course of the twelve-hour extravaganza; the countdown has already begun to Stag & Dagger 2018.

More Photos

[soundcloud url=”https://api.soundcloud.com/tracks/274235630″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Graham McCusker/Iain Dawson
Photos: Allan Lewis/Stewart Fullerton

Shredd – ‘Cobra’ [Fuzzkill]

Shredd’s new single ‘Cobra’ boots the door down with the same tenacity, enthusiasm and power that the world is coming to expect from them – or should be.

A slightly more directed effort than their other material and formulated with a bit more structure, ‘Cobra’ is the next hit in their habit of releasing fast, fuzzy, intense and well put together garage gold.

The guitar is all over the place, but coherent; the bass is low, loud, sludgy and grinding; the drums expertly thread the line between them both and keep everything together, without falling victim to dull repetitiveness.

The vocals seem affected just the right amount and somehow make the music more serious and more fun at the same time.

Overall, this song does what a good single should, it tantalises.

Shredd is going from strength to strength at the moment, this self-assured single shows that there are no signs of slowing down.

Ghost Girls Society provides the cover art again – in keeping with the very cool cover for Shredd’s EP Every Time We Meet I Wanna Die.

Words: Paul Aitken

FUZZKILL presents Shredd (single launch), Fruit Tones (EP launch), Breakfast MUFF, Savage Mansion at The Old Hairdressers, 8/4/17

Savage Mansion break into a dreamy and familiar seeming song, reeking of various decades past but brought up to speed with their lively, contemporary approach; consistent but ever-changing, familiar but novel.

This dichotomy between new and old is mirrored by nothing better than the facial hair from left to right.

Mutton chopped funky man Jamie Dubber wanders up and down the bass ponderingly, bouncing each track gleefully along the instrument.

On the other side of the stage, guitarist Andrew Macpherson sports a more contemporary fashion, in musical style and facial hair.

In the middle stands frontman and project foreman Craig Angus, playing simple but highly endearing guitar hooks earlier on in the set.

Both guitarists take their opportunity to show us some serious skills, while Taylor Stewart adds vocals to a number of choruses as well as to periods of general voco-musical madness spattered throughout the set, while managing to drain respectable amounts of beer from his glass in between songs.

It will be exciting to see how Savage Mansion develop over the next few years, their stylistic range is great and the vocals are very adaptable, varying in greater degrees between songs rather than within them – which is in no way a criticism, it keeps the set lively, unpredictable and engaging.

Breakfast MUFF take to the stage next to open with a song ostensibly about hating a subjects guts; it’s fun, energetic and dynamic, not unlike the band.

Simone and Eilidh are on the vocals for this number, synchronising and harmonising well whether their approach is punky and abrasive or melodic and soft.

Breakfast MUFF’s constituent members swap instruments and vocal roles readily, at least four times throughout the set.

This lends the band an integral dynamic; imbuing each member with a sense of each instrument and what is going on throughout the set at all times.

All are vocalists and multi-instrumentalists who seem to know every part of each song – not just their own, which comes across in their synchrony.

The last time I saw Breakfast MUFF – just across the alley in support of The Hotelier – I commented that I found some of their songs a little twee.

I wouldn’t level that criticism this time; their songs have simple hooks but are never boring, they are fast, fun, popping, well-conceived, dynamic, evolving and technically impressive.

Next up to is Manchester’s Fruit Tones, who’re are a lot more methodical and archaic in their sound than the previous bands, this is not to say that they don’t have their own distinct sound; they do, and it is lasting, timely and worth hearing.

Breakfast MUFF’s Simone plays drums for them, as if she hadn’t done enough.

They play a new song, complete with blinding guitar hooks, proudly audible basslines and Simone’s tight, cymbal laden drum work.

The vocals have an immortal edge which echoes of ages past whilst being extremely relevant.

The set is rounded out with some furious guitar work, setting the stage well for the act we’ve all been waiting for.

Shredd bring every inch of the energy and style that they commit to record to their live performance and then some.

The reverberated vocals permeate through the melodic and fuzzy garage superbly.

A mosh-pit starts almost as suddenly as the set.

Their energy is unavoidable, although why you might wish to avoid it is unknown.

The crowd is electrified, they came here to see Shredd and they do not disappoint.

Shredd are not over-reliant on any one element, but use them all to create an intoxicating compound of pure gold.

