Tag Archives: Vladimir

Stag & Dagger presents Live at Glasgow, 3/5/15

Beginning in 2008 as a London only event Stag & Dagger is certainly now starting to feel like something of an institution, promising to provide the vast spectrum of musical tastes we weegies have to come to expect when May rolls around.

Since its inception the variety of acts on offer that may or may not have been declared as the best new band in the world by the NME has provided a more than welcome kick start to the impending festival season.

Although billed as an all day event not much was scheduled this year to test the stamina prior to 3pm with the exception of a cinema screening at GFT, which I’m unfortunately too lazy to attend.

Firstly, the following disclaimer: ten hours of music on a bank holiday weekend may (read will) have resulted in the senses over time perhaps not remaining in peak condition and dark forces known as bars may limit certain recollections.

After the relatively painless collection of wristbands in comparison to previous years at the ABC, we make the jaunt over to Broadcast just as Glasgow three-piece garage types Womps close their set.

From our interesting vantage point at the middle of the stairs to the basement of Broadcast things appear to have gone well as the venue is bursting both in terms of cheers and capacity.

As we unsuccessfully squeeze our way along we can hear but not see a rather epic seven-minute or so set closer from Womps, who on this evidence we should really have seen more of.

The packed environment of some of the venues later becomes something of a feature, but for the moment I’m only too pleased to be afforded a smidge of breathing space as people dash off following the end of the set.

Thankfully, at least from the artist’s point of view, this breathing space is short lived as the basement is once again rammed by the time Sea Change kicks off her set.

“I’ve came all the way from Oslo, just for you” and its a good thing she has as her soothing breathy vocals act as the perfect afternoon tonic to those perhaps still suffering from Saturday night escapades.

Armed with nothing but a mic laptop and midi keyboard of sorts, she is up against it to maintain standards set in her recently released first album, Breakages.

Not getting of to the finest start with some reverb issues throughout the opening two numbers she begins to find her stride with ‘Stairs’, singing sombrely into the microphone while sampling her own voice, looping it with beats and bass while singing over the results until as a piece the whole thing becomes a melodious if disorienting web of noise.

Continuing in the same vein the wondrously heady and ethereal ‘Burstin’ has a basement crowd sucked in to each and every hypnotic rhythm as sparse beats laden with synth shatter through a now engrossed Glasgow audience.

Set highlight is, however, perhaps the eerie and spooky atmospherics of ‘Fearless’ in which Ellen W. Sundes appears to alter her tone to a far more dark and twisted CocoRosie-esque gritty nature.

Trotting over to the Garage’s G2 venue it is difficult to imagine the standard being set by the fresh faced Norwegian being maintained throughout the day, but we should at least give Jim Valentine and co the chance to do so.

After a 20-minute delay in which the venue didn’t yet appear to be open we are eventually treated to Valentine’s brand of Arctic Monkey-ness.

For this reviewer the all out aping of Arctic Monkeys and the Last Shadow Puppets was difficult to take at various stages, but everyone in the venue seems pleased with the results.

The bass driven swagger and snarling of ‘Tripetta’ is the high point of proceedings, while a welcome cover of ‘Jolene’ has the expected in the palm of your hands effect on those inside the G2.

So, then off to the Art School for more Glasgow rock band shenanigans, this time the mysterious WHITE on show.

Maybe it was because I knew little to nothing about them, or maybe because it was in The Art School, or maybe, just maybe it was because they absolutely nailed it; likely a combination of them all, but whatever the maybe there can be no maybe that WHITE are an exciting band to look out for.

From the moment they launch to the point of landing during the seven or eight song blast the band’s brand of 80s inspired new romantic mutated disco has The Art School unable to resist their charms.

At times it feels a bit like what you would want Spandau Ballet to do, as opposed to ‘Gold’ on loop, for a supposedly new band they are an incredibly tight proposition live

It is difficult to ignore the five-piece’s red leather clad frontman strutting around as if this is what he was born to do while introducing ‘How Can You Get Love So Wrong?’

All this synth sleaziness sends large portions of those in attendance rather batty, with almost no one left able to control the urge to tap and nod along to what sometimes feels so overwrought it shouldn’t work, but somehow it does.

