Tag Archives: Young Fathers

Young Fathers at Barrowlands, 24/3/18

Hailing from Edinburgh, Young Fathers have made a name for themselves as something of a sharp implement tracing similar lines laid out by electronic stalwarts Massive Attack and Maya Jane Coles.

Having recently provided six tracks in total for the recent Danny Boyle sequel, Trainspotting 2, including a track specifically written for the film, Young Fathers are fast becoming a firm favourite for those with an ear for the more complex and nuanced side of modern electronic music.

Tonight’s sold-out performance is energetic, with a fluid movement pulsating from the stage and into the crowd.

The set is a journey through everything Young Fathers have brought to bear so far, with songs from their latest record, Cocoa Sugar, alongside material from their healthy back catalogue into the second half.

The development of the trio is clear for all to see and the inherent confidence that comes with it shows more than ever in their more experimental approach in this latest release.

Their physicality on stage is entrancing and goes a long way to strengthen a truly special live experience.

This, in conjunction with their penchant for finishing songs in double time, taking a grind into a dance break made sure the audience never gets lost in the slower pieces.

For me, the big take-away from this gig is most certainly the vitality brought to the stage by the band and the skill with which they bring the audience along for the ride.

Set against a refreshingly visually understated stage and lighting set up, the focus is on the music, but all the elements line up perfectly to make for a memorable and exciting experience that I’ll hope to see again live soon.

More Photos

Words: Krist McKenna
Photos: Stewart Fullerton

Track of 2017 (30-21)

30. Siobhan Wilson – ‘Whatever Helps’ [Song, by Toad]

Immediately, ‘Whatever Helps’ shows off a more darker tone than Siobhan Wilson’s earlier, more twee-sounding material; the delicately soft vocal remain, but it is now layered, and more ominous sounding. An ode to fighting against a lost love, and the depression that comes with it, the lack of a backing band on the track allows Wilson’s gorgeous voice to drift like a lonely stranger passing through the night.

29. MC Almond Milk – ‘1995’ [Save As]

‘1995’ is a nostalgic journey through summers filled with dirty gutties and bowl cuts that will have anyone of a certain age and disposition grabbing a bottle of Devon’s finest tonic wine and heading for a park with Oasis blaring on their Walkman. As the story continues from 1995 to 2015, the narrative goes through the ups and downs of life and growing up; the craft is how the beat and music becomes more frantic during the less pleasant parts of Almond Milk’s formative years and relaxes when he raps about the good times.

28. Annie Booth – ‘Chasm’ [Scottish Fiction/Last Night From Glasgow]

Written about the barriers we put up between ourselves and others to feel better/more comfortable when in fact it makes us more distant than ever ‘Chasm’ is a lyric-driven beauty that builds over a chirpy alt-rock enthused rhythms as Annie Booth’s warm silky voice teases over the top in a conversational yet heartfelt tone. On her EP three years ago Booth displayed a knack for cleverly written songs, but there was a raw element about the release the has been honed in on here, clearly her experiences with in Mt. Doubt have evolved her sound, making her not just one to look out for in the Scottish folk scene but on a much wider scale, both musically and geographically.

27. Young Fathers – ‘Lord’

‘Lord’ offered the first taste of Young Fathers’ third record and what have they given us? Is it a call for redemption? Or a message from another plane? Whatever it is, it’s proof that Young Fathers are still a band like no other, because in the best way possible, it sounds like several different songs at once. One song is a gentle, baby’s own piano, one part a gospel choir of harshly treated vocals, one part bleak electronics evoking a droning cello or a glass wall vibrating. It’s Dante’s Divine Comedy in a song and the sign of an act that still has no shortage of ways to confound, an intriguing scene setter for where the trio might go next.

26. West Princes – ‘Wet Bark Is A Slug’ [vodoidARCHIVE]

Lifting you beyond the rain drenched dreariness of Glasgow’s synonymous party street that we can only assume these guys are named after, West Princes brought beautifully warm breeze with ‘Wet Bark Is A Slug’. The first taste of released material from these guys is subtle yet playful number that gives us a taste of band who are likely to have a big 2018.

