With the power of technology, the demise of the traditional music industry and the tunnel-visioned excuses that the world has as so-called "major record labels" who care more about money than talent, it's now the domain of the unsigned bands to have their tracks available to the public as downloads only or even just allowing the public to listen to their tracks via the internet prior to them releasing versions that they feel are worthy of someone's prime listening time.
To that end, this section is where we review tracks, EP's and albums from bands that are available only via the internet or listenable only via the internet. For the former, we'll review whatever they choose to release, for the latter, we'll choose what we feel are the very best tracks to which we want to draw your attention.
THE FIRE & I – Deliver A Brick Download
It only lasts two minutes but explodes in your face as the remarkable duo of bass and drums plus dual lead vocals provide a riotous sea of excitement led by the most monumental bass work that you'll have heard from any Scottish indie band propelled by this crashing hurricane of drumming as shouted and sung vocals cut through the sound with intent. Eschewing things of a more commercial nature, they just let rip and go for it, the result being absolutely astounding.
THE FIRE & I – High Flyer Suicide Download
Second single and this weighs in at three and a half minutes, opens up with this bass guitar riff that shakes the foundations as the out of control drumming cataclysm erupts and the two instruments race hell for leather into the song. The vocals tear in with anger and passion before dropping back to the slightly more sedate verse as the whirlpool subsides – briefly – then erupts into the bite of the chorus as vocals duel and strike, sung and shouted, the whole thing this melting pot of bass and drums mayhem in a manner that only this duo could make work so successfully, as at no point do you miss anything that may remotely resembles an electric guitar. The musical freight train collides with the intensity of the vocals, briefly subsides then explodes, veers between the two before the drumming hurricane and pounding bass take the hollered lead and backing vocals all over the space and back, bass right upfront and delivering this massive hammer blow to the skull as the drums finish the job off while the vocals lay waste to everything else – and it ends – abruptly – leaving you breathless and in absolute awe of the uniqueness and sheer power that this duo can unleash.
THE LAW – Holiday Download only
Been a while since we heard from this Dundee band whose debut album was nothing short of excellence in terms of songwriting, arranging and playing from start to finish. So, after a long time since that, are they still on track? Hell yeh......they sure are....
What we have as a precursor to the new album is a track that oozes “good time” while at the same time giving you a song that has so much going on, covers so many classic folk-rock decades and which results in a performance full of feeling and finesse at the same time as giving you a slice of perfectly infectious folk-rock that has character and strength. Opening with gently strummed acoustic guitar, solid piano, harmonica and guitar to which is added the muscular but mid-paced rhythm section, the feel is almost seventies with echoes of Lindisfarne and Stealers Wheel to the sound. But lead singer Stuart comes in to give us a seriously strongly delivered vocal that just soars like a bird in flight above the rolling instrumentation, with a song where the verses flow into this spiralling and cascading chorus, the arrangement having so many layers yet sounding deceptively simple yet also very tight and bouncing along with purpose and conviction. Lyrically it's every bit as attention-grabbing as anything off the first album but here there's an openness that stretches out and a sense of optimism and feeling which makes the song something to be treasured. The harmonica gives it a quality that's both bluesy and immediate while what appears to be a mandolin allied to the guitar work gives it that extra crispness and texture. The chorus is repeated above the many layers and the whole thing swirls around in your head with a delightful but addictive open-ended nature that is the mark of a seriously enjoyable and long-lasting song. Can't wait for the album.....
MAKE SPARKS – Floored Download
The progression that we're seeing inthis band from Carnoustie is nothing short of mind-blowing. In their latest single, they've come up with something that sounds massive and powerful, catchy and addictive but which loses none of the magic that this band has exuded from the very first EP onwards. Only now, they sound huge and powerful, burning through the track with a fiery passion and aggression that you'd never have thought they could unleash even from the headier tracks of the first two EP's. The song revolves around a wordless and insanely catchy chorus that circles around your head like a vulture while the rhythm section hammers down, the lead singer injects a vocal that's overflowing with emotion and from a voice that's as distinctive as it is powerful as it is superbly sung. The guitars strike a path through riffing glory and twangy delight, the production brings out the might and expanse of the band in all its shining armour as one juggernaut of a song twists and turns through a spiralling heaven of hooks, flowing verse of great strength and passion, on a song that's every bit the towering epic you always hoped you'd hear from this band but never dared to think that it could ever sound this hot. It's massive, it's amazing and, with luck, it could well herald one of the great albums of 2012 – we wait with baited breath – but for now, this is essential and long-lasting listening.
ALASKAN MOUSTACHE – Splitting Hairs Download
Dundee band's debut EP and it's a killer!! Four minutes of “Lungs” kicks things off with the band letting you know that you're in for something a bit out of the ordinary as rifle fire riffing begins and this burst of guitars erupts over the landscape, accompanied by pounding beats before it all drops back to a bass twang and kicking drumming then, with bursts of guitar, Nicole the singer enters the fray. Her arrival, sounding like she's starting from a point at which most vocalists take half the total performance to reach, reveals this full-sounding purity of vocal that carries this amazing combination of passion, tension, urgency and strength. The band explode and drop back, veering between the two. Meanwhile Nicole Ritchie spirals up with enough emotion to light up half the city and sings......well.....her lungs out, the song itself just....well....existing.... so hypnotic, so enjoyable yet breaking all the rules of what should work, so strong, so engaging.