‘Future Pleasures’ has everyone immersed in what already sounds like a modern day classic “down down down again” being sung in unison both amongst an outfit with clear chemistry and within the audience.

WHITE’s explosive Bryan Ferry type capabilities are perhaps best showcased through ‘Blush’, its sharp melodies laced with healthy smatterings of synths combine with vocals almost irritatingly excellent.

Leaving us with “see you when we play again… Whenever that may be,” the mystery so far cultivated by the band will likely have to end at some juncture, surely on this kind of form it will be sooner rather than later.

Having supported the likes of The View and The Fall in recent times Dundee’s latest export Vladimir take to Broadcast with a fair amount of experience and exposure under their belts.

Disappointedly, however perhaps not surprising given the amount of acts now on across the festival Broadcast is relatively sparse by this time to see the noise four-piece.

Although labeling Vladimir as simply a noise band is a tad disingenuous, as well as the noise there are real moments of quality, it’s just that as ever it can be difficult to possess a complete presentation that stays at such a level.

The two outstanding portions on show being ‘Come Over’ and a rather magnificent cover of Underworlds ‘Born Slippy’.

‘Come Over’ is a dreamy piece of post punk with drums to kill for and ‘Born Slippy’ is potentially the highlight of the whole day, blowing the walls of Broadcast.

Quickly skipping over to ABC2 just as Vladimir are finishing we attempt to catch a bit of KLOE but three-minutes is about all we manage, so as nice as those three-minutes are its upstairs to enjoy rock guitar god Thurston Moore and chums.

After what seems an eternity of tuning stroke intro fiddling the musical master-class that is the Thurston Moore band begins with ‘Forevermore’.

As is perhaps to be expected the majority of the material on show is culled from Moore’s latest non-Sonic Youth offering, The Best Day.

‘Forevermore’ is effortlessly segued into ‘Speak To The Wild’ the LP’s stand out opener track, “the king has come to join the band” sounds particularly apt; drumstick-scrape guitars and hum up amps topped off by My Bloody Valentine’s Debbie Goodge bass brilliance.

I had toyed with the prospect of bolting down the road to see a bit of BABY STRANGE, but predictably Moore and his cohort’s classic sprawling guitar odysseys simply didn’t allow an early exit.

No gimmicks light shows or questionable clothing attire, just pure unadulterated joy, performed by professionals at the top of their game, the closest we get to stage banter is “this song is about independence”.

The sheer intensity on show during the rendition of the title track is enough alone to hold those in the ABC’s attention, the gnarled guitar jam accompanied by understated vocals is arguably as good as any within Moore’s catalogue.

Just as Moore wraps things up I decide to hot foot it back over to Broadcast and catch London based trio Yak.

If I say that Yak mix bluesy psychedelia with the insistent drumming and droning synths of Krautrock, are you going to be able to imagine what that sounds like? The most I can say about the performance is that the band played, I was there, and I enjoyed their music, but after that I’m at a bit of a loss as to what to say.

Their most memorable moments tend to occur out with a musical context, the general chaos they portray becomes more of a feature than the music itself; comically requesting more bass throughout, singing strangers in the night, discussions over which key is played and lots of messing about with the backstage curtain among other ‘highlights’.

‘Strangers in the Night’ is the least obscured vocal on show as crashing guitars and a general intoxication of noise dominate the room.

The music they play is distinctive, in that they don’t sound exactly like anyone else, but the individual songs soon become a bit of a grind.

Nothing to particularly dislike, but there’s precious little that feels genuinely inspired either.

Maybe the band are tired or maybe the audience aren’t appreciative enough, whatever the reasons, I leave the performance feeling that what I witnessed was nothing to write home about and as the drummer chucks his kit we chuck it.

Back at The Art School we find that most disappointingly Moon Duo are in fact not a duo any more, somehow they have seen fit to have three live members.

The psychedelic side project to Ripley Johnson of Wooden Shijps takes us on a journey through time and space, guitar crashing, electronics throbbing, and motorik beat propelling the melodic noise forward through a galaxy of reverb.

For the 20-minute window we have with Moon Duo, their somewhat intergalactic wanderings translate into something approaching Sunday night space rock bliss.