25. BDY_PRTS – ‘Rooftops’ [Aggrocat]

‘Rooftops’ is an upbeat slice of electronic indie-pop reminiscent of Robyn or La Roux; warm chords power a rising melody line that sounds like Marina & the Diamonds are shaping for a big-lunged chorus as O’Sullivan and Reeve knit their voices together for an impossibly catchy refrain. There’s a touch of Jenny Lewis to the lovelorn chorus “the pieces of my heart are falling from the rooftops” but for song that seems knitted together from a handful of different sections, it’s the lush call and response finale that lingers long in the memory.

24. Mt. Doubt – ‘Tourists’ [Scottish Fiction]

‘Tourists’ is a story about Leo Bargery’s fear of flying with a tone is tongue and cheek, while the melody is a smooth, free-flowing mantra. The composition is sincere but the sentiment more jovial, Bargery’s voice has the capacity for wandering through low tones, luring you into a peaceful hum, before leaping up an octave or two. It’s got a hummable chorus, that plays darkly humorous lyrics off giant guitar chords and some neat female backing vocals, from Annie Booth, as Bargery contemplates whether he might be happier in ‘Southend in Sea’ and deploys the rather smart line “my aversion to aviation, keeps my feet on the ground and my head in the clouds”.

23. Savage Mansion – ‘Do You Say Hello to Your Neighbours?’ [Lost Map]

‘Do You Say Hello to Your Neighbours?’ is a fleshy piece of pragmatic laziness, emitting imaginary craft and an unquestionable attitude that textures the track throughout. Launching into a distinctive and highly melodic guitar line, which quickly establishes a prominent radiance; the deadened drums provoke a sense of moody-solace, lifting appropriately. ‘Do You Say Hello to Your Neighbours?’ is a serious slab of attractive songwriting, non-pretentious and thought provoking, excitingly hopeful.

22. Bluebirds – ‘Subcultural Love’

Bluebirds have developed a reputation as being a must-see live act, and ‘Subcultural Love’ certainly shows off an intensity that very few bands are able to capture. ‘Subcultural Love’ is dark and unnerving, drawing the listener into a five minute bind with no respite. Vocalist Daniel Telford’s Nick Cave-esque snarl guides the track murkily, before the track crashes into cacophonous life, as he howls “we need to see some more skin”.

21. Out Lines – ‘Buried Guns’ [Rock Action]

The supergroup of sorts comprised of James Graham of The Twilight Sad, Kathryn Joseph, and Marcus Mackay captured a mesmerisingly gritty, undoubtedly Scottish record in Confrats and lead single ‘Buried Lines’ was the pick of the bunch. The track is a strikingly hypnotic stroll through a mysterious setting, as Graham’s distinctive Scottish vocals intertwine with Joseph’s elegant yet gritty delivery over powerful brooding production.

Young Fathers – ‘Lord’

Ever since the very beginning, Young Fathers have taken a dark delight in confounding listeners.

Early singles like ‘The Guide’ bumped to a hip-hop pulse and a punkish energy yet this was little more than a bait and snatch for the tight, danceable experimental pop that flooded the phenomenal DEAD and saw them shed the hugely misleading “Scottish hip-hop” tag.

After DEAD led to a surprise Mercury award and bigger stages and prizes seemed assured they followed it up with the dense, muggy, complex Black Men Are White Men Too, now ‘Lord’ offers the first taste of the trio’s third record and what have they given us?

Is it a call for redemption? Or a message from another plane? Whatever it is, it’s proof that Young Fathers are still a band like no other, because in the best way possible, it sounds like several different songs at once.

One song is a gentle, baby’s own piano, one part a gospel choir of harshly treated vocals, one part bleak electronics evoking a droning cello or a glass wall vibrating

As a voice murmurs “her love is blind, her love is kind, her love is mine”, this is the most contented they’ve ever sounded but it’s only seconds until the moment of contemplation is disrupted by synthetic bass purps and burbles and electronics that shriek like a tortured soul.

