KVASIR and Wuh Oh at King Tut's Wah Wah Hut

Last night I got the first gig of the year under my belt at King Tut's Wah Wah Hut. The reason for my early January outing was to catch two artists that I have blogged about and enjoyed over the last year or so - KVASIR and Wuh Oh. They were joined by Ultra's and Stillhound to make up a 4 band bill - offering exceptional value for money - if meaning a late night finish.

There was quite a smattering of bands and media in attendance to catch some of the buzziest acts in Scotland; Jim Gellatly, Vic Galloway, Saint PHNX, Miaoux Miaoux, Bad Mannequins and Crash Club to name a few.

KVASIR was certainly someone who drew a crowd, curiosity drawing people to the mysterious producer who plays wearing a fencing mask that has been souped up and electrified to look a little Daft Punk. I described his EP as the most sublime music being created in Scotland at present, it gathered excellent reviews and airplay and many are predicting big things for him in 2017 - even bigger after catching him last night!

KVASIR in action at King Tut's

Picture by @brisbanecameron

KVASIR didn't waste any time in showing why - taking to the stage shortly after 8.40pm (his choice to go on first so he was in complete control of the sound) and literally lighting up King Tut's with a 25-minute set of pure electro pop perfection; the previously released EP and a couple of new songs.

I woke up humming the infectious melody to Lyon. I always take that as a good sign if I can remember a hook or a melody.

With his own light show and a huge flight case with a bank of equipment to run up Tut's electricty bill, KVASIR looked and sounded the part. I would really like to see him in a club environment - get this guy to the Sub Club!

The light show in time to the beats and drops looked incredible and I had to smile when checking tweets from last night when I came across this one

The 21st State ‏@The21stState  12h12 hours ago

@kvasirmusic is unlike anything we have ever seen at @kingtuts . Stunned #KTNYR17

KVASIR wasn't only conjuring up all kinds of beautiful sounds by his overworked fingertips on various gadgets, he was also singing live from behind his mask. It was clear to see that a mic was fitted into his mask and although his face was shielded to protect his identity you could just see enough through the mask to see him singing. To do that and everything else shows real talent. It was a sublime set.

Ultras were up next - great band name (not so easy to find on Social Media), although after checking a couple of songs in advance, I have to be honest and say that they were not for me. I did catch their last couple of songs and plenty of people enjoyed their set with one person next to me commenting that they sounded like early Biffy.

Stillhound got people dancing and I mean really dancing. It was fantastic to see young kids (and a couple who looked in their 60s) throwing themselves about with a sense of freedom. Stillhound used to be Discopolis, a band who I blogged about and caught live a couple of times in 2011.

They had something then and they have something now. All of their songs seem to have a beautiful flowing undercurrent, allowing the band to playfully come up with guitar and synth riffs and bass grooves. The trio also have a fantastic range of vocals among them and they combine all of the aforementioned in a kind of dreamy, clubby vibe. The band released an album in November 2016 that I will definitely go back to check out. Judging by the people dancing and singing a-long, many already have the album. Check it out below.

Wuh Oh (aka Peter Ferguson) was headlining and demonstrated exceptional skills with samples by switching, cutting, mixing, looping and playing piano and synths over the top of them - adding and dropping beats as he went. His exceptional Stay Tuned song is one I described as the sound of summer on ecstasy, sample heavy, uplifting pure pop, sounding like a lost cut from The Avalanches Since I Left You in a previous blog. He has loads more besides, isn't afraid to experiment and certainly isn't afraid to show he is having a good time on stage and that translated to the audience who joined in by dancing and some looked on in amazement at the sounds he created - jazzy and houses piano, funky beats, heavy bass.

Wuh Oh showed all kinds of skills and an eclectic taste. With long lanky hair and over sized jumper he just got completely lost in the music and took a large part of the audience with him. I really look forward to watching this artist develop over the coming year.

Picture by @jimgellatly 

Chvrches - The Bones Of What You Believe

Chvrches have had a rather incredible 15-months since they exploded on to the scene with a show at the Art School in Glasgow in July last year (read my review here).

