Interview - Fatale

Fatale - July 2026

Photo by Brian Sweeney

With thanks to PANINARO

Ahead of the release of their debut, vinyl only, EP entitled Saint Mungo, I caught up with Fatale guitarist and songwriter Christopher Jollie to find out how things are going. 

Fatale only played their first gig back in May 2025 and have had quite a year since! A recent highlight being airplay for their song Jesus Christ on 6Music, BBC Radio Scotland and Amazing Radio. 

Read on for reflections, producers, guitar pedals and sounds, plans, gigs Chris has been to and what he is listening to - including a playlist.

Look out for a blog on Fatale's Saint Mungo EP at the start of August.

Visit Fatales linktr.ee for news on forthcoming gigs and to sign up for their enewsletter.

It's been a year since we first spoke for this blog. How has it been for you and the band? Any personal highlights? 

Fatale - June 2025 Introducing blog and interview

It’s been a blur honestly, from the first gig selling out McChuills, to kicking off the new year with a sold out King Tut’s, everything’s just fallen into place. Tut’s felt like a real shift for everyone. The walk from the State Bar into the back entry felt like a scene from a coming of age film. We’ve had a lot of help along the way from a great team of people around us which has helped massively too.

How has your songwriting and the sound (and performance) of the band developed in that time?

Young folk aren’t getting handed any hope just now, and I think - subconsciously or not - the songs have always reflected a refusal to accept that you have to live accordingly. Songwriting wise, I’ve found a more distinct identity in the lyrics, but the music is always the first port of call. We’ve all come along a great deal in musicianship, and the live & studio performances are evidence of this.

Christopher - King Tuts, January 2026

How important for you is it to get your songs out into the world on vinyl?

Ever since our first gig, we’ve wanted to have songs out. Looking back now, we’re all glad we’ve held off. To have an EP full of songs we wouldn’t change for the world is a beautiful feeling and the first time we lay our hands on the record will be emotional.

Any plans to release digitally for now?

There’s currently nothing in the works to release these tracks on streaming, which is all the more incentive to get the record.

What was the recording process like for you guys? How important was it to find the right producer?

We recorded Moves You four times before it ever felt right, which proves the importance of the right producer. Chris McCrory is full of ideas and gets the music. As soon as we decided to do the EP to tape, the live energy came across as if we were playing to the Barras.

Recording was surreal. We’ve sat with these songs for some time, so to have them realised was a beautiful experience. Hearing the songs back, out the blaring speakers, made us realise we had a proper record on our hands.

The guitar sounds are fantastic, super warm and feel natural. Did it you have to work hard to find that sound, or did it all happen quite quickly and organically?

Feedback and overdrive make our hearts race, so that’s always been at the core of the sound. My guitar rig on the record consists of a cheap Jazzmaster, a Vox AC15, and an OCD pedal. Kevin Shields read and weep. Euan, on the other hand, was far more adventurous. I shall pass my phone to Euan for his rundown.

Euan - Thank you Chris. My rig on the record was what the boys would describe as prog, which in reality is 5 pedals. I used a Fulltone boost pedal that the Fanclub use, cranked to the max, to get a natural distortion from my Vox AC15. Sorry if this is too nerdy. Also, a random VHS reverb and an MXR delay are very important to my lead tones. I think what I learned though, is that it’s really important to get the dynamics on the guitar, and on the EP it’s basically a lot of hitting the strings as hard as possible.

Fatale - Chris and Euan

Photo by Brian Sweeney

With thanks to PANINARO

Are you planning a return to the recording studio any time soon?

We’re trying to get the time to go in with a few cool people, but we’re just focused on getting as many new songs, which are coming faster than ever. They’re feeling like an evolution from Saint Mungo which is always good.

What do you have coming up in the months ahead?

We’ve got a few multi venue festivals lined up for October which should be a good laugh. The next year will be focused on getting us a good deal of live shows, with the intention of getting ourselves in front of as many people as possible.

Been to any good gigs lately?

Geese were a standout. The lights, the Primal’s cover, the band, all phenomenal. Westside Cowboy (pictured below), who we caught at TRNSMT, were another magical experience, helped by coming out to the The Concept. Ended up chatting to them after the gig about all the bands we were into, which was surreal. The next time we’ll be in the Barra’s green room it’ll be ours, hopefully.