The psychedelic projections that accompany Moon Duo are still fresh in the find as we trample back to the ABC to get a decent spot for Stag & Dagger headliners Django Django.

In town, just as the difficult second album is set to become available, they announce their presence to the ABC with synth-pulses, which near split the venue in half.

Their natural quirkiness is matched in every aspect of their sound, from vocalist Vinny Neff’s playful singing style to some delightfully wonky electronics.

Admittedly, they all too often settle into a repetitive mid-tempo blur, but the crowd are nevertheless captivated, lapping up the sugary lead single from their 1st LP, ‘Default’, in particular.

The set is punctuated with new cuts, which the crowd is understandably less receptive to, but the band are in fine form and enjoying themselves as the frontman beams “last time we played this we were way down the pile, now look at us!”

A few songs in, a new number with a particularly jazz influenced vibe shakes the venue up, toes tap and heads nod along as the track develops into something approaching acid house.

Synth sounds bounce off the walls and reverb back, bringing us all together in an encompassing Django Django embrace, with fans craving more.

The quick one-two double whammy of ‘Waveforms’ and ‘Skies Over Cairo’ is possibly the peak of the set, samples, blips, beeps, riffs, vocal cues and suddenly we’re transported to another location; the extended version of ‘Skies Over Cairo’ provides a fantastic evocation of deserts, sand dunes, oasis’ and bustling bazaars.

Having seen Django several times previously I shuffle downstairs prior to the conclusion of their set to see some Dutch Uncles in ABC2.

Four albums into their career Dutch Uncles are relative veterans compared to much of today’s lineup, indeed Duncan Wallis has been doing questionable dance moves while crooning to synths way before Letterman ‘discovered’ Samuel Herring.

A polished six-piece full of quirks Manchester’s Dutch Uncles have a healthy backing in ABC’s smaller venue, with many dance face offs taking place to accompany Wallis and co.

Sneaky shifting time signatures merge with those funky Kinks/Small Faces type hooks are order of the day on the likes of ‘Belio’ and ‘Flexxin’ as the crowd warm further to the likeable Manchester outfit.

While the hardcore element of their fanbase may have preferred some more hidden gems from their library, there is no denying the quality of the newer numbers showcased tonight with the soulful ‘Be Right Back’ a wonderfully harmonic stand out.

Wallis claiming that tonight’s crowd are better than Leeds gains further brownie points from an already convinced and by now fairly inebriated Glasgow audience.

“Maybe am just crazy, lazy” sings Wallis in between a xylophone duel meshed with sloppy sampling, there is no doubt Wallis carries a certain eccentric stage presence, which should hopefully help Dutch Uncles capture the larger audience their talent merits.

After waiting for an encore that wasn’t to be we march back up Sauchiehall Street to Broadcast again, however, having collected yet another cheeky ale it becomes apparent that everyone has had the same plan and the closest we are getting to hearing Bully is again via the stairs.

Once Bully are finished things only continue to get more over populated, so we have to admit defeat in our attempts to see the remaining two bands set to play in the basement.

Only time left to slink away to another venue minus the live acts we so craved, oh well, next year then?

More Photos

Words: Andy Quigley
Photos: Tim Gray

Tenement Trail Festival, 4/10/14

Today, the Tenement TV team go from the very white living room in front of a camera to some very colourful live venues in front of hundreds of music fans, this is the second Tenement Trail festival encapsulating five of Glasgow’s most popular venues, and over 30 of Scotland’s most promising acts.

We begin in the early afternoon in Sleazy’s with The Rockalls and the Glasgow six-piece seem excited to be here, although early, a decent enough crowd has gathered and a few are at the front hoist up rabble rousing frontman Dominic Orr.

‘Sad Clown’ is the first song of the day, which features a call and response chorus between Orr and bassist Ross Wood, while the garage punk band’s set highlight comes in the from of a cover of Kraftwerk’s ‘Model’, although it’s a bit too early for the moshpits the band are inciting.

Next up are Dundee’s huge sounding Vladimir who blow you away with their post punk sound, their songs flow into each other as they play an assured and dreamy set and just as we’re leaving we hear another familiar electronic hit, this time a cover of Underworld’s ‘Born Slippy’, an extremely well executed and original cover from a band with bags of potential.