Their live performance is replete with pulsing waves of psychedelia and wild garage jams that combine to bring about tonight’s highlight.

A new song entitled ‘What’s This I See?’ typifies the bands exuberance, unmistakable style and sheer unadulterated talent – there’s even a drop of crowd surfing.

The vocal harmonies are quite unique for this style of music, whilst the drummer is a frantic wildcard.

When there are no vocals, the three face each other and go hell for leather, putting the work in.

The drums are great, the bass is great, the guitar is great and the vocals are great; Shredd are great, is what I am getting at I guess.

The crowd gets a little too lively for its own good, with people being burst all over the place and falling onto the stage, with some attempts at crowd surfing going less than well.

The Old Hairdressers isn’t big enough for this crowd and Shredd, great though it is.

They play ‘Hideout’, a song which, when I reviewed their EP, I challenged anyone to stay still during and I am happy to report that nobody was able to, what an example of a great song.

They play ‘Cobra’ last, their new single, which the night is centred around is another example of a great song, their bassist Mark Macdonald is raised aloft to surf the crowd whilst walloping out with the songs challenging lines.

Forgive me for all my superlative adjectives, Shredd are just brilliant live – go and see them at your earliest convenience and whilst tickets are still cheap.

More Photos

Words: Paul Aitken
Photos: Allan Lewis

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

Shredd offer a sense of levity and enjoyment without sacrificing their integrity.

This is not to say that the band takes themselves too seriously, but they are not joking at their own expense either and with heads kept on straight they could make some serious waves.

It will be interesting to see what Shredd can do on a longer release; the three songs on this record point to the fact that the band can do more, the tone is consistent throughout the EP but the songs are not particularly diverse.

The EP sounds like a snippet taken from the middle of an album, some sort of perverted demo before we get to witness the outfit rolling up their sleeve further to reveal more of what is up there.

Firing straight in with ‘Hideout’, Shredd wow immediately; this track is a move maker, I would challenge you to sit at the bar while it was being played live – if they are any good live (which we as a publication can confirm).

This EP kicks off by inviting you to party; fusing garage, punk and pop elements vocally and musically to generate something really quite endearing.

Gentle, meandering vocals; fast, complicated bass; washed out, roaring guitar and cymbal laden, powerful drums.

‘I’ll Leave It’ follows up, displaying more traditionally punk-rock elements whilst retaining the soft and subtle vocal harmonies.

The vocals tend to occupy two positions; coarse, punk territory and light, cooing, fancy land; this juxtaposition of approaches is quite novel and it adds a lot to the music, while the guitar work is fun, light, entertaining and technically well executed.

Every Time We Meet I Wanna Die finishes with ‘The Switch’, the anthem of the EP; with the lightest and most low-key music of the release.

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.

Another thing I like is the artwork, which may seem like a petty thing, but I don’t think it is; shout out to the artist that made it and whoever’s decision it was to use it for the EP.

Shredd will be supporting Codist with Wendell Borton at The Hug and Pint on the March 22 – which should make for a very enjoyable, fast-paced and hopefully sweaty gig.

[soundcloud url=”https://api.soundcloud.com/tracks/296889888″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Paul Aitken

HOME$LICE, Shredd, The Ediots at Sleazy’s, 24/2/17

Opening proceedings tonight The Ediots caress a gentle surfy vibe, teasing sunny snapshots as Eddie Stewart’s nonchalant lead vocal is punctuated by the occasional high whimper.

When they do up the tempo they go more tropical tinged classic rock than the garage you might expect; ‘Golden Girls’ continues along the same shinning surf lines with funk enthused rhythms, while letting the vocals become more prominent.

As the set continues the band hit more funk entrenched territories, allowing the building crowd to sway with an ease without going over the top with the bounce of the prominent bass in frequent jam-esque instrumental sections; it’s a solid opening slot from a band that seem to be getting back into the swing of things.

Shredd kick off their set with a heavy dose of eeriness and high pitched yelps, that soon pounds into a powerhouse garage metal sound, slamming down the accelerator without ever letting go.

Chris Harvie’s vocals act as focal point, but for the most are secondary to the drive of their unrelenting sound as they effortlessly switch from heavy riffs to Ty Seagall worthy garage rock sections all without giving a chance for a breath.

‘Hideout’, from debut EP Every Time We Meet I Want To Die, acts as a slight standout, possibly down to familiarity, but it seem to exists a thunderous experience in this setting delivering just the right balance to set things ready to explode.