It’s Dante’s Divine Comedy in a song and the sign of an act that still has no shortage of ways to confound, an intriguing scene setter for where the trio might go next.

Words: Max Sefton

Albums of 2015 (20-11)

20-11  –  10-1  –  Tracks & EPs

20 December ’91 - Quebec20 December ’91 – Quebec [Gold Mold]

Probably the only album to make this year’s lists recorded on a mobile phone, Quebec showcases both December ’91’s musicianship and originality. Raw, simple but excellently put together December 91’s music clearly serves as an outlet for his emotions as it touches on a number of personal matters, which are delivered in an equally heartfelt manner. (Jess Lavin)

19 Antique Pony - unalbum19 Antique Pony – unalbum

Completely unique and utterly, strangely, bewitchingly triumphant; unalbum features vocoders, discordant melodies, funk, surf guitar, jarring and angular riffs… and yet it all flows. They may as well be called Unique Pony because there’s bugger all else out there quite like this, not capable of producing such a cohesive blend from wildly divergent ingredients anyway.

18 Idlewild - Everything Ever Written18 Idlewild – Everything Ever Written [Empty Words]

Everything Ever Written encapsulates Idlewild in 2015, the Fugazi fuelled alt rock angst of 100 Broken Windows may be missing, but it more than makes up for it in melodic depth. A surprising, poetic, folk tinged collection of songs that are so well rounded it’s hard to pick a favourite. Idlewild have matured at the same rate as their fans and this record satisfies the huge Scottish rock/pop void left since Readers & Writers. (Andy McGonigle)

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17 Admiral Fallow - Tiny Rewards17 Admiral Fallow – Tiny Rewards [Nettwerk]

Admiral Fallow’s third album Tiny Rewards, is quite simply brilliant. Released three years after their second album, this new collection of songs unravels a band that has come of age. Tiny Rewards is an epiphanic record that fills you with joy; it is also tender, contemplative and intelligent. (Tina Koenig)

16 Lovers Turn To Monsters - Hard To Be Around16 Lovers Turn To Monsters – Hard To Be Around

Fresh and eccentric, delicate and intimate, Hard To Be Around works as a sneak peek into Kyle Wood’s psyche. The album is an obscure trip down the singer’s brightest and darkest sides, mystically keeping you on the edge of your seat after every track. An absolute delight if your mainstream conscious is switched off; a rare piece of raw music, which will provoke emotions in whoever dares to listen.

15 Pinact - Stand Still and Rot15 Pinact – Stand Still and Rot [Kanine]

With their debut LP Pinact have produced a piece of work that fully realises their significant talents. Stand Still and Rot is full of bluster and grace, exploring notions of uncertainty, joy and boredom, spiked with corrosive volume and sweetened with heartening melodies. The album is full of instantly likeable and catchy moments, loads of classy touches and tons more, including more hooks and big choruses than you can shake a stick at.

14 Young Fathers - White Men Are Black Men Too14 Young Fathers – White Men Are Black Men Too [Big Dada]

After winning the Mercury Prize for their 2014 album Dead, Young Fathers immediately travelled to Berlin to finish recording its follow up: White Men Are Black Men Too. The difference in the two albums is night and day. Whilst Dead was polished and gleamed with pop sensibility, WMABMT features lo-fi, raw production that makes use of rattling drum machines and scratchy, hollering vocals. Young Fathers may be the most innovative music group in Scotland, and go about it in a damn cool way. (Greg Murray)

13 Apostille - Powerless13 Apostille – Powerless [Night School]

Powerless. Horrible. Dark. Depressing. Makes you want to kill yourself, but that is the point. Everything is fucked so why not listen to this as you stare at the clock, waiting for it to end… (Paul Choi)

12 Rustie - EVENIFUDONTBELIEVE12 Rustie – EVENIFUDONTBELIEVE [Warp]

It could be said that 2015 was a rough year for Russell Whyte, aka Rustie, with the producer announcing a break from live shows due to “addition and mental health problems”, however one particular high point was the release of EVENIFUDONTBELIEVE; an album that saw him head back his raw beginnings. The album saw Rustie take full creative control, and when we say full we mean FULL; everything here was done by Rustie from the beats to the production to the vocal samples! It may not be the adrenaline pumping club effort many wanted, but it is a highly detailed maximalist release that demonstrates the producer’s prowess. Hopefully he’s not off too long.