I imagine that the band must be almost relieved that their debut album 'The Bones Of What You Believe' is finally out.

'The Bones Of What You Believe' is a fascinating album, extremely polished pop on the surface, often with darker, menacing undertones. The production is crystal clear, staying clear of the trap that many modern acts fall into - that of over-production. The songs have space to breath, there are hooks galore with synths (lots of them) beats and bass combining in a glorious manner and Lauren Mayberry's vocals are delicious; sweet at times, capable of anger, revenge, hurt and heartfelt emotion at others.

The opening song 'The Mother We Share' is a song that anyone with a remote interest in the band will be familiar with. The 'go-oh-oh-oh-oh-oh' hook in the verses is pure pop, the chorus soars. A truly brilliant start.

'We Sink' is even better (in my opinion). I listened to this 5-times in a row before going on to the next song! Bass-y synths kick things off and the beats come in. There is a menace to Mayberry's vocals;

Bleed out, what the fuck were you thinking?

This is a love song with a difference, the vocal melody is simple, effective and catchy, the lyrics cut like a knife yet also offer hope at the end.

I'll be a thorn in your side

Til you die

I'll be a thorn in your side

For always

If we sink

We lift our love

'Gun' is an exceptional and intelligent modern pop song, changing pace cleverly throughout. Mayberry is on fire with the lyrics and her delivery, this is a girl not to be messed with.

You had better run from me

With everything you own

Cause i am gonna come for you

With all that I have

'Tether' slows things down and if we didn't get the hint from the previous songs then this song is clear proof that 'The Bones Of What We Believe' is a break-up album. There is a stunning break down 2 minutes 9 -seconds in when Mayberry sings;

I'm feeling capable of

Seeing the end

I'm feeling capable of

Saying it's over

Her voice is fragile, sounding sad that things are over. The music then lifts to an all out EDM dance-floor filler, Mayberry repeats the phrase over-and-over as if to convince herself that she can end it. Stunning.

'Lies' is the song that Chvrches (then known as Churches) chose to launch themselves into the world with. The synths are not as pure pop as those in some of the previous songs (think Gary Numan's 'Cars'), they are darker, as are the lyrics.

'Under The Tide' features lead vocals by Martin Doherty. If our heroine has been under some pressure in a relationship and going through a break up, then this is a friend coming to her aid, letting her know she has someone to turn to.

Head up, head up

And stay strong

Holding your head up, head up

Keep holding, holding

'Recover' was released as a single in early 2013, a little teaser after the band were named in the influential BBC Sound of 2013 top 5.

Synths are all over this song yet there is plenty of room for the song to breath. Mayberry, yet again, sings superbly, the lyrics and their delivery fit in perfectly with the music - rising superbly in the section;

I'll give you one more chance

To say we can change or part ways

And you take what you need

And you don't need me

'Night Sky' starts slowly but the chorus instantly reminded me of Ladyhawke - catchy pop.

'Science/Vision' is darker and also more experimental.

'Lungs' is somewhere in between, Mayberry's vocal melody is clever and catchy, somehow squeezing in the vocals to match. This time she's with another girls guy.

How long, 'til you leave her

You should know that

We're alone this time

'By The Throat' returns to theme of a love that is over. Glorious synths explode into action for the chorus

All that's golden is never old

And I won't play fair with you this time

All that's golden is never sold

And I'll be thankful when you let go

'You Caught The Light' brings the album to a close. An extended intro that would fit perfectly into Days of Thunder/Top Gun leaves you wondering if it is an instrumental on first listen. The synths fade to a stark male vocal.

And then it is over.

'The Bones Of What You Believe' is an excellent debut. The first half of the album is particularly strong, containing some sensational pop songs with real depth to them. After a number of listens I did find myself wanting a little more warmth to the production or some guitars, but as the review reads; this is definitely an album worth checking out.

I look forward to seeing Chvrches at the ABC in Glasgow in October to see how they translate live. With a heavy year of touring behind them, Chvrches should be in great form for what is sure to be a warm homecoming.