Gig Review... Paper Crowns, Blood Relatives, and Eliza and the Bear @ King Tut's Wah Wah Hut, Glasgow, 7th September 2013

King Tut's is probably Scotland's best known venue, and Glasgow's finest. It was where Oasis forcefully, never the less successfully caught their big break. It is home to the stage where Snow Patrol made their mark, and where Biffy Clyro epically launched themselves all the way up to a UK treasure. Needless to say if you want to make it in the UK, let alone Scotland, you have to play King Tut's... It just propels you.

Last night was one of those very moments. As I stood in the crowd, gawping, I witnessed the emotional, passionate, and raw right of passage of an up and coming Glasgow folk four piece, Paper Crowns.

Armed with an arsenal of talented musicians; guitar, drums, violin, and cello. A gifted poet of a front man, four piece harmonies that could possibly have been plucked from the Appalachian mountains, and a confident stage presence, it was clear that these ladies and gentlemen had come to do only one thing... Play a life changing gig.

You could tell the band was excited as their singer, Jack McLuckie (Yes that is his real name) poured their hearts and souls into their performance; it was their first time playing the venue. They powered through a set that consisted of both driving, pounding upbeat folk, to more wistful, mourning acoustic ballads that left you teary eyed and missing your loved one. They were friendly, charming, and invited the audience to come closer and closer, as they wanted to see the people who had made this gig possible for them.

What makes this band so incredible is the fact that they have only been going for nine months... Yeah... They're that good. Not only that, they have only been a four piece for less than a month and they sounded together, calm, interlocked, and confident in their ability as a band. 

Paper Crowns are one of those bands that, within this lifeless industry, still has a real golden soul. They are true to their sound, their ability, and as people you'll never meet anyone more friendly than this group of ladies and gentlemen.

Last night proved one thing to a very receptive and appreciative crowd, Paper Crowns had conquered the famous King Tut's stage within thirty seconds of being up there.

Not only was it Paper Crowns who showed that they had what it takes to master Tut's stage. Last night featured two other artists of equal form.

Eliza and the Bear, a six piece from London, were a folk band that had been electrified and drenched in reverb and delay. Their sound was euphoric, dreamy, but at the same time was powerful, danceable, and hopeful... Mind you a large part of this was contributed by the fantastic trumpet that blared out incredible notation throughout the set. 

It wasn't just their musicality that captivated the audience and left them mesmerised, it was, very much like Paper Crowns, their energy. With movement, passionate singing, Eliza and the Bear made the audience sway, tap their feet, and feel all warm and fuzzy inside... Though that could have been the fuzz pedaltasitc hooks provided by the lead guitarist.

To have two bands as captivating as Paper Crowns and Eliza and the Bear on one night was a pure treat, and now I am afraid I have been spoiled. Though different, their style complimented one another, as they both had firm roots in traditional folk music which just mixed together perfectly to create a great night... However the night wasn't even over yet.

Blood Relatives, the third act of the night played, though talented, seemed to me as though they were the exit music. Again this group were rooted in folk, but with a stand in guitarist; I have no idea where the real guitarist was. Poor sound control from the house, and songs that just didn't seem to hook you as well as the other bands, they didn't have the best of night.

There is no denying that they tried their hardest, and to give credit where credit is due, they did a damn good job... "A damn good, bloody good, damn good job." Firstly they got up on the King Tut's stage, a feet that must be scary, and secondly they belted through an emotional set, with their musical skills and pleasing lyrics acting as their compass to guid them through a very weary hour.

Unfortunately for Blood Relatives they only managed to catch the audiences attention during certain songs, unfortunately causing them to lose more and more of the audience as the gig went on. 

Blood Relatives were good, don't get me wrong. They had good lyrics and the music wasn't bad, they seemed to have everything there, but it just wasn't. They lacked continuity, the songs didn't have the same impact as the other bands, and therefore couldn't hold the short attention span of the already buzzing audience for long enough. 

Though Blood Relatives didn't have the best night of their lives, the gig on a whole was brilliant. I am still teaming with excitement today and I couldn't stop talking about how good most of the sets had been. They were enthralling, exciting, but most importantly of all they played some good ol' folk. It is safe to say that the Glasgow music scene is still very much alive and kicking... And Paper Crowns are definitely the leaders of the next generation of Glasgow bands.

Written by - Luke Dinsdale

Album Review... Young Aviators - Self Help

We currently live in an era of extreme social pressure, high unemployment rates, and a depressed economy, needless to say, it is horrendous. Times are rough, and no one seems to be batting an eyelid. No one is capturing how we truly feel and how we need our neglectful government to change. No one, it seems, is giving this generation a voice. Well it seemed that way anyway, I know that is how I felt... I felt neglected and deserted... Right up until I I blared Young Aviators on the stereo the other night.
Young Aviators are a breath of fresh air, and they have single handedly managed to rekindle my passion for music, as well as analyze the social and political problems of the modern, western world. It wasn’t just the musicality of this three-piece that hooked me, in fact it was more the social and political awareness of the lyrics that reeled me right in. Upon hearing the lyrics “Stop, start, walk away, money worries everyday, you can feel them in your soul, what’s my purpose, what’s my goal,” from the second track, ‘Forward Thinking,’ I instantly felt like Young Aviators had managed to capture, not only how I felt, but how my entire generation currently feels right now. Finally someone is singing about the important things in life.

