Music - Just For Culture

Just For Culture

Live Review: Public Service Broadcasting - Electric Fields Festival, 1 September 2018

6/9/2018

Public Service Broadcasting are an electronic art-rock three-piece whose eclectic tracks are created by combining original instrumentals - guitars, banjos, strings, drums, pianos, keyboards, saxophones and trumpets to name but a few - with vocal samples, largely from (you guessed it) public service broadcasts (!) from old archive footage, propaganda material and public information films and broadcasts.

Having never actually heard the group’s vocal chords in any format before, it was somewhat of a surprise to witness lead man John, as his PSB persona J. Willgoose, Esq, come out on stage in a quirky bow tie and introduce the rest of the band (also in shirt and tie) in a stately English accent. Of course, when we later learned that the frontman of the group was a persona called J. Willgoose, Esq, this became significantly less of a surprise. But anyway!

As far as receptions for posh Englishmen in Scotland go, this was a rather welcome one. Public Service Broadcasting’s music is playful, it’s fun, it’s catchy and it lends itself well to dancing. Particularly live, with accompanying and well fascinating archive footage throughout the setlist, each song is a journey in itself - whether that’s through some of the darker days of political Britain or through the American and Soviet's Space Race, as showcased in their immensely popular and impressive second studio album, The Race for Space.

Live Review: Stanley Odd - Electric Fields Festival, 1 September 2018

6/9/2018

A Scottish rapper on the main stage of a three-day festival with the audience singing the words back to the lead man on the stage. Electric Fields was a day to remember for hip-hop sextet Stanley Odd and front man and lyricist Dave Hook.

We had wondered in the lead up to the event whether a Stanley Odd gig might have been better in one of the larger tents rather than on the open air main stage. It’s far from unheard of for a main stage gig to be defined mostly by escaping sound and the dwarfing of the act by the sheer size of the stage, but credit to Electric Fields for their sound system and, even more so to Stanley Odd for working the stage and keeping the energy high throughout. They lost nothing to the stage and made it work for them.

The setlist from the hip hop group blended political word play and biting satire with catchy hooks, female vocals, original synth and bass loops that meant you’d have to have been the most stubborn of festival goer to stand yourself still.

Live Review: Idlewild - Electric Fields Festival, 1 September 2018

5/9/2018

After releasing their sixth LP, Post Electric Blues, Idlewild took an indefinite hiatus making me fear I'd missed my chance to see ever them live. I was a huge fan of The Remote Part but didn't really delve into their back catalogue until it was too late.

Luckily, this only lasted three years and, when they came back, they came back with a vengeance, leading to an array of conversations not dissimilar to the below:

"Do you fancy going to Deep Sea World on Saturday? Idlewild are going to play a set."

"Nah, I'm going to my niece's christening in Galashiels."

"Ah nice. I hear Idlewild are playing that as well."

Despite them playing seemingly everywhere in Scotland, seemingly every day of the year, It didn't take long for me to take Idlewild for granted again. This is mostly due to their big comeback album being a bit of a let down and the subsequent tour inevitably being a little too centred around it.

It was a shame. Idlewild were once one of my favourite bands but my response to seeing that they were paying Electric Fields bill was "Aye, fuck it. That'll be alright."

I did recently try and get tickets to see them play the third and my favourite Idlewild LP, The Remote Part, in full but, once again, I missed the boat. I tried to get a second hand ticket off Gumtree but the prick selling them would only sell both at once. It's not my fault I have no mates.

Live Review: Noel Gallagher's High Flying Birds - Electric Fields Festival, 31 August 2018

5/9/2018

Oasis are such a marmite band. Those who like them, love them. Those who don't like them, despise them. Personally, I think they're quite good but, then again, I am my own man. I could take or leave marmite as well, but now I'm bragging.