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11 Kathryn Joseph - Bones You Have Thrown Me and Blood I’ve Spilled11 Kathryn Joseph – Bones You Have Thrown Me and Blood I’ve Spilled [Hits The Fan]

Kathryn Joseph was undoubtedly one of 2015’s greatest success stories, with the release of Bones You Have Thrown Me and Blood I Have Spilled propelling her to the forefront of the Scottish scene. Produced with simplicity, honesty and an instantly recognisable vocal, this album served as a perfect introduction to an artist who we are most definitely going to be hearing a lot more from in times to come. (Ellen Renton)

20-11  –  10-1  –  Tracks & EPs

Young Fathers – Shame [Big Dada]

Young Fathers single ‘Shame’ is the second released from their upcoming album White Men Are Black Men Too, and is a deliriously upbeat and skittish soul record, with lyrics sneakily sitting at odds to the music.

Nothing but a barefaced lie, is all you cunts can hold on to” opens the song, following the driving percussion and scratchy bassline, with some effect-treated vocals building to the sunshine explosion of a lo-fi choir and falling away with crazed lfos and keys and ending with a snippet of harmonised “oohs”.

It’s a journey of a record, serves as a counterpoint to the more downtempo previous single ‘Rain or Shine’, and from the majority of their previous work it’s undoubtedly more pop; similar in feel to ‘Get Up’, but unlike much pop it’s certainly not disposable, they’re a band with whom you can peel off the layers.

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Words: Stevie Williams

Album of 2014

Andrew Person & Lovers Turn To Monsters – Everything We Miss17 Andrew Pearson & Lovers Turn To Monsters – Everything We Miss [Common]

A combination of two endearing singer-songwriters, brought together under the umbrella of Common Records in the dismal Glaswegian rain, resulting in an equally endearing collection of tracks. Taking a song each throughout the track listing, the single ‘Juan Antonio’ is a standout track in an octet of tracks that will coax out a tear if you let them. (Kyle McCormick)

[review]

Fat-Suit – Jugaad17 Fat-Suit – Jugaad [Equinox]

With a 15 strong collective of highly trained musicians, in the later part of 2014 Fat-Suit released an instrumental album of innumerable sounds and styles all expertly welded together. Tight grooves splashed with influences from traditional Scottish music and a heavy emphasis on jazz and experimenting ensures that Jugaad is a big, unique flag planted firmly in a Scottish music scene which is very lucky to have Fat-Suit in its midst. (Greg Murray)

[review]

National Jazz Trio of Scotland – Standards Volume III17 National Jazz Trio of Scotland – Standards: Volume III [Karoke Kalk]

Bill Wells has made his name by his collaborations and his experimentations, which often take him to pry the envelope of pop music to great result, at first, Standards: Volume III could appear to be a glossy but unwavering pop album, but upon repeated listens this record is a richly endearing effort for fans and casual listeners alike.

[review]

The Amazing Snakeheads – Amphetamine Ballads17 The Amazing Snakeheads – Amphetamine Ballads [Domino]

Amphetamine Ballads does take some warming to, but after a number of listens and a full appreciation of its delightfully refined latter half, this album is undoubtedly one to be treasured if it appeals to your sense of artistry.

[review]

Withered Hand – New Gods15 Withered Hand – New Gods [Fortuna Pop]

New Gods might at first fool you as sounding like inoffensive dentist-waiting-room shmooth-fm folk-pop; clean but still sensibly naturalistic production, tons of hooks, catchy choruses, acoustic guitars and simple song structures; yet lurking in the lyrics there’s an extremity of emotional tension that swings between stark ugly introspection on one hand and manic optimism on the other.

[review]

Andrew Montgomery – Ruled By Dreams15 Andrew Montgomery – Ruled By Dreams

Former Geneva vocalist Andrew Montgomery went solo with Ruled By Dreams, and has successfully created an album that showcases his writing strengths, both musically and lyrically.