And the crowd seem to react in a mass of movement down the front, not quite the chaos of their EP launch at The Old Hairdressers last month, that saw tonight’s headliners giving a reversed slot, but they set the bar pretty damn high as a support.

With a one, two and a pitter patter of instrumental HOME$LICE kick off their set, before a prominent vocal hits edgy post punk heights atop a shimmery sound that entangles itself with the audience with a dreamy ease, then deflects itself with machined percussion and continues on in effortless fashion.

Follow this with a glistening dream pop track, the five-piece hook you into a groove that is powered along by a vocal that gives all the mainstream-teasing enigma you could wish for.

These guys definitely have the potential to step between the gulf of guff in mainstream guitar bands, whether they have the knows to deliver something that can deliver on both critical and commercial levels remains to be seen; right now they have a healthy Glasgow crowd in the palms of their hands, nodding and swaying at the band’s will.

They have a forward-thinking festival crowd sing along in their arsenal if the right exposure came their way and shoegazy gloss that keeps an eclipsing glow about their sound beyond those emerging pop elements.

HOME$LICE aren’t quite there yet, but they’re on their way, tonight they have Glasgow convinced, what follows could well be anywhere; we’re excited to find out where.

[soundcloud url=”https://api.soundcloud.com/tracks/280669087″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Iain Dawson

Introducing… Shredd

Following their rip-roaring debut EP launch that saw The Old Hairdressers left a sweaty and battered mess, we caught up with Glasgow’s latest garage rock upstarts Shredd for a bit of insight into where they came from and what we can expect.

Who is Shredd? Since there’s no a huge amount written about you online could you give us a wee introduction?

Hey! Shredd are Chris, Mark and Calum! We all work together in our day jobs and after Chris got steaming and asked us to start a band twenty times we eventually gave in!

Every Time We Meet I Want To Die is a power debut, how did that come about being made?

We wanted to get into the studio as soon as we could really, when Ronan (Fay, Sweaty Palms) saw us at Freakender he expressed an interest in working with us and we took him up on it! We knew him well from around the Glasgow music scene and we knew he’d produce great tracks so it was a no-brainer! It was recorded at Gorbals Sound over Halloween weekend and we were all so hungover I’m surprised we actually managed to produce three tracks, but we’re pretty happy with how it’s all worked out!

The EP has drawn comparisons to the likes of Ty Segall and Thee Oh Sees, do you identify with these comparisons?

Yeah, definitely! Ty Segall was the reason this band started in all honesty, his brand of garage rock inspired Chris to write the tunes that became the first Shredd songs! It’s a compliment to be compared to people like him and Thee Oh Sees, we must be doing something right!!

Live you have a much heavier vibe that the EP or those comparisons might suggest, is that something we’ll hear in future recorded material?

Definitely! The EP is made up of three songs we wrote very early on, it felt right to release those first and they fit really well together! The newer songs that now make up the set are definitely a bit heavier and more mental! That being said, even the EP tracks sound much heavier live – we like to make a lot of noise!

The launch was a mobbed and as rowdy a Fuzzkill gig as I’ve seen in a while, how do you take it up from that?

Yeah, the EP launch was by far and away the most mental gig we’ve ever played! It was absolutely mad but amazing to see so many people getting involved, crowd surfing and dancing! For us playing live is all about having fun and I think that translates, people see us having fun and they have fun because of that! Even the first show we played was a bit mad and it’s just gotten better since then. We’re not worried about taking it up from there because we always put everything we have into our live shows, if we’re doing that we’re confident people will have a good time with us!

What’s the rest of 2017 got in store for Shredd?

Well we’ve just announced some more shows in support of the EP, we’re playing Manchester and London as well as some more shows with our good mates Home$lice in Glasgow and Edinburgh! We’re just going to keep gigging as much as possible, hopefully play some festivals in the summer and most likely release some more music! It’s been a really exciting start to 2017 for us and we can’t wait to keep going!

[soundcloud url=”https://api.soundcloud.com/tracks/296889888″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

FUZZKILL RECORDS presents Shredd (EP launch), HOME$LICE, Black Cat Revue at The Old Hairdressers, 21/1/17

A Fuzzkill show is rarely a tame affair, but tonight’s show manages to blow it out the water with a headliner that grasps the show by collar and engulfs the venue in as chaotic an atmosphere as I’ve witnessed in a while.