After this comes three and a half minutes of “Go For It, Subordinate” and here the “trademark” sound of the band continues – fierce riffing that scythes to and fro like some massive grim reaper at work, combined with everything from chiming guitar chords of the fuzzy variety, massively crunching drumming, bas undercurrents that swallow you whole, on top of which Nicole just intones this soaring vocal range and towering vocal strength that is truly impressive, again a song that's got you hooked despite not having much of a hook itself. Attention to detail makes you observe the guitars stutters that punctuate the massively swaying riffing as Nicole just lets go pouring out more emotion than you can poke a pig with. Then, just to confuse you even further, the band launch into this jazzy guitar-led instrumental section that races around and chaes its tail – in a good way before the nuclear force riffs and rhythms trailblaze the vocals to an abrupt end.
Finally, there's five and a half minutes of “Moving Slow” and, initially, it does just that – flowing guitars bubble on the surface of barely heard beats as the vocal comes in, the rhythm gets a little stronger and then the ir trademark dirty cloud of guitar riffing comes to the fore and Nicole starts to lift off once again, pouring the vocals out over instrumental backing that's alternately energetic and solid veering between that and ringing yet full guitar chimes and gentle drumming. The whole structure and feel of the song, particularly the singing, really shouldn't be as amazingly mesmerising as it is, but in this band's hand it becomes this solid wall of hypnotic dynamics that just works a treat every time you hear it – quite incredible the more you play it. Overall, it's stunning – the whole EP!!
EPSILON ONE – Full Auto Shut Off Download Only
One-man project from Edinburgh and the lead track has got a real “home-made” feel to it, great quality but suitable echo but it isn't until you hear the second track that you realise it's not some limitation but deliberate. So, it kicks off with a stuttering mix of bass, guitar and drums as this twnagy guitar lead enters, drops, and that echoed lead vocal gives us a vocal that's a mix of brooding and yearning. The tension rises as the guitar then does a kind of explosive twang and bursts out as the song's hook takes off. It then swiftly drops back as a kid of electronic background adds a brief extra sense of eerieness before the song cycle repeats once more, and the overall effect is really mesmerising over the two and a half minutes of its excellent existence. “What's With The Rain”, however, starts with powerful twangy guitar chords as that slightly raspy but still airy vocal comes in to deliver a more deliberate verse. This time the guitar fuels up and goes into a wall-to-wall expanse of twangy density as the drums crunch and drive, the song them dropping back down to be punctuated by stabbing ringing guitar leads, with the song charting another course from earth to heaven as the whole thing intensifies once more to take you to the abrupt end. Strong stuff that promises much for the future.
MAYDAYS – By Appointment To... CD/Download
Scottish band with an absolutely superb two-tracker debut offering full of sublime emotion and a real sense that everything is alright with the world. They kick off with the title track where, against a gentle percussive intro, a river of organ flows delicately underneath as the rhythm section enters with care and a wondrously sofltly uplifting male lead vocal enters as the guitars add extra weight and the verse cruises upwards into a chorus before it all drops back to the intro and that lovely light and airy vocal delivering the song with suitably jangly guitars, a languid feel to it as the cycle turns one more time. It's beautiful, strong and heady, memorable addictive and just a great song, deceptively simple but subtly forceful and something you'll just want to play and play. The other track is “Eternal Optimist” is altogetehr chunkier and slightly faster with a more yearning vocal relating the tale of warning set against the stronger organ stabs, the crunchy drumming, deep bass and guitars that mix thick but restrained riffs with perfectly placed jangly leads, the song once again exhibiting a great use of dynamics, flowing verses and another heady hook, the organ work really giving the song that something different that others don't have. All in all, just loved it and can't wait to hear a lot more from this band.
SINGLESKIN – If We Are One Download Only
Despite the fact that there's piano and strings at parts of this song, that it's probably a bit more inventive, there's a decided air of classic Tom Petty on this song, particularly on that chorus but the whole pace, structure and feel of the song, not to mention a seriously hot and tasty guitar break that takes the song to its faded end, really capture that whole vibe, and with a lead vocal that's not a million miles away, the favourable comparison is worthy. The song itself is excellent, memorable, enjoyable and got that jangly but solid quality to it that endears the whole thing to you right from the start. The other track is “Lead You Home”, again nearly five and a half minutes long, and here we have a more lighter, airy and harmony-filled vocal, still with that “Americana” feel suitably in place, but here with extra texture, depth and strength as a slow paced but deliberate song, takes over you heart with passionate guitar work, solid lumbering rhythms and glorious lead and harmony vocals on what's arguably a cross between Petty and song-based, stripped back Pink Floyd. All told, two excellent tracks that promise a lot more to come – I, for one, can't wait....
VERBAL TOUCH – Kissy Kissy Catchy Download only
Throughout the decades in terms of pop at its best, there have always been singles that, no matter how much you try, no matter how much you run away, no matter how much you avoid, hearing the thing, with just one play, you've got the darned thing swirling around your head for days. You may curse, you may roll your eyes to the skies, but you can't get rid of the thing, and the delicious irony in some cases, is that you don't mind. This is the mark of a great pop single – cheesy maybe, but great, all the same. This, my friends, is one of those tracks. The song bounces into action with a riff, rhythm and refrain that, even before the vocal begins, you're swaying along, and you just know what's coming – sure enough, right from the strat we get that hook – and immediately you've surrendered as you know you're going to regret this but you can't stop listening – it's classic Scottish pop at its cheesiest best, a bit stripped down compared to most and the nearest equivalent is something like Jonathan Richman's “Roller Coaster By The Sea” only this thing's even more addictive and got more depth and strength. Resistance is futile!!
