Tag Archives: Walt Disco

Walt Disco – ‘Dream Girl #2’ [Public]

Dandified and transfixing, the jangly guitars and galvanising 1980s sound of Glasgow outfit Walt Disco are a welcome ragtime appearance on the Scottish music scene.

New single ‘Dream Girl #2’ is a romantic cadence to androgyny itself, if not a specific person at its core.

Even its title leans away from the traditional idyllic first-choice love interest towards someone whose supposed imperfections are what makes them so captivating.

It doesn’t matter how short your hair”, croons frontman and bassist James Potter, riding the new wave style befitting of Canadian 1980s synthpop outfit Men Without Hats.

Already championed by BBC Scotland’s Vic Galloway, Walt Disco are proving themselves as stylish, multi-instrumentalist and firmly contemporary, standing the shaggy five-piece in good stead for the release of their debut EP.

Words: Stephen Watt

LYLO (album launch), KAPUTT, Walt Disco at Stereo, 26/1/18

On this, the day their excellent second album Post Era is unveiled, LYLO perform at the launch party to celebrate its long-awaited release.

The album has been three years in the making, and in this period the band have expanded in number, and in their overall sound.

The production is lush, grooves flow throughout and it is an early contender for album of the year.

Given all of this and the general positivity surrounding the build up to the release, there is every reason for a celebration this evening.

Opening proceedings are Walt Disco, admirably stepping in at short notice to replace late pullouts Pleasure Pool.

It is an energetic set of angular pop and the pounding ‘No Need For A Cut’ is one such highlight.

Each of their members are born for the stage, and endear themselves to those who have made it down early enough to catch their set, with frontman James Potter coming offstage dancing with an enthusiastic member of the crowd who had been dancing at the front for their entire set.

The frantic noise pop of KAPUTT followa, providing a suitable precursor to LYLO as the venue starts to fill.

A supergroup-of-sorts, comprising of members of the likes of Spinning Coin, Hairband and The Bellybuttons amongst others, it’s an introverted and intense set, but only adds to the jovial atmosphere of the evening.

Lead vocalist and guitarist Cal Donnelly gazes vacantly throughout, backed by a post-punk ramshackle, held together by Rikki Will’s metronomic drums.

Ending on the infectious ‘Feed My Son’, they set the bar extremely high for tonight’s headliners.

It doesn’t take long for LYLO to hit their heights though – a dreamy, synth-led introduction gives way to an energetic ‘Everything’s Cool’.

Frontman Mitch Flynn sings “it’s all downhill from here”, which would usually be an ominous sign during the first song of the set, however it couldn’t be further from the truth.

The intense pulsing groove of ‘Turn My Jacket’ immediately ramps things up, before the five-piece debut a new song of thrashing punk featuring the repetitive refrain of “get it in to your fucking head”.

The double header of recent singles ‘It’s Good To Know Your Man’ and ‘You Have Your Father’s Eyes’ ensures that the packed Stereo crowd is kept dancing throughout.

The only time that LYLO threaten to lose their audience is when they slow pace down with the balladry of ‘Submerge’.

The chatter that an impatient, half-cut, Saturday night crowd can bring threatens to drown out its intricacies, however this is short-lived, as a triumphant ‘Yeah Boy’ ends the set, complete with plenty of body popping from frontman Flynn.

There really isn’t another band in the country quite like LYLO.

They incorporate elements of funk, disco and psychedelia but with a thoroughly modern twist, incorporating epic, atmospheric soundscapes.

This is all without taking into account their sax (yes, sax) appeal, which elevates their sound to an almost ethereal level.

On a live stage, where they are stripped of the comfort of the production, which adds so much to the record, they transform their songs into bass-led, dirty dancefloor bangers.

More Photos

Words: Graham McCusker
Photos: Elina Lin

New Year’s Revolution with Fauves, The Vignettes, Walt Disco, Snack Villain at Tut’s, 19/1/18

Snack Villain open the night with their bouncy riffs, as the crowd start filling up the venue they get everyone in the mood for a chilled night of partying and dancing.

They fill the room with some really nice harmony work accompanying their relaxed dance vibe which the crowd groove along to.

Their catchy up-beat tracks are full of great riffs and great use of dynamic structure throughout the songs to build and progress the set, which is good fun and energetic and a great way to start off the night.

Continuing the dance vibes, Walt Disco impress the crowd performing their new track ‘Dream Girl 2’, which will be released on the 29th of January.

The crowd thoroughly enjoy the band who are dancing and swaying their hips on stage, clearly having the time of their lives.

One of the most striking things about Walt Disco is how clearly the band’s personality shines through in their performance.

They finish their set by going completely crazy on stage, giving the audience something to remember them by.

Next to take to the stage was the very charismatic The Vignettes, whose set is, yet again, great fun and high energy.

They really prove themselves to be incredible entertainers, the frontman in particular being a convincing show man who is completely dedicated to executing an incredible performance in terms of playing whilst also being visually pleasing for the audience.

They were full of life and get the crowd ready for Fauves to come on after them.

Fauves made a spectacular entrance, gracing the venue with white boiler suits and face make up.

They start off their set with the fantastic ‘Twilight Daylight’, which is filled with energy and fun chilled out atmosphere, an energy which transpired across to the crowd who are enthusiastically dancing along.

On stage accompanying the band are two dancers who continue with the intriguing style choice dancing around the band wearing gas masks.

The image on stage is weird and striking in an enchanting/mystical way and the crowd love every second of it.

Fauves are clearly an insanely talented band filled with charisma and enthusiasm.

They bring something special to the stage, thinking outside the box and finding new ways to make themselves stand out as a band.

The front vocalist is incredible, his voice is unique and he had the audience under his spell, while the band perform in every sense of the word to a dynamic crowd.