[review]

Thin Privilege - Thin Privilege12 Thin Privilege – Thin Privilege [Struggletown]

For me, Thin Privilege is the band of 2014. With their intense live show alienating crowds’ left, right and centre, I had very high hopes for this record and was not disappointed. This noisy, duel bass assault of an album really grasps the energy of what this very short-lived band was. (Iain Gillon)

[review]

Jonnie Common – Trapped In Amber12 Jonnie Common – Trapped In Amber [Song, by Toad]

Bizarre in all the right places, in all the right ways, Trapped In Amber is perhaps best described as “bizarre pop” as a direct consequence. Pleasingly simple soundscapes provide the backdrop to lyrics that span the board from drama to comedy, with hints of balladry (‘Fractal’), hip-hop (‘Crumbs’) and amazement (‘Binary 101’) all contributing to a record of abundant imagination. (Kyle McCormick)

[review]

Young Fathers – Dead12 Young Fathers – Dead [Anticon/Big Dada]

2014 was Young Fathers’ year, taking home award after award with critical acclaim following them at every turn. Dead was the centre piece of it all, an intoxicating multicultural record that took elements of hip-hop, electronica and pop and put Scottish music firmly back on the musical map.

Rustie – Green Language11 Rustie – Green Language [Warp]

Rustie deserves every single bit of credit that comes his way, while fellow Glaswegian label mate Hudson Mohawke jets off with the glamorous names, Rustie has stuck to his guns and make a record that feels like natural progression. Green Language has all of Rustie’s punch and some very special moments, still we can’t help feel his best is yet to come and we can’t wait.

Beerjacket – Darling Darkness10 Beerjacket – Darling Darkness

Darling Darkness makes for a relaxing listen, but there’s more to it. There’s a depth and texture that goes beyond your ordinary singer songwriter. To mark 10 years of Beerjacket, Peter Kelly has released a beautiful, cosy, folk masterpiece. (Alisa Wylie)

The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave8 The Twilight Sad – Nobody Wants To Be Here and Nobody Wants To Leave [FatCat]

One of the years later releases but well worth the wait, aside from their debut it could be their best yet. The production values like always are superb and the songs reek of melancholic angst and pain just what you’d expect from Scotland’s gloomiest export. The album deserves all the praise it gets. (Phil Allen)

[review]

Mogwai – Rave Tapes8 Mogwai – Rave Tapes [Rock Action]

A lush set of songs that breathe a warm melancholia; flourishes of ambient and electro sounds underpinned by one of the great guitar arsenals in all of music. (Brendan Sloan)

[review]

Stanley Odd – A Thing Brand New7 Stanley Odd – A Thing Brand New [A Modern Way]

The Edinburgh sextet’s third album sees them at their creative best, with their usual concoctions of politics, pop culture and poetry shifted into the next razor sharp gear. Tackling issues of parenthood and imperialism, likely catalysed by recent arrivals and national political awakenings, among other things, A Thing Brand New is thought-provoking and head-nodding perfection. (Kyle McCormick)

[review]

Fatherson – I Am An Island6 Fatherson – I Am An Island [A Modern Way]

Incredible, conceptual debut from a band that looks set to take off in a big way in 2015. Sounds absolutely massive. (Alisa Wylie)

[review]

PAWS – Youth Culture Forever4 PAWS – Youth Culture Forever [FatCat]

Youth Culture Forever might be the perfect follow up to Cokefloat! It takes its predecessors themes and then follows up on them, while also covering some new ground; plus the production is a serious step up and it shows. (Phil Allen)

[review]

Deathcats – All Hail Deathcats4 Deathcats– All Hail Deathcats [Fuzzkill]

I never thought Deathcats would get a full LP release, 2014 truly was a brilliant year for Scottish music. From the get go Deathcats display a penchant for crafting some of the most infuriatingly brilliant melodies in recent memory. Aside from this it’s great to see the band really test their limits and put some of their live show into the record with the great linking sections between songs. (Phil Allen)