ALLEY CATS – Beautiful Life EP- Download
New four-tracker from Dundee indie band and here there's an immediate difference as we're dealing with a band using synths and keys moreso than guitars as the main instrumental focus. That said, it's still very much a solid, band-driven performance throughout. Things kick off with the title track as choppy, powerful drums usher in this swirling synth riff that rollercoasters up and down backed by deep bass and distant organ texture. As the power drops, in comes the lead vocalist with a decidedly eighties sounding lilt to the vocal, sort of like Tony Hadley with a head cold or a more nasally version of the guy out of Blancmange. Either way, it's really strong vocal bordering on hypnotic as he snakes, soars and drives the song forward over rolling beats and those textural organ chords plus the thud of bass, all seriously addictive as the verses fly into choruses that are more extensions of the verses. The synth refrain returns to take centre stage before the song comes back and strolls on until another variation on the lead synth riff ends things exquisitely. “I Want A Jaguar” strides out with a powerful intro before dropping back to the swirling anguish of the lead vocal before it all rises up on strong rhythms, cyclical keys and chiming guitars, taking the son with it. This arrangement continues throughout the song as the dynamics really come into play and one mighty song glides by with more swirling synth riffs, organ textures underneath, strong drumming, rippling piano on the softer vocal sections, heady choruses and rhythm guitars adding bite, as cool a song as they come. “Run” opens with bass sequencer rhythm, crashing drumming and a delicate synth lead-as-refrain and you'd swear you were going into some lost eighties classic. Then, when that distinctive vocal slithers in, you're even more convinced that you're in some lost eighties synth-pop classic that you've never heard before, but are only too keen to lap up and hear again. It's absolutely got that eighties synth-pop thing totally nailed, the best thing about the arrangement being that they keep things on a broodingly emotive level while at the same time still managing to produce a cohesive song with strength, a solid vocal and high-flying choruses. All of which still manage to sound contemporary at the same time. Finally we get one and a half minutes of “Synthetic Cuisine”, a short instrumental to highlight the synth playing on the album with warm, emotive waves of flowing textures, throbbing cyclical sequencer rhythms and oceans of melody, all on one delightful track – not to mention the explosive finale. Overall, a seriously fine EP as modern-day, looking-over-its-shoulder, indie synth-pop goes.
ESTRELLA – One Love/Party Download Only
With many an unsigned rock band going either towards Classic Rock at one end of the scale or death/thrash metal at the other, Aberdeen's Estrella have elected to stride a path that's firmly AOR, and the results are stunning. The lead track opens with a memorable guitar riff, joined by an ex quisite second guitar lead and it's like a cross between Thin Lizzy and Nightranger. In comes the powerful gravelly vocal of the lead singer to deliver a solid verse with passion as it all flies up, the rhythm section powering ahead and drives into an uplifting anthem of a chorus, complete with lashings of harmony vocals, even more powerful lead vocals, choppy riffs, chiming guitars and solid rhythms, as mighty and magical a slice of modern AOR as you're going to hear. It's also a towering song, arranged to perfection with just the right balance of strength, commercial, power and emotion – a true rock anthem and every bit the sort of thing that you'd expect to hear on one of those “100 Greatest Rock Ballads” sort of programme, only it's stronger than even that implies. “Party” add synths in a kind of Van Halen “Jump” way for the intro before the vocalist absolutely flies in with intent and one thunderous slice of driving Classic Rock-meets-AOR ensues, the singer like a cross between Kiss, Honeymoon Suite and Van Halen – and the band not far behind. It's an adrenaline-rush anthem of a song, it rocks and it's just fantastic. So, two great tracks that you must own and I personally can't wait for the album – if this is just a glimpse, it's going to be amazing.
FAREWELL SINGAPORE – La Demence Download Only
Brand new track from the band that made the immaculate “Slightly Grey” EP and the wait has been more than worth it, as this is one electrifying track. What you'd call a “driving slice of indie magic”, it really powers its way into your head and heart on an adrenaline rush of wall-to-wall guitars, solid rhythmic thunder and topped with the seriously emotive, gloriously sounding female vocal that soars, rocks and rises up like a rocket ship into the night sky. The track opens with shimmering guitars as the rhythm section rumble then lay the hammer down as the vocals surge ahead through addictive verses and the whole thing intensifies and then flies into the wicked gem of a chorus as the guitars fire up. For perfect dynamics, it then drops down for the next verse to start the whole epic of power-building once again as the song proves as uplifting as it forceful as it is exquisite. Taking a mix of dynamics, strength and beauty into one huge sounding melting pot of guitar-driven whirlwind, this is absolutely stunning, and proof that this band have way more than what it takes to get noticed – can't wait for more.
FRANTIC CHANT – Let In The Sound Download Only
An extraordinary thing to do when an unsigned band's first single is nearly seven minutes long – even more extraordinary when you find out that it justifies every goddamned second of its existence. “Let In The Sound” spends a lot of its verse-life characterised by two main features – the stunningly wide sweep of the multi-tracked vocals that sound like a cross between Oasis on downers and the epic songs done by Dundee's The Daze when they were around – in fact this seriously takes off where The Daze left it hanging and anyone who worshipped at the altar of The Daze now has a new god. But the effect and reach of those vocals are just epic. The other thing is that stunning psychedelic lead guitar that backs a lot of the verses, as you hear this high-register riff-as-lead chiming out and becoming the main hook around which a substantial part of the song revolves, so much so that you won't get it out of your he3ad for hours after you've heard this. The rhythm section give the song its vital backbone and foundations on which the guitars play. The whole arrangement is mid-paced but strong and quite heavy in its own indie way. The cymbals crash and splash to great effect as the drums shuffle and the bass is more felt than heard. The drawl of the vocals just flows to perfection as they reach up into this magically heady chorus, the backing now absolutely huge and expansive, all the while that amazing guitar riff coming to the surface between verses. Towards the end of the song, the group drops into wordless hook mode as the vocals soar upwards on a wave of chorus while that guitar spirals upwards and finishes the song in a breathtaking display of psychedelic fireworks. It's just one fantastic track and never at any point feels like it's a shade under 7 minutes long, so much so that you just want to play and play and play the thing. Accompanying it is a short instrumental that's driving, powerful, punchy and downright addictive with a melody that cycles round your head as the guitars sizzle and it all powers ahead. But that lead song is something else – you really should be playing this track long, loud and often – I know I will.