Jacob Alon is one of Scotland’s finest just now, so ethereal and inspiring. Seeing them at TRNSMT, backed by a great band, was enough to make you reconsider whether you should even bother making music. Brogeal, our mates, played two raucous nights at the Art School earlier this year which we all enjoyed. Radhika with The Cords and Stone Anthem at Mono was another fantastic show.

Outside of that, the Cabbage, and the bands that are associated, have all made us proud to be a part of it all. Bogle, The Floor Dwellers, Lupercalia, Supersun (self indulgent of me, I know), and The Violets, are all some of the most exciting bands coming out of Scotland just now.

What are you listening to at present?

I’ve been listening to a lot of Sebadoh as of late. Soul and Fire is such a beautifully written song. There’s also a fantastic cover of the Velvet’s Heroin, by Thurston Moore & Bobby Gillespie that I stumbled upon recently, which has made a walk down Buchanan Street into something else entirely. We made up a playlist (Saint Mungo's Star Children) full of the songs that inspired the making of the record which is linked on the website. As a last aside, I’ve got really into 60’s French Pop, Roller Girl by Anna Karina (video below) being a standout.

Fatale at McChuills - March 2026

Fatale l-r James, Euan, Oscar (top), Ben, Chris

Saturday nights in McChuills have been the source of much pleasure for me over the years. Old Nick DJ-ing behind the bar early on, DJ's taking to the decks later, playing (or attempting to play in a busy area!) pool, meeting friends, ending the night there after a gig at the Barrowland Ballroom ... It's a wonderful pub full of characters, behind the bar and on the other side. McChuills has soul and strong values. They know what is right and what is wrong. And they love music! Lots of old faces still regularly frequent the bar and the decks. 

McChuills the kind of pub you fall for, dream of and pine for. These days, visiting is more of a treat, but every time I visit I think of my old flat in Dennistoun and times where I'd wander in for a pint after work and stay for a few, or ... wilder weekends.

It's great to see that McChuills still attracts a variety of subcultures of all ages. I mentioned Old Nick (who was DJ-ing before Andrew Divine last night) above and his son young Nick has done a grand job of changing things just ever so slightly, to put on bands and club nights in the side room ... or Acid Arch. Wet Leg (old blog here) and David Holmes are just 2 of the names to have graced the stage through there.

Fatale were back to the venue where they played their first gig in May 2025 - still less than a year ago! The band hang out in McChuills regularly and both are a perfect fit for each other. Fresh/recovered from 3-date tour of Aberdeen, Dundee and Inverness with The Cords and a show with Warren McIntyre and James Kirk in Edinburgh the previous night, the 5-piece were gig fit. 

Taking to the stage at 10pm, Fatale blitzed straight into Moves You, their traditional set closer. It was a bold move and it worked a treat, the place was bouncing. This is a fuzzy punky pop gem with a glorious breakdown, before zipping back to full throttle. Exhilarating!

Fatale have improved every time I've caught them live since last summer; sound, performance and songs. New song Sugar Bowl was melodic with the duelling guitars sounding sublime. Own Embrace and Another Sunrise sound like old friends. I find myself half singing a-long, even though I've only ever heard them live.

A cover version of Buttermilk by Eugenius fitted like a glove. That guitar riff never got the credit it deserves. Winged Horse, By The Tide and September kept things going while allowing Fatale to show different sides to their natural instinct for melodies, guitar sounds and hooks. 

The rhythm section of Oscar (bass) and James (drums) keep things tight, while also driving the sound along, while the guitars of Euan and Chris (also backing vocals) carry the joy of youthful enthusiasm through chords, riffs, solos and the effects they use. Ben Robertson was born to be a front man - conducting band mates and crowd with his on stage moves. All have fantastic hair! 

Wired sounds like a potential single. While Jesus Christ most definitely will be at some point. Beginning with a warm Big Star-esque riff, the song then explodes into life and is like one big chorus, full of infectious energy.

Fatale seem to have a natural feel for songwriting. Their musical knowledge and taste comes across in the songs they have covered since I first caught them last summer. The confidence that comes from playing gigs and generating a buzz from them seems to be lifting them to new levels. Building on the solid foundation they had from the off with early songs like Moves You, Jesus Christ and Another Sunrise.

Speaking of which, the band are clearly taken by new song Saint Mungo - named after the patron saint and founder of the City of Glasgow. It's the title track of their debut EP that is coming out on a limited edition 12-inch. ORDER HERE

Coming on for an encore, Ben announced that this would be the last time they played their cover of The Velvets Femme Fatale, however given the reaction, I'd be surprised if that's the case! They should definitely keep it up their sleeves for their adventures outwith Glasgow.