That said tonight nearly never happened, well maybe that’s taking it a bit far, as a power cut at the 13th Note caused a late venue charge, but there must have been a short moment where a panic ensued; step up The Old Hairdressers and the show has a more than adequate home.

First up is Black Cat Revue, whose psychedelic vibes seem a little odd taste on a bill of this sort, but despite their bassist seeming cut straight out of Madchester, granted the shades are to hide a black eye, they provide ample opening and warm the crowd nicely.

Their sound does touch on that acid tinged early 90s Manchester vibe ever so slightly, but the four-piece give a fair account of themselves despite not reaching the heights of the bands they share the bill with.

HOME$LICE are a bloody excellent band and with a new EP on the way 2017 could well be their year, and they fill the Hairdressers with a far-flung sunshine that we’ll be waiting a good few months before we get any sign of.

The five-piece carry their set of fuzzy pop gems with the aplomb of a band in their element, add to this the band’s hard working DIY attitude and you have all the ingredients for success.

Tonight however is Shredd’s night and both the Glasgow trio and the packed venue are well up for it throwing themselves into a entire set that goes from raw liberating garage rock to big heavy riffs in the blink of an eye.

Shredd, led by Deathcats drummer Chris Harvie, are a relatively new proposition, but having played their second gig on the first ever Freakender and having already shared bills with the like of Thee MVPs, Happy Meals and Gengahr they’re a band with plenty to give.

Their EP, Every Time We Meet I Want To Die, released tonight, in an authentic blast of garage rock that has quite rightly been compared to the likes of Ty Segall with their unreserved and super fast tracks balanced out with strong sneered harmonies.

Tonight lifts in up a notch as the band blast through a tight yet chaotic set that sees limbs flailing and body’s flying as the Shredd deliver a real sloberknocker of a show that leaves you gasping for your breathe, yet at the same wanting more.

More Photos

[soundcloud url=”https://api.soundcloud.com/tracks/296889888″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Word: Iain Dawson

Photos: Walk>Talk Productions

FREAKENDER NYE with Sacred Paws, Shredd, Rapid Tan at Mono, 31/12/16

Heading down to Mono in high spirits for tonight’s New Year’s celebration planned by the team who put on the highly praised Freakender Weekender early in the year, excited to see what their next event has in store.

First up is the ever-wonderful Rapid Tan, with a lineup consisting of members from a number of great local bands including Breakfast Muff, Herbert Powell and Spinning Coin.

Opening the night with a high-energy set allowing the band to fully showcase their fast-paced, upbeat sound, which nicely shakes the crowd awake and draws their full attention.

Even though each member of the band is clearly giving it their all, it’s Eilidh McMillan shouty punk-esque vocals that really stand out.

One thing is for sure, Rapid Tan’s set is packed full of fun from the lineup’s ability to enjoy themselves on stage to tracks whose subject matter ranges from local storefronts to deep-fried food and making sure to end 2016 on a less serious note.

New FUZZKILL Records favourites Shredd are next up and their fuzzy garage pop sound fits in perfectly on tonight’s bill.

With members from the late Deathcats, Faiides and Other Humans it is no surprise how tight their set is as the three-piece blow the crowd away with heavy riffs and fast melodies, bringing a darker sound into the packed out venue.

Despite the drunken chatter filling the room, Shredd manage to block out all other noise forcing (without much persuasion) the crowd to focus their attention solely on the performance.

As a longtime Sacred Paws fan, I’ve been extremely excited for their set and as the duo begin it clear that I shall not be disappointed.

An infectious whirr of energy grips hold of the venue as duo blend energetic rhythms alongside skittish guitar lines topped off with engaging overlapping vocals in perfect harmony.

Having become somewhat cult fixtures in the city Sacred Paws raw feel remains to create the distinct quirky sound present tonight, adding to the band’s already oozing personality.

As the crowd continuously dances along, Sacred Paws’ set brings us right up to the bells giving them the honour to start (yet just miss) the countdown to 2017.

No one seems to mind though as the sound of cheers and laughter fill the venue before Sacred Paws play us into the New Year by finishing off their set.

By the time Happy Meals take to the stage the night has become somewhat a blur, but the one thing that is for certain is that it is a true humdinger of a New Year’s party.

[soundcloud url=”https://api.soundcloud.com/tracks/263990460″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Words: Toni Edwards
Photos: Harrison Reid