(THE) GIROBABIES – Bus Stop Apocalypse CD-EP/Download
In the realms of Scottish indie that is so rooted in its nation, you couldn't mistake it for anything else, you have everything from the stripped down explosion that is Ghosts of Progress to the full-throttle indie rock of Twin Atlantic. Now comes a new contender for greatness in The Girobabies – and what they have to throw into the ring that separates themselves from the rest is their amazing and addictive sense of down-in-the-gutter despair – you get the feeling that in their world, nothing is ever optimistic and there's no escape from the gloom – yet what they do with this is produce some of the most fantastic, intense songs to come out of Scottish indie music.
Things kick off with “Countdown To Tinnitus” - as gloomy a title as they come and that's just for starters – but when they open with smouldering guitar chords that usher in this slowly moving juggernaut of a rhythm section and that incredible Scottish vocal intoning the song as though the next step is to throw yerself under the next train that comes along, that's just the beginning. The song rolls along with intent, the brooding intensity leading to a lumbering chorus that heralds this huge wall of guitar density before diving back to the next verse as the tale unfolds and that chorus comes closer into view once more. All of this is backed by this towering expanse of sizzling guitar texture, those massive, slowly driving rhythms and the heady choruses, all on a song that's this incredible sea of unrelenting gloom at its absolute finest. “Nightmare” is, thankfully, faster, opening with “Nothing Else Matters” Metallica-styled ringing guitar chords as that distinctive vocalist delivers more dark lyrics set against starkly rolling rhythms before the intensity begins in a blistering heat of guitar density and the song goes even deeper, as addictive as they come, rolling along with an evil intent, dropping back from the hook to the verse, and managing to go even more menacing on every verse that comes along, before sailing back into the hook and more searing heat guitar riffing. The dynamics and arrangement are just stunning for song that's essentially a mix of stoned-out blackness and slowly surging electricity. “Overheard In The West End” (referring to Glasgow, for those that may think otherwise) ends the EP with more ringing guitar chords, barely discernible voices, the singer now sounding like the full weight of despair has dropped down on his head, only then for this massive guitar riff to explode from the speakers as the rhythm section power in and the whole thing rocks like there's no tomorrow. The singer hollers at the top of his voice and another tale of the seamier side of life ensues, only this time the whole thing's driving along with force and strength, and for this band, sounding positively happy, but more lyrics that are so socially aware and engaging, for this band can't half write one hell of a lyrically excellent song. It's punchy, short, to the point and stunning, as is the whole EP and everything that this band represents and delivers with attitude and then some.
LOST CITY SOUL – Ghost/Four Walls Download Only
With no intro, we're right into the song as vocalist Alan Turner is immediately distinctive courtesy of that strong yet husky vocal which flares out from the track as the band travel from initial bounce to driving beats then an all-out attack as the guitars, keys and rhythm section spiral upwards with the song's arrangement. The verses cruise into verse-as-chorus section then fly up to a wordless hook, before the song drops back to the almost anguished strength of the next verse, Alan's vocals an outpouring of emotion as they soar and drive. Behind all this song addiction, the band are way more varied yet cohesive than you realise. The song breaks out into a searing guitar lead over the driving beats before it's one final attack at the song and its heady set of memorable hooks, riffs and choruses. The sort of song that's as instant as it is long-term satisfying. “Four Walls” continues in a similar vein, only here the song starts with wordless hooks as the band crash in, the vocal drop out, and a river of synths and cyclical riff guitars ring out over the rolling rhythm section and Alan's powerfully passionate and distinctive vocal enters, on a song that's just to die for. The verses are huge, the choruses even bigger, the arrangement and playing truly expansive and the song itself an absolute gem of writing. Maintaining a strong mix of dynamics, emotion, drive and strength, and getting the balance just right, this is yet another absolute gem of a song from a band currently possessing some of the finest songs and the greatest consistency of enjoyment on the Dundee indie scene right now. A triumph!!
ONE WEEKS NOTICE – Take It Or Leave It/Pieces Of Me Download Only
“Pieces” has got this guitar sound that's so goddamn gorgeous, you fall in love with the thing right away as it opens up until the sudden emergence of the deep resonant bass and rolling drumming provide the undercurrent that keeps the thing flowing along as this delightful jangly guitar floats and soars. On top of this, the lead singer comes in with a vocal that sounds like a politer answer to the guy out of The View, as he provides a vocal that's full of passion and yearning , almost to the point of angst. The verse flows into the sudden onrush of the roaring riffing and dramatic rhythms that make up the heady chorus, vocals flying high and combining with counterpoint harmonies to give a hook that's both catchy and memorable. Just before it takes off out of sight, with a sudden onrush of tumbling beats and crunching guitars, it drops right back to another verse, to delicious effect, and the whole lot flows right into the next chorus, only this time, the heady chorus and rising riffing don't drop back but gather strength in the lurching rhythms and the mix of that wondrous guitar figure and massed ranks of guitar riffs, carrying on with the choruses to driving intensity before ending with the strains of that guitar lead ringing delicately in your ear. “Take It Or Leave It” relies on a different approach to achieve a similar result and here, the vocal tension opens up proceedings as the rhythm section and guitar collectively roll along before the vocal then lifts off into this towering harmony of a chorus as the guitar suddenly flares, the bass pounds and the drums maintain their grip. We then get another verse of the story full of impassioned yearning that sails into the anthemic sunset of the chorus that really gets inside your head. The tale of unrequited love and pleading provided by a vocal that almost breaks your heart drives into an even headier chorus that you're now singing along with at the top of your voice, tagging along to the final strength of the ending. All in all, two excellent songs, relatively simple on the surface, full of drama underneath and delivered distinctively by a band that knows how to write, sing and play a great pop tune.