The band ended as they began, with an even more super charged version of Moves You, starting with Ben crowd surfing, before their good friend Ben Brown took over and somehow managed to stay aloft! Great fun.

Keep an eye on Fatale's Instagram page for news of up coming shows.

Next up is a gig at The Art School as part of the multi-venue House Guest festival on 4th April. The festival also takes in Sleazys and The 1990 (formerly Broadcast).

Dillon Squire at The Rum Shack

I finally made it to a gig at The Rum Shack last night. It's a brilliant little venue on Pollockshaws Road in the Southside of Glasgow, just before Queens Park. Dillon Squire and his band were playing a show to celebrate the release Yellow Car No Hitbacks, their forthcoming debut EP on LAB Records.

Two singles, Bulldozer and the recent When The Novelty Wears Off have been released from the EP, adding to previously released singles, Allison Arms and Little Birdy. 

On the evidence of his releases to date and last nights show, Squire has is developing a collection of fizzy guitar pop songs with a punk / new wave edge at times. I always think you learn more about an artist when you catch them playing live and last night I came away thinking that Squire's flowing lyrics and melodies could easily be sung by Taylor Swift. His songs are full of hooks and at times many veer off into flowing sections when Squire is clearly on a role. As evidenced on recent single Bulldozer that just flows and flies.

Cause I've been running and you've been hiding

Did you feel this way when our worlds collided?

All these trials and tribulations

I could be the main star, in your coming of age film

Desperate times and desperate measure

Fucked up things that we do for pleasure

I've tried loving and it's not easy

I've been self medicating but it don't come cheaply

I've lost my mind completely

Squire's band is super tight. His co-guitarist Bo looks super cool and fires off amazing guitar solos, the rhythm section create the groove for the hooks, while the addition of Amelia Haldane on saxaphone and tambourine added something a little different to the live sound. 

People sang along to the four singles that Squire has released to date, but they also sang along to unreleased songs, including Dark Circles that has a brilliant chorus that people will pick up on first listen, it's that catchy.

On the drive home I thought of the many new and emerging acts that I've seen in Glasgow over the years. There are so many talented musicians that have been hyped but they failed to pass the acid test. I'd wake the next morning and wouldn't remember any of their songs - and not due to alcohol intake! Simply because they didn't contain any memorable hooks or riffs.

There is no danger of that happening with Squire. Fans were singing a-long during the show and afterwards two girls were sitting at the bar upstairs singing some of the guitar solos to each other. A good sign!

Dillon Squire is on all the usual social media, streaming and download sites.

Check him out and don't be surprised if you find yourself humming a riff or hook in the near future!

“My new EP is simply a self healing journey and a cathartic process that ended up turning into six of the best songs I’ve ever written. I started singing from the bottom of my heart and made sure that every word wrote down and that passed my lips was meaningful.

Starboard Hazes - EP2 and gig

Save the date! 

Plans are underway to rehearse, record and release the second Starboard Hazes EP within the first few months of 2023.

Is it just me or does 2023 still sound very futuristic? Time flies and time has become a little weirder since March 2020 when the world stopped for a while as the COVID pandemic took a hold.

However, I am reliably informed that 2023 is indeed just around the corner!

So, to kick things into gear, I've booked the good old 13th Note for the next Starboard Hazes show. Hopefully our second EP will be ready by then. The plan is to catch up to rehearse in January, then record the EP, a few more rehearsals and then play again.

3-songs are definitely ear marked for the EP;

1. Yeah!
2. Sunshine
3. So In Love With You (Beta Band Blues)

With a potential 4th song called Hung Up (not the Madonna song!) if we have time in the studio. Probably just an acoustic version - rough n raw ... and quick!

Sunshine was one of the very first songs I wrote as a teenager using the D & G chords. It was great to jam it with the band back in October. Jamie's pounding drums, Andy (picking up James guitar) going for Velvets-y sounds on guitar and James (taking on Andy's bass) came up with a great groove.

Yeah! is another old song, very Teenage Fanclub! It's the same 4 chord rhythm groove from start to finish, giving James freedom to do his thing on lead guitar.  Personally, this is one of my favourites to play with the band.

Beta Band Blues is an old idea that always stayed with me. With the capo on 5 I found two chords that worked really well together and I thought they sounded like the Beta Band. The lyrics are pretty simple and I never managed to write more than a verse, so the song is just the same verse/chorus repeated 3 times. I always liked the song/idea though and it was one of the first songs James and I played when we got together. He came up with a brilliant guitar line in between the verses.