[review]

Algernon Doll – Omphalic3 Algernon Doll – Omphalic [Struggletown]

Emo/alt-rock is a genre I that I don’t often indulge in anymore but every so often something pops up which shakes me from that angsty slumber and reminds me that it’s still possible to create original and awesome sounding music in that style. Ewan Grant’s Algernon Doll and their album Omphalic is the perfect example of this, and legendary producer Steve Albini will no doubt help them carry their momentum into next year, with their fourth release in as many years. (Greg Murray)

[review]

King Creosote – From Scotland With Love2 King Creosote – From Scotland With Love [Domino]

A stirring celebration of Scottish pride and resolve; a profoundly evocative album, which handles its subject matter with gentle reverence. This record is nothing less than a masterpiece, and its release saw it receive the critical acclaim that it rightly deserves. The album provided an evocative accompaniment to Virginia Heath’s documentary of the same title, although despite its status as a soundtrack, it is a piece of art in its own right (Brendan Sloan/Ellen Renton)

[review]

Honeyblood – Honeyblood1 Honeyblood – Honeyblood [FatCat]

Glaswegian duo Honeyblood’s self-titled debut unleashes a wave of emotionally aggressive lyrics mixed with sweet melodies and harmonies reminiscent 90s grunge and fitting to their name. The band’s stripped back and minimal setup is compelling, allowing vocalist Stina Tweeddale to showcase her enchanting voice. (Jess Lavin)

[review]

The East End Social presents The Last Big Weekend at Richmond Park, 30/8/14

Putting on a festival where 60% of the music is largely instrumental takes a great deal of ingenuity, daring and perhaps even a little bit of insanity, a festival of this stature was never going to be easy to pull off, nor would it be a hit with the mainstream populace of the city of Glasgow.

However the people over at Chemikal Underground, had exactly what was required; good taste, willpower and a healthy respect for fostering local brands (in both brewing and live music) and a sense of community spirit.

The East End Social have been largely responsible for taking over cafes, church halls and local boozers, largely in the Dennistoun area, in order to host a string of art installations and live musical performances.

All have been greatly received, and The Last Big Weekend was to be the pinnacle of EES’s efforts, however overcrowding at the bar and grumblings about there being not enough food, hampers the day.

The venue itself, Richmond Park isn’t the easiest to find, especially if you are Sat Nav reliant, this reviewer was taken away to a housing estate on the opposite end where, after a short encounter with a local ‘hard guy’ type, who happened to be out walking his Pomeranian, kindly directed me to follow a dirt path through some shrubbery and over a wee bridge, I finally managed to come out near the small box office and official entrance.

Once inside I am greeted with a fantastic mixture of people, there are the old East End boys out and about, proudly pea-cocking around the arena sporting The Wedding Present t-shirts that hadn’t been taken out of the drawer since 1991, there are fresh faced fan boys here to catch their local heroes – Mogwai and The Twilight Sad, there is an influx of trendy beards clad with drainpipe jeans and brogues and lastly, there is a bunch of shoe gazing kids wearing parkers – all of which are here for a good time.

The jovial atmosphere is palpable from the start, with most people sitting outside on the green grass absorbing what I’m almost sure would be the last of the summer sun that Glasgow is likely to see this year.

Young Fathers are the first band ravechild was able to catch playing live and they play a high energy set consisting of songs largely from album Dead, which was released earlier this year, the band hop around energetically and take it in turns to jump on to the bass speakers on front of the stage as if to get closer to their audience.

It’s hard to pigeonhole a band like Young Fathers, instantly electronic laced, soul tinged, hip-hop strewn pop comes into mind but the band seem so much more, being a fan of 2013’s Tape Two, after today I can say I’m honestly ashamed that I had never seen them play live before.

The vibrant bounce of ‘Get Up’ has the crowd swaying their arms in the air while, the more lo-fi  gentle thrum of ‘I Heard’ offers an insight into a more sombre side of the band.

It is only, after the last Young Fathers song that I realise my companion had not returned from his venture to the bar in order to retrieve libations, I venture out to find him ‘almost’ at the front of the queue.