Back in Sleazy’s Deathcats open with ‘Solid’, track one from debut album All Hail Deathcats, and starting from a small crowd the venue quickly fills up and is almost full by the end of second track ‘Dreamz’.

Singer James McGarragle is in wild form, swigging Buckfast while talking between songs about subjects as diverse as Annie Lennox and long-distance Skype sex, with no electro cover in sight, the three-piece’s lo-fi punk sound is great fun and while the set sits on the edge of chaos at many points, it works like a dream for the Glasgow trio.

Over at Flat 0/1 for the first time today and another Dundee band, Blood Indians, are taking to the stage, having never been a fan of the retro-styled Flat 0/1 as a live music venue, it isn’t a surprise that it takes a while for the sound engineer to get a sound deserved of the band’s intricate, but often reserved sound, however, those issues aside, lead vocalist’s Joanne Forbes and Rowan Wright’s harmonies are most definitely on point and the overall performance at times leaves you thinking of a female fronted Frightened Rabbit.

After a walk back up to Sauchiehall Street, it’s time for Scary People down in the Sleazy’s basement, our third Dundee band of the day.

Walking onstage to a barrage of atmospheric music, the band seem to hop from genre to genre getting a decent reaction from the crowd, with ‘(It’s Never Calm) On The Western Front’ a good example of this.

One of the most hyped acts of the day, Roxy Agogo are about to play their first show and their frontman announces “this is Roxy Agogo” on a few occasions, the online campaign preceding the launch of this act has been steeped in mystery, with no names named and only three songs (which are all played this evening) released via Soundcloud.

Sleazy’s is at capacity, full of intrigued music fans and the band don’t disappoint with some huge sounding, at times psychedelic-tinged tunes, the act’s 20-minute set is definitely a sign that bigger things are coming for this now slightly less mysterious act.

Our first and only trip to the ABC2 is for psychedelic blues rockers Tijuana Bibles who fire straight in to fantastic recent single ‘Crucifixion’, and frontman Tony Costello rattles his tambourine to near death before they launch into the single’s B-side, ‘Toledo’.

The band play much last year’s Wild River EP, as the audience lap up their bluesy riffs as Tijuana Bibles play a fantastic half-hour of what is some of the best music heard all day, putting on an extremely professional, tight performance, deserving of the rapturous applause at the end.

Cherri Fosphate are our first visit King Tut’s and, before opener ‘Neighbour’, frontman Jonny Sharpe jokes about the crowd having to walk fairly far to get here, this might not be far from the truth as although it later fills up a little bit, there are far less people than any other of the sets seen today, still, the band don’t let this get them down, and play an excellent set of archetypal 21st Century indie rock music, much of which will appear on their upcoming debut album.

Making a quick jaunt up to Flat 0/1 to catch The Velveteen Saints, we arrive just in time for opener ‘Die Alone’ and the four-piece deliver an assured set of pure rock ’n’ roll.

Having toured huge amounts with a high-calibre of artist, the Glasgow quartet know how to work their huge Flat 0/1 audience, in their last gig before they release excellent debut single, ‘Postcard’s From Rome’.

Our final act of the night is indie folk outfit Randolph’s Leap, often a solo venture for lead songwriter, guitarist and singer Adam Ross King Tut’s tonight is treated to the full eight-piece band.

Catching the last half of their set, Ross jokes about how Tut’s is only ever given its full “Wah Wah Hut” name these days by older generations, which is a clever and (from my experience) true statement.

‘I Can’t Dance To This Music Anymore’ is ironically the last song of our Tenement Trail, but sadly Scotrail have dictated that we’re unable to dance any longer.

The Tenement Trail has been a real success, highlighting a togetherness of the music scene in Glasgow (and beyond), as well as showing the truly high standard of artists that exist in the Scottish music scene.

If there was any doubt in the minds of the Tenement TV team about making the Tenement Trail an annual event, there won’t be now after the roaring success of this year’s event.

More Photos

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Words: Neil Hayton
Photos: Bill Gray

T in the Park, Friday, 11/7/14

There’s sweltering sunshine around the now legendary grounds of Balado, and Scotland’s biggest festival is ready to say one big goodbye to the airfield that many have enjoyed the best parties of their lives in for just short of two decades.