THE MIRROR TRAP – The Last Great Melodrama Album Download
Suitably for a melodrama, it opens with ebbing and flowing organ chords which are joined by the sound of militaristic drumming and half-heard spoken word vocal before the organ rises up alone only then for the drums to crash in once again, this time joined by the half-sung dramatic vocal distance and textural backdrops before ending inn explosion which immediately heralds the start of this spiralling guitar riff, deep resonant electric bass and driving mid-paced drumming. The riffs drop back to rippling guitar chords as this emotive mid-high register vocal with a decidedly Scottish lilt, flows like wine over the solid but magical backdrop and the verses soar into view before they all dive into the riff that has now become the song's hook. All of a sudden, it intensifies as the vocal becomes anguished then the riff returns and it's as though that never happened – and it stops. That was “My Alabama”, opened by “Lavendar Hands” - and you are now inexorably caught in The Mirror Trap.
“Statues” bursts in with a clattering, dramatic slice of drumming as the guitar provides a fuzzy riff and the bass river runs underneath while the vocals are deliberately clipped and highly emotive, emphasizing every word, feeling every word, rising to a crescendo and flying ever upwards on waves of passion as the guitars spread through the horizons. The song then coalesces as the whole band drive forward as one and a new shape of verse mutates into a vocal chorus that flies while the gathering heat of guitars riffs and shuddering rhythms bring it all to an abrupt end. “St Petersburg” continues the clipped rhythms as the emotional male vocal delivers the song with bucketfuls of anguish at another mid-paced arrangement. Via shimmering guitars and deep bass, the song then thunders into a huge-sounding chorus of lead and harmony vocals as the pace accelerates, the riffs and leads move upfront then just as it all threatens to take off, it surprises you by returning to the stagger and swagger of the opening verses, truly superbly delivered as the song proceeds to sway back and forth between the two parts.
“Broken Clown” starts at a faster pace as the band really let go and this stirring anthem of a song continues apace with another memorable guitar riff-as-hook as the anguish of the singer matches the tempo and pace of the stuttering yet rock solid rhythm section. The song then takes off in this huge tornado of guitars, only once again to take a complete about-turn into a whole new middle eight before then firing on all cylinders and diving back into the main body of the song. “Bullets In The Dark” is dark – at a slower pace, the guitars gather strength as a storm approaches, the vocals are full of feeling, tense and taut, delivering a song with deliberate conviction and purpose as the guitar clouds gather, the drums crunch and the bass resonates through the entire arrangement. It's slow for the main part, with a steely strength that cannot be broken as you are carried along on a slow-motion tidal wave of guitar backdrops, multi-tracked and emotional lead vocals, dramatic drumming and deep, deep bass.
“White Rabbits” is like a combination of dark early REM and New Order and, bizarre as that might seem, it is stunning as the song flows like a mighty river and there's a chorus that sticks like glue as the guitars shine and glow, riff and roll, while the bass booms underneath and the drums provide a massive crunch. The bit where the vocals give way to this hollering thunder of guitars and upfront bass above the strident drums, is nothing short of breathtaking as the song returns briefly then allows the thunder to continue to a magnificent end. “Pulse” has more of a Joy Division feel to it only optimistic rather than depressing, as beefy bass, solid, deliberate drumming and a guitar-laden undercurrent, all underpin another distinctive, nasally vocal that delivers the song right upfront with restrained passion and flowing intensity, the arrangement twisting and turning, spiralling and gliding, lurching and flowing, drives towards another abrupt end point. “Vampires” is a slow track but it shines like the sun as initially shimmering guitar clouds drift into view along with soft, upfront, impassioned vocals, full of feeling, are then joined by slowly bluesy lead guitar and equally slow percussive distance that quickly dies to leave the guitars and vocal once again. Then, via this dirty guitar riff and guitar sparks that climb and climb, the bass throbs in with conviction, the vocals become more intense, the backing full of tension, rising slowly into the skies as the anguished vocals explode to be joined by dramatic drumming and the whole thing flies ever upwards, gathering strength as it fires towards a blazing sun of a finale.
“Once A King” is led by big, beefy, resonant bass chords as dirty, chugging guitar riffs, shining lead guitar and the solid crunch of the drums, all provide this slowly muscular backing that is just breathtaking as the nasally vocal covers more of a range from mid to falsetto, full of passion, anguish and refusing to be silenced, as that river of bass, shimmering, riffing and lead guitars plus solid drumming, surges forward.