Aside from me being such a free-thinker, I think the reason for my relative indifference is I was too young to get fully caught in the wave of Brit Pop world domination. I'd heard a few Oasis songs but hadn't really got all the shit the went with it. Rather than Oasis vs. Blur, I got the much milder The Cribs vs. The Pigeon Detectives.

Had I properly been there at the time, I would have thought that the Gallagher brothers were twats and would probably write them off immediately. However, by the time I came to this realisation I kind of already liked their hits, forcing me to appreciate Noel Gallagher as a songwriter but maybe not as a person.

I didn't anticipate the amount of Oasis songs Noel Gallagher's High Flying Birds would play during his headline set at Electric Fields. With three albums of their own, they easily could have thrown in 'Don't Look Back In Anger' and be done with the Oasis stuff, however, Noel knew what the crowd wanted. I never thought I'd compliment a Gallagher brother for not having a big head but it was nice to see Noel Gallagher put his audience before his ego.

That's not to say his High Flying Birds stuff pales in comparison. The pounding rhythm of 'A.K.A. What A Life' was exhilerating, 'Holy Mountain' is a great piece of bombastic fun and 'In The Heat of the Moment''s chorus is just fucking huge. So huge, in fact, that the drummer tried to emphasise it with what would have been a sweet drumstick toss... had he caught it. He recovered very well and almost got away with it but I saw it and I found it very funny.

Electric Fields Set To Celebrate Fifth Birthday With Young Fathers, Loki, Noel Gallagher and More

24/8/2018

Electric Fields, Scotland’s premium "wee" music festival, at the stunning site of Drumlanrig Castle in Dumfries and Galloway, kicks off this Thursday as it prepares to celebrate its fifth anniversary from August 30-September 1 with an enticing line up.

The bill includes the likes of big names Public Service Broadcasting, Noel Gallagher's High Flying Birds, Leftfield and James, the latter of whom will open the newly added third day of the festival on Thursday - though we’re arguably even more excited for the rest of the bill.

One of our favourite things about Electric Fields is the focus on Scottish musicians, artists and different art forms, and there’s no change to that statement this year.

Leading the Scottish contingent will be acclaimed Edinburgh hip-hop trio Young Fathers, who received five stars from JFC for their hometown performance at the Leith Theatre at Hidden Door Festival earlier in the year.

The extensive Scottish representation also includes Bellshill alt-rock veterans Teenage Fanclub, Idlewild, rapper Stanley Odd and a set from Loki the Scottish Rapper - aka Darren McGarvey - whose award-winning book Poverty Safari and the subsequent live show about the misrepresentation and misunderstanding of the working class in Scotland has garnished enormous critical claim and even put Loki up on BBC Question Time, where he was widely applauded.

Neu! Reekie! return to the festival to bring you more spoken word and genre-bending performances too. We chatted to Michael Pedersen, co-founder of Neu! Reekie!, at Electric Fields last year, and he gave an interesting insight into how they pick their acts for festivals.

“We're very particular," he told us. "So we've put on poets and artists that we know can go head to head with the musicians and who can win eardrums back from DJ-sounds spiralling into the back of our tent from elsewhere at the festival.

"We're sort of going to war with music today. Just between the hours of 13:00 and 18:00. Outside of that we're completely zen!

"But aye, we're booking people who we know can handle these audiences and these crowds and this fluidity of audience, and people who we know can bring people in and get them to stay. We're armed to the teeth in this fight for your affection."

This year Neu! Reekie! returns to compete again, with, amongst others, Glasgow favourites Victoria McNulty and Cat Hepburn, the enormous talents of Salena Godden and Colin McGuire, the inimitable "Tam O Shanter" with other Neu! Reekie! co-founder and publishing legend Kevin Williamson and the Kixx Collective, rapper Empress, the aforementioned Loki, and many more.