When we took the song to Andy and Jamie, they also loved James guitar line and wondered if we could really expand the song into far out Beta Band territory. So when we have jammed, we finish the song and the beats really kick in, allowing James to go all Nile Rodgers on guitar and Andy to underpin everything with a bass groove. When we played live, Ronan from La Chunky joined in on trombone for the second section so we hope he'll play on the recording. And we might add melodica, synth and cowbell - really go for it and have fun.

If we can get the instrumentals down in one day, Andy and I will go back in and record vocals one evening. That worked last time, although I wonder if we might need another evening for Beta Band Blues. But then, Yeah! and Sunshine should be really quick and easy to record, leaving us with a chunk of time for Beta Band Blues. We'll go with the flow!

Our first gig and party was a brilliant night, it was sooooooooooo good to see lots of people enjoying live music and then dancing the night away. I'm delighted to say that Phil Redfearn will be back on DJ duties at 13th Note. We'll see what delights he can pull out the bag to get us dancing again!

It's not BYOB this time, but we've kept the ticket price as low as possible and hope you can join us for some fun. And that's what Starboard Hazes is all about - fun. Fun in rehearsals, in the studio and when we play live.

Tickets, priced at £7, are on sale from Event Brite HERE

It would be amazing to see you there.

Thanks

Murray

Blood Orange EP

 

With no prior warning, Poster Paints released their Blood Orange EP on Friday 20th May, simultaneously announcing they had signed with Ernest Jenning (America) & Olive Grove Records to release music this year. 

Those of you that read my previous blog reviewing their Sleazys show (or if you follow the band on social media) will note that they have received test pressings of their debut album. Expect more news on that soon.

Carla: "We're really excited to be working with Ernest Jenning & Olive Grove Records on releasing our music this year! It's a brilliant opportunity for us to collaborate with two brilliant independent labels who are committed to supporting artists they love and be part of a global family who will nurture our music."

The Blood Orange EP features the two singles released last year plus the title track and a cover of the Love Positions/Lemonheads gem Into Your Arms.

Blood Orange is a dreamy beauty that flows with ease, at a gorgeously lazy pace, there is plenty of space before shimmering guitar comes in, picking up into the bursting blood orange refrain, Carla singing over another sublime Liddell guitar riff.

I'm seeking something more exciting, to colour in my day

Poster Paints take on Into Your Arms is pretty true to The Lemonheads version, Liddell plays an aching riff while Carla sings with a purity and soul. Poster Paints have a natural ability to make everything they do sound dreamy - in all the right ways.

I know I won't be alone, be alone anymore

Debut single Number 1 still bursts with energy, the beats, the reverb, the hooks ... cause kids are so naive, I wear my heart on my sleeve ...

Never Saw It Coming sounds even better 9-months down the line, the sound and portrayal of heartbreak in the hook I can't believe you're gone, I never saw it coming 

Poster Paints are beginning to build momentum again. I can't wait for more shows and the album.

 

Poster Paints at Nice n Sleazys

Prior to last night I couldn't recall the last time I was in Nice n Sleazy. Way over 2-years ago for sure.

The legendary Glasgow pub and club/venue has been sitting proudly and prominently on Sauchiehall Street, near Charing Cross, since 1991.

Quite an achievement given the state of Sauchiehall Street at present. A rather sad and grim video was presented on social media last week, highlighting the vast amount of leases available. Large sites like M&S, BHS and the ABC. Glasgow institutions like Greaves Sports & Biggars. It's becoming a ghost town.

As someone who walked along this street most days from 1993-2004 when I worked at Charing Cross and the top of St Vincent Street, I hope that somewhere, someone is putting together a vision and plan to regenerate this famous street in Glasgow. Wider pavements, some trees and cycle lanes ain't gonna cut it.

Last night was the first time in a over 2-years that I'd ventured to this part of the city. I cut up past favourite bars of mine from years gone by like The State and The Variety (popping in for a pint) and wondered how they were doing. Will they survive? 

I was up to see Poster Paints, the band formed by my sister Carla during lockdown with her friend Simon Liddell. They recorded an album during that time. Test pressings (pictured above) have been received and the album will come out later this year.