Finally, there is “The Window”, as the album ends with an almost wistful ballad of a vocal, again every word emphasized for effect as that bass twangs upfront, there's a really expansive textural undercurrent and the song then takes a right turn into a starker vocal, but the shimmer of guitars is joined by cymbal splashes and hints of guitar riffs, before the drums drive in and the main body of the song is carried along on shining lead guitars and impassioned vocals – whereupon it all ends, bringing to a close an album that's proved to be way more hypnotic than you'd have thought possible and leaving you with the desire to hear it again and discover all the things you missed first time round.
THE DETOURS – Release Me/You Jump I Jump Download
Back in action complete with new vocalist and this sees the Scottish unsigned back at the top of their game on 2 mighty tracks. “Release Me” is one eruption of a track that wastes no time with frills or subtleties but gets the indie machine into top gear right from the start as the band burst into life with a thunderous cyclical guitar riff set against stirring, strident drumming and equally ferocious bass. Over this the singer pours forth the verses with huge passion and urgency, leading into the song's hook where added harmonies, slightly higher pitched than the lead vocal, provide an extra dimension to the hook that really sticks inside your head. The whole thing just surges through with electrifying intensity and emotive energy, the songs eventually giving way to a red hot lead guitar break that is just sensational, climbing to heights that many a rock band would kill to provide, before the chorus returns and the song drives towards its immense conclusion, eventually juddering to a halt. With barely a second to catch its collective breath, the band ushers forth a juddering riff that suddenly stops for a more razor-sharp lead vocal to come into play as “You Jump I Jump” launches into life, this time the verse multi-tracked as the band lurch, drive and shudder, the guitars suitably coming across as bass, lead, rhythm and riffing machine all rolled into one, while the drums crunch and burn as the bass carves its path at the bottom of the mix. The song has a sort of hook-cum-chorus that is really an extension of the immaculately sung multi-tracked verses and the entire song once again has no diversions, no twists, just good solid density and electrifying intensity as well as consummate accessibility and enjoyment. Two standout tracks which promise much for the future.
A TORN MIND – Mindless Obsessions Download
Latest offering from Scottish contemporary proggers finds them on top form and the way they turn complexity into enjoyability is still quite eye-opening. A lot of the “prog” elements are still there – the twisting arrangements, the Yes-like harmonies, the sense of melody that pervades the song, the dynamics, the way things build then break out, the sheer depth of sound – actually, thinking about it, I take it back – they really are still a solid seventies-derived, prog band. But there's a freshness of approach, a sense of urgency, a bite and a shark attack rather than a lumbering dinosaur. The song itself is inventively arranged with lots of great instrumental excellence, but studded with wicked guitar riffs that give it the heavier approach, while the leads from the guitars, flare off into the night sky. Predominantly instrumental, it's got “prog rock” running through its veins like lifeblood, but rather than become part of the monster, they've evolved and given us prog that really does fit into its modern surroundings, carefully arranged, tight, superbly played, excellently sung and, if you like this type of music, then it's at the top of its tree and should be at the top of your playlist.
THE LITTLE KICKS – Call Of Youth / Latin Advance Demo
Two brand new tracks from Aberdeen melodic indie outfit and they're really cool. There's a lightness of touch at the same time as a strength that really endears the band's output to you – while it's still all about the song, there's a greater sense of urgency at one end, a mellower sense of calm at the other. “Call Of Youth” us dominated by the lead vocal, as this richly textured higher register lead vocal, just flies effortlessly through a song that charms as much as it drives. Opening with mildly stomping rhythms, jangly guitar, bursts of restrained lead guitar and ringing guitar lines, that vocal just soars into your heart with a solid grace and heartfelt strength, as the song is delivered, telling a story with lyrically attention-grabbing ease, as that richly contralto vocal flows effortlessly through a song that, while it's direct and simple, drives forward with a sense of texture, melody and open-ended emotion. Essentially it's all one big chorus but done in a really clever way, arranged and played to perfection by a band as tight as they are strong, the heart of the machine topped with an outstanding vocal and added harmonies, delicious jangly guitars and a true sense of wonder. “Latin” opens with deep church-like organ chords, slowly paced, before the equally serene vocal just soars upwards, lightly echoed, as distant jangly guitar comes into view, slow chords and notes cascading as the drums begin to drive, the bass rumbles underneath and the song gathers strength. Then it surprises you as you get just the drums and the vocals, yet the whole mood and flavour of the flowing song and that wondrously evocative vocal, doesn't stop as the organ returns underneath, guitars sparkle on top and the whole song begins to take off. Guitars come to the fore as a torrent of guitar heat slowly rises but maintains its distance. Then the song returns and added harmonies on the vocals, lift things even higher towards the final abrupt chords that end a most exquisite song.
MY SUPER EGO – The Cool Points System Album Download (Demo)
Arbroath band with a 14 tracker that's a rather fine showcase of what this band can deliver – and that is a rather fine set of classic punk-rock songs, with more emphasis on quality and variation than you might have expected. Things get off to a rousing start with the distinctly Blink 182/Sum 41 influenced “Two Birds One Problem”, just under three minutes of pummelling rhythms, a sea of guitars and suitably sarcastic lead vocals to which are added huge harmonies on the choruses as the song veritably rattles along as one hell of a great album opener, and decidedly commercial too in that classic Blink 182 manner. “Princess” continues this feel, sound and quality with another superbly pacey and powerful number, with lashings of harmony vocals, suitably raucous yet controlled and that American-esque pop-punk memorability complete by the shovel load. What also makes the song work so well is the way they twist and turn the arrangement while never for one second losing the bite and multi-layered musical and vocal enjoyment which makes it such a great song. So things go – track after glorious track of biting, electrifying, catchy, solid, powerful and highly charged pop-punk that's really got it all – great guitars riffing away, suitably searing lead breaks, fast-paced rhythms, heated riffing, those trademark Americana punk vocals, piles of harmonies on mile-high choruses and, to be quite honest, it's so good and so enjoyable that you completely forget it's only a demo. Can't wait for the real thing, but for now just get hold of this free download of an album and get your teeth into one of the most potentially commercial pop-punk bands on the Scottish unsigned scene.