Musically they are genius, for instance did you ever wonder what would happen if you threw psychedelia, four on the floor beats, punk-esque, raw guitars, and harmonizing vocals together? No, I couldn’t even grasp that concept before I blared their debut album, Self Help, at full volume in my bedroom. I will admit that upon hearing the first track, ‘Sunrise On the Motorway,’ I was reminded of the 1960’s psychedelic movement. The guitars shimmered, yet they were still raw, the vocals were harmonizing perfectly, and there was an etherial energy in the background. In that instance I settled down next to my loved one, for what I presumed would be a relaxing half an hour or so of 60’s psychedelic revival... I was so wrong. Within 35 seconds the whole atmosphere had changed, and all it took was a simple drum role. Next thing I knew My girlfriend and I were on our feet and dancing to, what I could only describe as, punk.

The album is a raw, still bruised guide on how to survive in the modern world. The tracks feel as though they were penned to help us all through the journey together, to make us feel like we’re not alone. With songs like, ‘A Love to Change Your Ways,’ you are given advise on how to approach loving someone, and how to get that person and concept in the first place. The band seems to tear and rip through the album with passion, pain, and hope with melodies to hook, and lyrics to teach.
Young Aviators are the new voice of my generation, as they seem to be the only band out there daring to give the modern world two fingers and rewrite our future.

Written by - Luke Dinsdale

Young Aviators - Self Help
Out of 10: 8.5/10

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Gig Review... Alice & The Rampant Trio @ The Roxy 171, Glasgow, August 2nd 2013

At exactly eight thirty, in the Roxy 171’s small but intimate basement the lights are down, I can hardly see my note pad in front of me, the crowd quickly finish their hushed conversations, and I look up to see David Devereux take to the stage. The waist coat brandishing folky stands there with his mad Bob Dylan hair cut and a... A six string bass!? I am intrigued. He introduces himself, he’s quite a modest chap I have to say, he looks down at his instrument and he begins to pluck away. From out of the silence he creates a beautiful little bouncing melody, loops it, and after a few seconds I realize that I am hearing The Who’s opening synth riff to their song ‘Baba O'Riley.’ With an arsenal of instrumental covers, ranging from Michael Jackson’s ‘Billie Jean’ to Daft Punk’s newest hit, ‘Get Lucky,’ Devereux’s set goes down like a storm. As the set closes and he is applauded off of stage I did feel, although talented, Devereux’s set felt like an all male A cappella group covering Victor Wooten. It was all very similar sounding and lacked texture, However it is evident that the lad knows how to entertain, with much of the audience applauding and cat calling it seems Devereux is doing well on the scene.

The second act, Junebug, takes to the stage. This group are well known on the Glasgow gig circuit but tonight they are a drummer down and so they launch into a very laid back acoustic set. Sadly however the lack of a drummer really begins to show and it feels like a poorly arrange open mic night set. The six song set consists mainly of original material, all very Post Brit-Pop and Byrds-esque in sound. To fill the set up a bit there are two unpolished covers thrown in, but these are lacking in practice and tightness which leeds to an uninterested audience. The set is lack luster at points and contains rookie mistakes, such as an out of tune bass which is consistent the whole way through. Needless to say their saving grace is their original song, ‘The Mill’. It contains beautiful harmonizing on the guitars, the vocals are brooding but confident, and the song felt well rehearsed. It is a shame to see a band that tours Glasgow’s venues so frequently play a set so uninteresting that at one point the audience was louder than the performance.

The third act on the bill, Alice & the Rampant Trio, take to the stage. They’re the first full band of the night and they are here to do one thing only, “To melt your faces off,” Alice announces into the mic. They aren’t far off either and the audience warms to them straight away. The first song, ‘Orange Moon’ is calming, and slowly begins the “face melting,” yet that calm energy disperses as they turn up the intensity on the rest of the set. With hearts aching, and a voice howling like a wolf, the Rampant Trio power on through acoustic-led grunge ballads that are riddled with powerful beats and emotional vocals. The set moves faster and tears everyone to shreds leaving the audience howling with adoration by the end. With a strong rhythm guitar, lead style bass, and steady drums, the Rampant Trio are typically, and terrifically grunge. They have the melody of the 60’s combined with the experimentation of 80‘s and the audience loves them.

Mark Copeland and the Wounded Pirates are the final act to take to the stage, but the wounded pirates aren’t there... Whoops. Copeland, however, handles this like a champ, cracks a joke, breaks the tension, and belts out beautifully crafted folk songs that recall Elliot Smith and Billy Bragg. Though he is flying solo, he pulls everything he’s got out of the bag, passion, poetic lyrics, melody, and roaring vocals that really get the couples in the room entwining... Oh yes and comedy, he literally introduces his absent band mates, causing mass laughter from the crowd. His jangley acoustic continues to play, pretty much solidly for the duration of the set, stopping only to allow Copeland time to crack jokes about his wounded band mates. Finally his emotional outburst ends, he thanks the audience, and finally leaves the stage to applause and respect from the crowd.

Written by - Luke Dinsdale