The festival was of course headlined by Frightened Rabbit last year, whose lead singer Scott Hutchison tragically died in May. Scott was due to play at the festival again in 2018, and in his place Electric Fields, after speaking with the rest of the band, will replace their Saturday night slot with what will no doubt be an emotional play of their debut album "Dance Music" in full, as a tribute to one of the greatest songwriters in Scottish music history.

Elsewhere on the line up are the hugely impressive Ghostpoet, outlandish feminist rock group Dream Wives, who also impressed us at Hidden Door, Ride, Ezra Furman, The Coral, The Horrors, Alexis Taylor (doing a DJ set) and of course, much, much more.

Click here to grab a ticket from the official website in the resale while it’s not too late

Live Review: Future Islands - The Usher Hall, Edinburgh, 14 June 2018

19/6/2018

"We last played Edinburgh in 2009 to about 20 people" exclaims Future Islands frontman Sam Herring to a packed out Usher Hall. An hour or so later, and it's clear to see how the Baltimore band have amassed such a devoted fan base in such a short period of time.

Herring commands the stage authoritatively, with an air not unlike your old friend from school's charming yet unnervingly eccentric dad. His performance is one of crystalline vocals contrasted with feral grunts, nimble dance moves performed with increasing alacrity, and engaging chat always tinged with a disarming graciousness and humility.

His disproportionately fleet-footed adventures around the stage include a cossack dance, a more than passable impression of Shakira, and what can only be described as a waterless slip 'n' slide. These exuberant moves are at odds with the totemic figures of Gerrit Welmers and William Cashion, who provide a beautifully layered soundscape onto which Herring paints his lyrical pictures.

Touring drummer Michael Lowry provides a potent yet restrained drive to proceedings with his efficient beats.

Early highlight 'A Dream of You and Me' is preceded by a slight setlist miscommunication, as Sam introduces it, yet quickly retracts this apologetically and the band launch into another robust synthpop gem, 'Ran'.

This track along with several others from the band's stellar 2017 album The Far Field form the spine of the show, and provide pomp in spades. This alternates with more meditative tracks from their catalogue peppered throughout, although the pace builds with gradual and definite intention.

Review: Young Fathers - Leith Theatre, Hidden Door Arts Festival, Edinburgh, 2 June 2018

3/6/2018

Photo: Sam Johnson

“Save Leith Walk,” says Graham Hastings of Young Fathers, from the stage of Hidden Door.

The sold out Leith Theatre roars like it’s probably not done since AC/DC graced the stage in 1976 at the sound of the campaign name so close to the hearts of so many in Leith, trying to fend off the gentrification of the area, and in particular the controversial £50m development which would unhouse many current tenants, including music venue Leith Depot.

Kayus Bankole bounds across the stage flashing a cheeky grin to the crowd and his bandmates. Alloysious Massaquoi stands steely, ready to wow the crowd once more.

Hidden Door renovated the formerly abandoned, breathtaking old Leith Theatre for their music, spoken word, theatre, dance and arts festival last year, and they’ve been reaping the benefits ever since. So has the local community and arts scene.

The venue hosted Anna Meredith, Idlewild, Kathryn Joseph and more for Hidden Door in 2017. Cabaret Voltaire regulars Fly Club brought a New Year’s Eve party to the venue. And for 2018, Hidden Door were back - as well as renovating and taking over the State Cinema, due for demolition across the road, for one last hurrah. This year the likes of Sylvan Esso and Submotion Orchestra had already headlined the main stage of the theatre earlier in the preceding days.

But if there was ever to be an Edinburgh moment, it was to be Young Fathers, the Leith locals and experimental, Mercury-Award winning trio who sold out the theatre months in advance.

People were draped over the balconies on all sides, looking down on the stage and the packed out dance floor, which was just as it should have been - a pit of sweat and dancing, with ticket holders competing for the best views of the local heros. The view of the rest of the theatre, from both the floor and we imagine the balconies, was a sight to behold as well.