West Bar brewery where in charge of proceedings here and I wasn’t disappointed with the range of drinks on offer – excellent craft beer, malt whiskey, the most crisp apple cider I have had the pleasure to enjoy, alas, it was the rate at which the bar staff where being able to dispense drinks, a secondary tent really was called for.

After retrieving our first round we decided that we ought to queue up again for secondary drinks and by the time we had waited in the line we missed the start of The Twilight Sad‘s set, which is an absolute shame because by the time we get into the big top tent, they are absolutely ‘smashing it out the park’.

Again, being a fan ever since 2007’s Fourteen Autumns and Fifteen Winters, it really is criminal that this was the first time I’ve been able to catch this band live, exactly why Glasgow needs a festival, that celebrates great local acts and serves them up, fresh to you, packed away neatly and tidy – lunch box style.

James Graham’s gutteral wail and convalescent, Iain Curtis style dancing during ‘And She Would Darken The Memory’ serves to encapsulate exactly what the bad are great at; Scottish accented vocals, fussy reverberating guitars and mesmerising synths, a dark and beautiful song somehow made hopeful in its live embodiment.

Another stark, yet stand out track is 2012’s ‘Nil’, however it is the final song, ‘3 Seconds of Dead Air’, to which lead singer Graham states: “this is a song we never play”, that seems to be the most dreamlike and romantic of them all, a rousing live performance that seems to be enjoyed by both hipster and shoegazer alike.

The Wedding Present come onstage to rapturous applause, and by now the tent is filled with a lot more men wearing black; David Gedge (also wearing head to toe black), who the late John Peel would site as having written some of the best love songs ever, took no time at all striking up a jovial rapport with crowd, making in-between song quips and jokes.

The band race through a set of indie, punk-rock songs reminiscent of Gang of Four and The Jesus and Mary Chain, with stand out tracks being ‘Brassneck’ and ‘My Favourite Dress’, the band even dof their caps to their live predecessors, The Twilight Sad, by playing a cover of ‘Suck’.

James Holden comes on stage to a flurry of strobe lighting and fog machines, although the tent seems to be half full at this point – as everyone else was waiting in line for a pint, he also becomes the harbinger of the lyric free portion of the festival.

Playing a live set, for anyone more akin to playing in clubs behind a series of turntables, would be daunting, but for James Holden all he seems to need is what appears to be a telephone operating system  (you know the one in old movies that looks like a big board of wires that get connected every time a call is placed), he is also accompanied by live drums and a gentleman on saxophone, who seems to enjoy sitting down among all the equipment every time his services are not needed.

There is a problem earlier with the live visual projections, but this seems to be remedied by the time Bristol based Fuck Buttons waltz on stage, drenched in green light, hammering away on a range of keyboards, synths, effects pedals and other indistinguishable electronics, the duo release a volley of scuzzy noise during ‘Brainfreeze’.

It isn’t until ‘Sweet Love For Planet Earth’ that the set seem to down its tempo, to a more tranquil, xylophone filled lullaby, an excellent prelude to headliners; Mogwai.

Having recently re-released (in deluxe edition albeit) seminal album; Come On Die Young, the Glaswegian, post-rock masters seemed to play tracks mainly from this and also Rave Tapes, there is a nod to the more melancholy soundtrack they released as part of, creepy French TV drama Les Revenants in the echoing disembodiment of ‘Hungry Face’

‘Heard About You Last Night’ continues in the sombre line of beauty, until ‘Remurdered’ brings with it a more dance enabling crescendo, at which point most of the crowd start to move around in a more lively fashion, there is even an all instrumental (obviously) version of Nina Simone’s ‘Feeling Good’, given the odd Mogwai makeover in parts.

All in all, the EES has been successful in providing Glasgow with an eclectic line up of home grown talent and utterly perfect mind bending progressive rock, a few teething problems are bound to seep through considering the size of the project, here’s looking to a fresh deluge of great live music in the East End of Glasgow – ‘for the times, they are a changing’.

Words/photos: Angela Canavan