Despite some recurring technical issues, which happened throughout the night, Fauves power their way through showing themselves to be really incredible musicians who can perform even under difficult circumstances.

They indulge the crowd with a cover of ‘Give Me the Night’ by George Benson, which goes down an absolute treat; the venue is bouncing as everyone sings and dances along.

They perform ‘Head Spins’ from their upcoming EP, another delicious track showcasing the great songwriting that was clearly evident throughout the set.

The song is very infectious and gets under your skin making everyone move and sing along to the irresistible beats and melodic rhythms.

Their set finishes in spectacular fashion performing ‘Hit Like This’, another splendid work of art enjoyed by everyone.

Fauves are an incredible band who not only have great music but embrace the art and visual aspects whole-heartedly.

It’s refreshing to see a band passionate and serious about what they do, making sure to master an image and sound that is unique and separates them from the crowd.

More Photos

Words: Shannon Cullen
Photos: Jake Gordon

Tracks of 2017 (40-31)

40. Marble Gods – ‘Washing Machine’

“a song about finding your feet and washing your socks”, it couldn’t have been put any better. Marble Gods are a band that exude joy, and ‘Washing Machine’ is the perfect example of that with its delightful lo-fi indie pop jangle, sugar coated C86 vocal displays and whimsical lyrics.

39. L-space – ‘Aloe’

‘Aloe’ is about someone being turned into a giant metal bird, need we say more. It’s also a dark, sinister yet dreamy piece of pop that stood out as the best work of an exciting band to emerge in 2017. L-space released a couple of promising EPs this year but it was this single released towards the end the calendar that caught our attention the most as it built from atmospheric beginnings to a ominous climax and left us wanting more.

38. Dama Scout – ‘Suzie Wong’ [Father/Daughter]

‘Suzie Wong’ was just one example of the creative and unpredictable charm of Dama Scout in 2017, and the track centred around a recording of a child’s guitar the band found while on holiday in Portugal is a delightful effort. Another modern pop number that takes in warm and classic indie influences while maintaining a truly fascinating sound, while sugar-coated, dreamlike vocals and and buzzing off-kilter melodies make it one that we’ll keep coming back to.

37. Walt Disco – ‘Jackets’

Walt Disco emerged this year with a shimmering, flamboyant talent and their debut single ‘Jackets’ gave us a taster of what to expect in the near future. The young five-piece here have meshed a charismatic lead falsetto with dynamic guitars and synths to great a sound no doubt indebted to a time before these guys were born, while feeling refreshingly current and exciting.

36. The Vegan Leather – ‘Shake It’

Instantaneously the massive, dirty electronics kick ‘Shake It’ into life, with the boy/girl trade-off between vocalists Marie Collins and Gianluca Bernacchi. Around two and a half minutes in, ‘Shake It’ essentially stops before becoming a different beast altogether. An instrumental seemingly custom-made for big dancefloors reverberates before the chanting finale of “SHAKE! SHAKE IT! SHAKE IT OUT!” Despite still being in their relative infancy, The Vegan Leather already now have an absolute banger, which sets them in good stead for fulfilling their definite potential.

35. And Yet It Moves – ‘Second Earth Song’

Free Pass To The Future was such an intense and genre spanning album that selecting a song wasn’t easy, we’ve gone for ‘Second Earth Song’ though, It’s a bit discordant but you can see the lineage to Glasgow bands of the early ’80s though naturally some of the vocals are then fed through a vocoder and things get rather raucous. It may be nuts, it may be yelling, “Fuck you”, all over the place but it has a joyousness about it, a celebration of itself.

34. Sister John – ‘Sweetest Moment’ [Last Night From Glasgow]

Meeting through the Parsonage Choir, Glasgow’s Sister John make beautiful lo-fi pop with a touch of Americana to their lush, warm harmonies. It’s startling just how assured the songwriting feels right off the bat on ‘Sweetest Moment’, from the conversational opening bars to the beautifully simple refrain “I’ll take it, break it and just before it cracks, it’s the sweetest moment,” it’s one of the most charming and effortlessly melodic tracks of the year. Keening fiddle adds a touch of Gillian Welch, while the gentle backing vocals lend a Laurel Canyon lushness to a track that floats past like a hazy evening breeze.

33. CHUMP – ‘At Least We Got A Song Out Of It’ [Gerry Loves]

‘At Least We Got a Song Out of It’ is rhythmically hypnotic and oozes professionalism and poise as well as laid-back resignation; it’s vocally endearing and musically explorative, well engineered and beautifully recorded. The wash of the cymbals is well placed and overlays the other instruments with a sense of distance. CHUMP do a good job of embracing and balancing the sound of its global and local acoustic elements.

32. December ’91 – ‘Starin’ At The Freaks’ [GoldMold]

We’ve been used to dark, misery drenched sometimes beautiful, sometimes frantic lo-fi punk come alt-rock from Stirling resident Craig Ferrie, aka December ’91. With ‘Starin’ At The Freaks’ is noticeably less lo-fi, with a lively optimistic sounding constantly driving backdrop that comes with an addictive vocal line that recalls the likes of Kurt Vile’s drawl delivery. A bright bit of alternative pop that brings in all the sunshine of the boat journey captured in the track’s video and brings a welcome upbeat addition to the ever growing December ’91 catalogue.

31. Emme Woods – ‘I’ve Been Running’ [Last Night From Glasgow]

Emme Woods is an act that has been rather underlooked by us over the past year, so much so that this single completely bypassed us when it came out, ‘I’ve Been Running’ is a dark contemplative track that perfectly shows Woods’ unique and impressive vocal stylings along with her unquestionable songwriting ability.