Yes, T in the Park, whether you personally love it or hate it does have a special place in the hearts of the masses and it’s for that reason that for over its 21 year history it has risen to be one of the world’s biggest festivals and for one weekend a year a lonely airfield near Kinross becomes the fourth biggest town in Scotland.

This year it’s advanced further with Friday becoming a full day event for the first time and Saturday’s curfew extended to 1am, albeit we do see the absence of the Transmission Stage, the festival’s usual fourth stage, which does leave slightly less choice on the bill but allows the opportunity for BBC Introducing and T Break to really step up to the plate.

It’s T Break where I start my day for the fuzz layered swagger of Dundee boys Vladimir, and they don’t let down in front of a reasonably healthy crowd for a first act at the notorious local band tent.

Their sliding guitars and sneery vocals are blanketed in plenty of rock star attitude and after bursting on the scene last year they’re now making a firm grasp, expect plenty more from these guys in the next year.

Following Vladimir I get my first taste of music in the sunshine as upcoming popstress Charli XCX opens the main stage, as I wander over she’s performing a funky cover of ‘I Want Candy’ in what appears to be just a nighty and one that does become rather revealing in the windy conditions up on stage.

Still this is the moment that T in the Park 2014 gets to enjoy it’s first number one single of the weekend in the form of the track XCX penned and performed with Icona Pop, ‘I Love It’, and this gets the first unsuspecting screams for those who have came down for the early afternoon sunshine.

This is quickly followed by another top 10 effort with her featured track with Iggy Azalea ‘Fancy’ and followed by the only track I witness from last year’s glorious dark wave album True Romance in ‘Grins’, before choosing to end proceedings on latest single ‘Boom Clap’, it’s a fun way to start the day in the sun and shows wee Charli’s progression since we saw her in front of 100 or so people a year ago in the ABC2.

Following that I take a bit of time to re-familiarise myself with the set up taking the time to catch a few potential soaring pop hits at the Radio 1 Stage from the foot tappingly captivating Foxes, whose face is everywhere this weekend, and some powerful grunge grooves from Derbyshire brothers Drenge, who play to responsive crowd in King Tut’s Tent.

All that wandering about in the sunshine becomes a bit tiring but at a festival like T you always want to try and take in a bit of everything on offer, still the potential of seeing the disco enthused, pop rocking sisters HAIM in the sunshine of the Main Stage is too good to resist.

The addictive handclaps and bass licks of ‘Falling’ kick off proceedings as the trio instantly get into their sugar coated groove, but they quickly prove their more than just Stevie Nicks wannabes as Danielle Haim’s grimaced solos and the rollicking hard rock of Alana Haim fronted ‘Oh Well’ prove testament to that.

The trio returning from last year hold T in the Park in high regard as Este Haim admits losing herself to Kendrick Lamar last year was one the best moments she’s had in recent times before pulling off a sun drenched cover of Beyonce’s ‘XO’.

A three girl drum assault polishes of ‘Let Me Go’, and the set, as HAIM provide one of the early festival highlights before giving way to Imagine Dragons, who I give a couple of songs before moving on from their rather mediocre alt rock to cover some new names, to myself at least.

This comes in the shape London Grammy nominated produced MNEK who sports a colourful shirts/shorts combo and a powerful soulful voice that saw him reach number four in the charts on Gorgon City’s ‘Ready for Your Love’.

The set is loads of fun and jam packed with funk filled beats, sassy pointing from wonderfully harmonious backing vocalists and a few well picked covers includes Sly & the Family Stone classic ‘If You Want Me To Stay’.

Over at the King Tut’s Tent Glasgow trio CHVRCHES have the crowd in the palm of their hand from the off with recent single ‘We Sink’ and it’s truly testament to how far these guys have come in such a short time that the huge tent is rammed.

Still, this would be my fifth time of catching them since they graced the Transmission Stage last year and although the set, entirely taken from debut album The Bones of What You Believe, is strong it does feel time for a breath of fresh air, time to take a step back produce that follow up.