To say Young Fathers have been a revelation on the Scottish music scene (and beyond) seems a notable understatement. For Edinburgh to have produced a group of such widely-acclaimed talent, and in a field like hip hop, is a huge source of pride for a city too-often accused with lacking a music or arts scene. This latter point is also something the very existence of Hidden Door, with its exceptional variety of performers, works to disprove.

Young Fathers latest and third studio album Cocoa Sugar received five stars from the Guardian - and much more importantly, it’s original, it’s unique, and it’s infinitely listenable.

The group open with ‘Wire’ from the new record. A frantic mix of drums and keys. The wonderfully Scottish opening line screams: “oh you fucker I can dance”, and the Leith crowd are up for the task.

Live Review: Frank Turner - The Liquid Rooms, Edinburgh, 21 April 2018

23/4/2018

Frank Turner came to Edinburgh to play an incredibly sold out Edinburgh Liquid Rooms on 21 April.

We say ‘incredibly’ sold out, because one of the most notable things about the gig at first glance was the fact that there was barely enough room in the venue for all the ticket holders.

Whether it was the packed out audience, the Saturday night or the singalong anthems being played out by the bucket-load, it was a hell of a memorable performance by Turner.

You know those random acoustic guitarists that play in bars and turn out to be really good? And do a set, normally entirely made from covers, which results in the whole bar singing along, arm-in-arm to songs you’d forgotten you knew the words to?

That’s pretty much what it’s like being at a Frank Turner gig - except all the songs are by, err, Frank Turner, obviously. And the guy with the guitar has sold a shitload of records.

That comparison isn’t taking anything away from Frank’s talent, either. It’s a rare skill to be able to write a full album of original acoustic albums that appeal to pretty much everyone. Frank Turner has written six.

His music brings rock ballads to the acoustic guitar. It’s music with simple but well thought out, well written lyrics and incredibly catchy melodies and hooks, and because of all this, it’s built to be played live. It’s built to replicate that bar experience - and then enhance it by the handful. Seeing Frank Turner is like the best bar gig you’ve ever been to.

Live Review: Bryde - Sneaky Pete's, Edinburgh, 16 April 2018

20/4/2018

Welsh singer Sarah Howells is a hell of a diverse act.

Fans of trance may recognise her name from her collaboration 'Out the Sky' with Lange, or from her subsequent work with John O'Callaghan or Dash Berlin.

Some may know her as the lead singer of Paper Aeroplanes, the moody indie-pop group who released a debut album back in 2010 and followed it up with three more.

Sarah’s latest project is a solo one under the name of ‘Bryde’. It couldn’t be further from the trance days and while there are hints of Paper Aeroplanes in some of the slower songs, really Bryde is a full-on rock project.

The Bryde album ‘Like An Island’ was released on 13 April, and Sarah brought the record to Sneaky Pete’s in Edinburgh three days later.

Live Review: Tokio Myers - The Queen's Hall, Edinburgh, 2 April 2018

2/4/2018

Tokio Myers is a London-born and bred pianist and music producer who won Britain’s Got Talent in 2017.

One would assume that to be a winner of Britain’s Got Talent, you would have to have a gimmick of sorts. One would be correct.

Tokio’s music blends intricate piano work with modern pop and chart music - tending to start with famous classical pieces which showcase his piano skills before transitioning into mainstream music as Tokio dramatically stands up from his piano and starts bashing about the symbols and drums hung and stood around his enormous piano.

These include mash ups of Debussy's 'Clair de Lune' and Ed Sheeran and Rudimental’s 'Bloodstream', and Han Zimmer's Interstellar soundtrack and Rag 'n' Bone Man's 'Human'.

It’s a euphoric moment when Tokio makes the switch from piano to drumwork. It’s creative, it’s unique, and it’s original. The first few times you see it.

The only thing is, after watching a few songs run in this formula back to back, the predictably euphoric switch becomes a little less euphoric and unique. And you can pick some fairly obvious holes in the creative aspect too.