AIRSPIEL – The Rain Download
There's a wondrously emotive, wistful vocal that opens up this track – as, immediately, you're transfixed. Underneath is a river of distant string synths and then the kick drum starts a beat, the synths take up the rhythms, more synths bubble up as the cymbals kick in and then this huge canopy of multi-tracked vocals take off like a majestic bird in flight as the combination of gorgeously delivered vocals flows on top of rolling drum and synth rhythms, a deep bass underneath and textural guitar entwined with the synths. The chorus lifts you up and carries you away as this breathtaking slice of wonderment touches your soul and makes you feel just fantastic as the whole thing drives forward to an abrupt end. It's simply wonderful!
ANNIE STEVENSON – Get Off The Street CD-EP/Download
Glasgow indie band's second EP and it starts with the title track that takes off like a rocket as this rifle-fire sea of rock 'n' roll rhythms hurtles along under stabbing guitar riffs, soaring wordless harmonies, pounding bass and this anguished, angry Scottish vocal that sounds like he's about to go out and hang himself, so bad is his plight, as the thing rolls along with authority, and you can't fail to be carried along with it, as that chorus hangs around in your head. A mid-section few seconds of almost space-rock guitars leads to the almost Lydon-esque finale as Public Image-meets-punk rock to bring the surging track to an abrupt halt. “Country Killer” could not be more different as this strident indie-ballad is played and sung to perfection, sounding almost like a cross between Blur and Supergrass, with delicate guitars, chunky rhythms, delicate yet strong lead vocals, a jaunty arrangement, neat textural arrangements and production and a song that is itself one giant of memorability and accessibility, gorgeously performed. “TV Took My Soul” launches into life with surging riffs as this almost lazy vocal is spat out to perfection over the driving rhythms, jangly guitars and steaming riffs as the stretched out vocals on the verses become anguished vocals on the chorus and the whole thing sounds like some lost late seventies CBGB's “Noo Yawk” punk band come to life in modern times, delivered with passion and purpose, strong and streaming, familiar yet brand new and refreshing, a solid song that ticks every box. Finally, there's “I'm The One You Hold”, an almost Beatles-esque, Lennon-influenced song that slowly drives along with its out of focus lead vocal delivering the observational lyric with bitterness, biting wit and passionate yearning, the song backed by jangly guitars and delicate rhythms. Then, all of a sudden, this tidal wave of textural guitars and endless vocal harmonies are powered by beefy rhythms as this gigantic modern-day take on an “I Am The Walrus” styled finale, takes the song to a glorious conclusion.
ASPEN TIDE – Bittersweet CD/Download
The CD is a three tracker but they only sent us two tracks so that's what's getting reviewed. The title track is a prime example of emotive Scottish indie songwriting that twists and turns its way through worlds of yearning, angst and delicacy with barely a pause for breath. It's like a rollercoaster in that it climbs to the heights then drops back only to climb even higher. Opening with shimmering guitar chords and deep piano, the rhythm section sidle in as this hushed but passionate vocal with a suitable Scottish lilt, delivers a heartfelt verse complete with brief harmony vocals, as the verse climbs into the hook, the vocals become more impassioned, and then the guitar riff kicks in as the vocals soar, harmony vocals holler, the rhythm section strengthens and the whole band lift off into the chorus that's almost spat out with the feeling that the guy injects as the song hits a peak, drops back via some beautiful guitar work only then to erupt in a blaze of lead guitar heat as the rhythm guitar, bass and drums kick back, the vocal just drives and the band deliver more studied verse and high-flying choruses before an almost loosely knit finale and it's gone. “Colours” is, to my mind, even better – starts with a mix of delicate guitar chords darting in among rifle fire riffs from the guitar and rhythm section before the main body of the song kicks in and the bouncy arrangement delivers chiming guitars, chunky beats and impassioned, upfront lead vocals that burst with emotion as the intoned verse crashes into the chorus with a blazing intensity, the vocal really on fire and the harmonies adding strength as the band bounes and drives as a classic slice of roaring Scottish indie-rock is delivered with passion and fire, the guitars ringing out like church bells as the song suddenly takes a twist onto a mid-section drive of roaring riffing from deep guitars and thundering rhythms before it all dies away to reveal a solitary drum beat, chiming guitar delicacy and suitably emotive vocal as the whole thing then takes off like a rocket and the band just lift off to almost breathless degree as the salvo of guitars, rhythms, crashing drums and achingly emotive, powerful vocals, all carry you inexorably along with them and – it's gone – an absolute gem of a track. So, with that in mind, even though we haven't got the third one, I'd urge you all to get this CD or download – if only for “Colours” alone – superb all round.
COLOUR CODED – Smile Now Download
Chugging, staccato drums are the driving force of the starts of this track as distant keyboard and flowing bass provide a textural undercurrent, sparingly used jangly guitar is heard as the softness of the warm and strong lead vocal wraps its arms around your heart, a short verse flowing into a gorgeous hook as the pace increases, the intensity rises and the track erupts into a verse-as-hook section that really takes off as the vocal intensifies, flies and fills the sky, before dropping back down. This time the guitar rings in the distance on a cyclical riff as the band flow and the whole thing takes off once more on its uplifting chorus, that vocal so emotive, that hook so catchy, the pace now driving and the whole song almost taut yet grand, strong yet heartfelt, so full of passion that all you want to do is play it all over again.