Regardless the Balado crowd lap it all up as energy levels fly through the roof for Martin Doherty fronted soarer ‘Under the Tide’, which provides a nice contest from Lauren Mayberry’s always delightful but almost delicate delivery.

Still, closer ‘The Mother We Share’ sounds fresh as ever and will be a staple for years to come as they end on a high and the majority of the crowd make the difficult choice between a ginger muppet and some Welsh bore-rock behemoths.

Naturally I choose a stint in T Break as the stage ends with three of Glasgow’s most encouraging acts, Deathcats are up first and turn up their usual summery surf pop style and provide an ultra fun set to a small but enthusiastic crowd, which reads as a who’s who of the Glasgow alternative pop scene at times.

These boys are consistent as ever and frontman James McGarragle’s slanted vocal hooks dig in deeper with every listen, last year’s ‘I Wish It Was Summer’ feels the most apt, McGarragle introduces it by quipping “this one’s about getting your taps aft,” after a day of scorching sunshine – there’s total sunglasses tan coming my way for certain.

The next local favourites are TeenCanteen and I’m again thanking my lucky stars that T Break is here, as the four girls appear faces covered in shiny stuff and sweetener covering their tunes.

It’s a pure sugar coated delight as ‘Honey’ rings round for a growing T Break crowd, some slightly bashful soft spoken chat introduces another charming fuzzy indie pop ditty and this continues through the entire set that culminates in the soft keyboard led ‘Vagabond’, delightful stuff.

It wouldn’t be right if I didn’t head over to see at least some of the Pixies, but as I arrive for the Tut’s Tent headliners you’re instantly hit with the poor turn out and the ultimately flat, rather underwhelming performance only goes to justify why; at points it could well have been that guy from The Shield up there as Black Francis’ usual howl seems lost in the midst of performance.

Still as they throw in some hits the gathered crowd take things up a notch, ‘Hey’ being a particular early highlight as Francis manages to hit comfort zone for a few minutes, it’s not enough though and I head back to T Break for a performance sadly seen by few that could be one of the sets of the weekend.

Tuff Love don’t seem to care about the lack of crowd as they blister through an engrossing set filled with head nodding hooks and summery vocals, the Lost Map signed trio are a delight as their bright grunge tinged guitar pop sound more than outweighs a lacklustre Pixies or the tartan trousered, bearded twits doing their Scottish Foo Fighters impression for the masses.

After Tuff Love, just out of intrigue, I wander over to make the last twenty minutes of the Pixies, and although I am greeted by the glorified majesty of ‘Monkey Gone To Heaven’ and ‘Debaser’ back to back a touch of needless guitar wankery from Joey Santiago kills the vibe and even fan favourites ‘Tame’ and ‘Vamos’ can’t seem to lift it again.

Closing on ‘Where Is My Mind?’ gives everyone a glorious if short lived reminder of how good the Pixies back catalogue is and allows one more track to be ticked off the bucket list, however it’s all too unconvincing and it’ll simply be a case of if we’re ever to see the Pixies again it’ll need to be a case of simply Deal or no deal!

Words: Iain Dawson
Photos: Bill Gray

T Break: Find Your T Highlight Here

It’s another year, it’s another summer and here’s hoping it’ll be as nice last year, yes the blistering heat of T last year left a few people a little worse for wear, staggering about looking for the next luke warm lager, but we can have no argument that’d it’s more fun in the sun.

However we also know that it’s nice to wander into a wee tent get some shade, or possibly shelter from the rain, and stumble upon your next favourite band, whether that’s cos the likes of Calvin, Biffy et al don’t quite float your boat or cos you’re actively seeking it T Break always holds some hidden charms for those Saturday afternoon where you don’t quite no what to do.

This year we’ve gone and done a wee bit of ground work for you and given you a guide to all the acts playing T Break this year giving you something to listen to, a wee bio and a quote about being able to play the famous stage, and needless to say there’s some belters on there.

So, if you’re hunting out the next T Break to Main Stage behemoths or just seeking a wee gem to surprise you’re pals with have a look through, you’ll be presently surprised.

Atom Tree

Atom Tree

Glasgow’s Atom Tree transcends genres, blending organic tones with electronic pulses, submerging the listener in beautifully haunting soundscapes.