DEADLIGHT RED – Bones You Break Download
New Dundee band out of the ashes of The Goodnights with their first recordings and the word you immediately think of is “quality” - then “power”, “dynamics”, vocal excellence”, “great playing” - I could go on...and I will...
The lead track starts with quite swirling space synths as gentle acoustic guitar wonders in and a smooth, emotive lead vocal emerges with the song as, almost imperceptibly, the band also come in on things with a solid, slowly moving backing of solid rhythms, distant guitars and rippling piano, as the vocalist takes the song to a chorus while the piano moves briefly upfront, drops back then the guitars take over as this massive sounding, mid-paced riff is propelled by muscular rhythms and wall-to-wall organ while the singer really delivers the verses and that hugely uplifting chorus, now multi-tracked for even more effective harmonious proportions. Via a biting lead guitar break and that massive keyboard sound the whole thing takes off then drops back before lifting even higher, the repeated chorus becoming the verse, the piano reappearing for extra textural effect and the canyon-sized song rising upwards before leaving the stratosphere and breaking your heart with its loss, one awesome example of modern songwriting, singing and playing at its finest. “Can't Stop The Sound” starts things with bouncier rhythms, more jangly electric guitars, deep keyboard and that superbly yearning, emotive vocal delivering another quality song as things starts to rise and intensify, the verses forming their own hook as the organ reappears, the guitars start to fly, the rhythms hammer and judder, it rather neatly drops down for a dynamic middle bit with deep-feeling vocal at the forefront, before then taking off on a mid-song instrumental flight full of guitars and keyboard density. Then the song returns, the vocalist dripping with emotion before ending on an organ-led slice of band-driven intensity that's as mighty as it is short and to the point. The set ends with “Photographs”, this time a bouncier affair with splinters of tasty jangly guitars gliding out over the heartfelt vocals as the rhythms pick up the pace and this song just flies into life amid some tasty electric guitar work and rippling piano chords before the whole thing gathers strength and pace as the organ and guitars join forces. Then it slides into a searing heat break of guitars before the organ returns, the vocalist delivers a final burst of chorus, the band get one last chance to regroup and it ends. Three superb songs that are perfect album material and, in days when quality songs really meant something to an album-led music industry, this would have been lapped up by many a record company.
MILLSYECK – Jumping In The Grave Download
With a burst of searing heat lead guitar, this band of Dundee's finest contemporary indie blues-rockers take off with a vengeance as pumping bass, thundering drums and rhythm guitar riffing all combine at breakneck blues-rock speed, the solid, emotive, gritty vocals of lead singer and lead guitarist Alex Mills, delivering one sneer of a vocal that really races along with passion and a raw emotion that's just sensational. The whole thing drives headlong into this multi-tracked vocal chorus that takes off like a rocket in a blaze of guitar-driven glory as it reaches the upper atmosphere before entering the stratosphere and filling it with harmonies, choruses, guitars and red hot rhythms, bringing sizzling hot blues-rock into a new, exciting and refreshing life. “Not What You See” is heavier and more mid-paced, allowing the almost Pete Townsend-esque guitar riffs to spark out like solar flares as that awesome bass pumps out and the drums thunder once again, this time at a more deliberate pace. The vocals initially emerge as a wordless holler before the twin guitars join forces for a sea of cyclical riffs that are absolutely electrifying. The vocal sounds seriously menacing as the choppy rhythms stride out under this sea of blazing, clipped, electric guitars riffs. Ultimately the vocal lifts off into a high-flying hook as the intensity and density of the arrangement and singing all rise, while the rock solid vein of guitars and rhythms continues unabated at the heart of the track. There's a real feeling of evil intent to a track that is both uplifting and venomous at the same time. There's a red hot guitar break that just glows against the driving beats and the ferocious rhythm guitar before the verse-as-chorus rocket-rides to the skies as more searing heat lead guitar take the song to an abrupt end. Finally, there's “looking After Number 1”, as classic a slice of seventies-esque blues-metal-rock as they come, the addictive guitar riffs, the solid bass, the driving drums and heated,impassioned vocals all leading into this hugely uplifting, inspirational chorus that's got everything from Foghat to Guns 'n' Roses written all over it, so that the long it goes, the more you're carried along in its heady and headbanging glories, but at the heart of it all, a sea of guitars, a seriously on-fire lead guitar break, strong sounding, emotive vocals, immense rhythms, a mighty chorus, an addictive hook and a band performance that's simply breathtaking as the band's best song to date simply explodes into your life. Three awesome tracks – get them now!!!
THE RAY SUMMERS – Zagora Road/Careless Leader Download
In the course of just over two minutes, this happening Glasgow band manage to sound like the old seventies bands America and Terry & The Pirates, with a helping of Steve Earle in there too, coming out of their late sixties psychedelia into a world of seventies American and gritty country rock, as this fast-paced track delivers a beat that's addictive, a song that's catchy, a band performance that's irresistible, a taste of the seventies that's positively yummy and a flavour of yesterday transformed into the present that's so refreshing, it's scary. You'll have this one swirling around your head for ages with its huge vocal harmonies and driving rhythms “Careless Leader” is faster paced, grittier, more of a lead vocal takeover, almost Richard Thompson-meets-Country Joe & The Fish type of number, and it positively flies along as the vocal harmonies return and the song that's one gigantic flowing, driving sea of verses, really grabs you where it matters and this jaunty, strongly arranged slice of sea-shanty-as sixties country-psych rock takes hold