“T in the Park is one of the biggest festivals in Scotland and to be considered for it let alone playing it at this stage of our careers is a huge privilege.”

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Intense dentist-drill synths and sharp, cyclical guitar patterns make out with perky motorik drums and probing bass to produce a prog/post-punk metronomic groove rock thing with plenty of intensity.

They are reminiscent of Nought, Public Service Broadcasting or Plank! with some unhinged, sparse, yelpy vocals; Krautrock reborn with balls.

“We are absolutely over the moon to be picked for T-Break.

“T in the Park is a festival I’ve been to more times than I can count, and to be able to be part of it from the other side of the fence is amazing.

“I can’t wait to give a performance as memorable as the ones I’ve seen down the years!”

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10309563_254873318033802_5278610803308943612_nBlood Relatives

Blood Relatives who met through Glasgow’s gigging circuit, and bonded over Lidl’s Western Gold Bourbon share no DNA, but they do share an aim of making quality pop music, with a bit of depth to it.

“We are really chuffed to be playing T Break, because it’s a little validation that we’re doing something right, and I’m really self-doubting and easily discouraged.

“It’s lovely to have a vote of confidence, and be part of a line up of quality acts.”


Deathcats is a fuzz pop trio based in Glasgow who formed in the summer of 2012 based on a mutual love of noisy guitar bands and cats.

Since then the band have gigged non-stop all over the UK, from London to Lerwick, and have supported a number of touring acts such as Drenge, Splashh, Hooded Fang and Mazes.

“We’re really stoked to be playing T Break this year; we’ve worked pretty hard over the last year and to be asked to play at Scotland’s biggest festival makes it feel worth it.

“Also, our new album will have just dropped so hopefully we can sell loads to steaming wee bams.”

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10372556_785692311455188_2496077165768542007_nFat Goth

Dundee based three-piece Fat Goth have successfully risen from local underdogs to rock fan favourites appealing to those looking for proper meaty, old fashioned rock music.

Recently, they’ve found themselves the subject of Kerrang’s legendary Pandora strip twice, featuring in the magazine and receiving stellar reviews for their humorous and brazen style.

“Playing TITP on the BBC Introducing Stage last year was definitely one of our major 2013 highlights.

“To have the opportunity to play again the following year on the T Break stage is incredible so we’re very much looking to adding some weird to the line-up.”

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10013299_1418670885055418_493068720_nMedicine Men

Psychedelic music for the dancefloor, Glasgow’s Medicine Men are already causing quite a stir after just a handful of live shows, drawing excited comparisons with bands such as LCD Soundsystem, Tame Impala, The Chemical Brothers and Death In Vegas, the band mix soaring synths with kinetic breakbeats and bruising basslines, creating a glorious fusion of styles from sublime psychedelic rock to pumping dance music and everything in between.

“To be chosen for T Break is massive for us, we thank the judges for the opportunity and intend to put on the show of our lives.”

10418143_397514107053209_4798724912313766410_nModel Aeroplanes

Fresh and fun pop music, Model Aeroplanes are young and have the world at their feet.

“T Break is a platform for new music which started out many of our favourite bands and after playing T in the Park last year, it is a great honour to have been invited back to perform on the T Break stage this year.

“T in the Park is a great festival with one of the best crowds in the world and it means so much to us that four friends making music can be part of it at such an early stage in our career”

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NAKED is like walking through Japan at night; neon-lit, hard punching beats filtered under dissonant guitar sculptures and hypnotising vocals.

The sound explores the novel condition of physicality and sensory experiences – tied to the technological advancement, it’s about the interaction between the accelerating technology and a classical notion of humanity, between synthetic and organic, future and tradition.

It speaks to non-belonging inspired by a fictional Japan, viewed as a signifier of post-millennial, post-digital urban ennui and the pure absolute loneliness of crowds.

“As the late, great Chic Murray might’ve said: This is a red letter day for the group. The letter being T. “

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1507066_238271506365899_5317352052050645099_nScary People

Born from the partnership between two tour technicians, Scary People had only one week to form a band and rehearse a set before their first gig at a sold out show in Dundee.

Rising to the task, Dan Forouhar and Scott Anderson called upon friends, Steven Anderson, Jamie Brown and Troy Lynch to join them to prepare for a show that would immediately gain them an impressive crowd response and, since then, a dedicated following.

“Having been a band for just over a year, it’s incredible to be playing this year’s T; it’s encouraging for new acts all over Scotland.”

1932258_589416391154641_401537262_nSecret Motorbikes

“We initially met at the auditions for Britain’s Got Talent in 2010; Tino and Paul were a vocal harmony duo, Gordon was part of a ventriloquism act (he was the dummy) and Iain had a sheep herding act.

“The judges put us together as a group because of our looks, things have been blowing up ever since!

“Different day, same shit.”


TeenCanteen are four-girls split between Glasgow and Edinburgh who, since their formation in 2012, have played some of Scotland’s key festivals as well as supporting The Pastels, Wave Pictures, Evan Dando & Juliana Hatfield and Stealing Sheep.

“We are really excited to have been selected to play this year’s T Break Stage and to be part of a great and diverse line-up.

“T in The Park is a big event for a lot of people who attend – for some it might be the only live music they see all year – and so for a new band it gives us the opportunity to perform in front of an entirely new audience that might not even be aware of us.”

10341644_436891056448565_4137251139114951103_nThe Moon Kids

Fuelled by powerful pop hooks and chiming six-strings, The Moon Kids are shooting for the stars.

Bright lights, big tunes, funfair love affairs and dizzy, dizzy days; a carnival of pulse-quickening anthems and heart-stopping thrills where space is the place and the place is wherever you want it to be.

It’s how The Small Faces might have sounded if they’d starred in A Clockwork Orange; 21st century pop shot through with shades of The Beatles, The La’s and Mark Rothko.

Music made to blast out through the tannoy of the waltzers or maybe the PA in a nightclub owned by Billy Fury and Ringo Starr.

Five-star hooks, king-size choruses and big, big melodies.

“If you’re from Scotland, the festival season is all about T In The Park – it’s the biggest, the brightest and the best.

“We’re thrilled to be added to a line-up that features acts like Arctic Monkeys, Paul Weller and Bombay Bicycle Club.

“In fact, you could say we’re over the moon …”

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An electronic producer who makes bass heavy dance music

“It means a lot to be chosen for T Break because it’s a brilliant platform for smaller acts to gain more recognition and a wider fanbase.”

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10177499_765731573460290_8377689270503180587_nTuff Love

Tuff Love are Julie, Suse and Michael – two girls and a dude from Glasgow who cut beautifully distorted guitar gems.

Their debut, Junk EP, is the sound of pure summer; dazzling, sun-streaked fuzz pop, with soft, burning melodies, and big smiling harmonies.

They’re like a DIY version of all the best bits of Electrelane crossed with early-MBV and a bit of Breeders swagger – and they’re gonna make your year a whole lot brighter.

“T in The Park was the first festival we went to when we were teenagers, and I never thought I’d play in a band that played at big events like that.

“It’s daunting because the T Break line up is really good this year and we’re in there with some bands who are killer live, but it’s very very exciting for us to have been picked and to be playing! Yahoooo!”

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Rising out of the depths of Dundee and describing their sound as simply ‘bleak’, Vladimir burst onto the scene late last year and have quickly won themselves a reputation as one of Scotland’s most exciting new acts.

Emotionally heavy and sonically dense the four piece have become masters at crafting tightly wound layered fuzz and raw Dengler-era Interpol-esque rhythms.

“Its Great to be asked to play a festival we all grew up going to and watching on TV. “When we started this band we were playing to nobody in small pubs now we are going to be playing one of the biggest festivals in the UK.

“It’s not totally sunk in yet.”

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1489268_612992008748115_1061074658_nWe Came From Wolves

Jaggy rock/bastard pop from Perth, now based in Glasgow, We Came From Wolves have just returned from a UK tour, dates in France and Germany and sold out release shows supporting their EP Paradise Place.

“As T is in our home county of Perthshire, we have loads of memories of summers spent and bands watched at T.

“It has always felt like our home festival.

“We are so excited and can’t wait for the opportunity to play our music, on home soil for our first major festival appearance”