Photo by Kat Gollock

Lemon Drink supported with an infectious & energetic set. Given my age, I was reminded of the sugar pop of Sleeper but with the bite of Elastica. The duelling electric guitars were beautifully raw, scratchy and catchy at all the right times. Sophie Bartholomew was dancing, twirling and almost bouncing off her band mates, clearly having fun. The band indicated that they won't be playing much for the rest of 2022 as they plan to hit the recording studio. I hope they capture some of their live energy on record. 

So good I bought their t-shirt. Lemon Drink play The Hug & Pint on July 31st.

Photo by Kat Gollock

Then it was on to Poster Paints. Those that attended their 4 shows towards the end of 2021 + the 2 shows they are playing this week will have a strong sense of how good the album is going to be. Joined by friends Calum Muir (drums), Suse Bear (bass) and Kim Grant (AKA Raveloe) (bass), Poster Paints conjured mesmerising, flowing and shimmering sounds. 

Liddell's guitar playing is infectious. I could listen to the riff of My Song on a loop for hours. His riffs and melodies are often simple, always with space and very often gorgeously dreamy. Just the right tinge of psychedelia with beautiful reverb.

Poster Paints just gel so naturally as a band and Carla's vocals, words and melodies fit so perfectly over the top. It was a really stunning gig.

Circus Moving On was achingly and beautifully gorgeous, Carla shook a tambourine for Number 1 and the pure pop rush of Falling Hard, and Never Saw It Coming, while Hard To Sweeten could well be my song of 2022.

It's like a lullaby, a tender & melodic vocal over sublime fragile guitar, building gently and introducing a great keyboard riff. I imagine many will fall for this gem. 

I was warned of love like yours, that's hard to sweeten

But I adore a fire that burns and scars me deeper

Man of Minch joined the band for a song Ribbons, before new song Blood Orange was played for the first time, becoming an instant favourite. I mentioned My Song in previous Poster Paints reviews and above, the way this song develops into a New Order-esque dream is incredible.

There was time for a bonus cover of the Sneeze/Lemonheads song Into Your Arms, just Easton & Liddell. It was a beautiful way to end the gig.

I have heard the album and it is incredible. 

Poster Paints setlist

Rupture

Still Got You

Number 1

Not Sorry

Falling Hard

Circus Moving On

Never Saw It Coming

Hard To Sweeten

Ribbons (featuring Man of Minch)

Blood Orange

My Song

Into Your Arms (Sneeze/Lemonheads cover)

Photo by Kat Gollock

Songs of Gerard

 

My love for Teenage Fanclub has generated many friendships and conversations over the years. Recently I started one with Juan Marioni from one of my favourite city's in the world - Buenos Aires in Argentina. My wife and I were very fortunate to spend a month living in the Palermo Viejo district of the city back in 2008 for the last month of a year travelling around the world. It really is a wonderful city; music, art, dancing, wine, steak, football ... oh to go travelling again.

Juan has recently started recording and releasing a series of EP's where he covers songs from each of Teenage Fanclub's 3 songwriters. Back in June he released Songs of Raymond  , which I missed upon release, and he's just let his Songs of Gerard EP fly out into the world.

I still marvel that my favourite band has touched people around the world through their music. So I thought I'd catch up with Juan to find out how he discovered the band and what led him to record his EP's in celebration of McGinley, Love and Blake.

It's interesting hearing the songs being performed by Juan, my personal highlight from the Gerry EP was Shock and Awe, a lovely nod to Lightships in the intro and the lyrics really stood out as I listened with the latest news from Afghanistan flickering silently on the TV across the room.

Wake me when the conflict is over

I aim for a peaceful life

Shake me when this madness is no more

I favour a peaceful life

Meanwhile, Raymond's Genius Envy is covered with more than a nod to Bob Dylan and I love how Juan harmonises with himself, then drops in a couple of very apt Beatles  in the outro. Apt, as the song contains an absolute classic McGinley line.

So what if you see other people

I only get jealous when I listen to The Beatles

Juan has still to select and record the songs for his Songs of Norman EP. Keep an eye on his Bandcamp page.

Interview

How are you? How are things in Argentina?

I'm fine thank you, hope you're OK. Argentina is always a troubled country ... so we are in the same situation as usual. With the pandemic, we didn't reach the point to choose who would get a ventilator. The vaccination is a little bit slow but it's on its way.

Can you remember the first time you heard Teenage Fanclub?

I don't remember the first time, but I remember the day I thought 'this is special'. I remember walking on a really nice sunny, kind of spring day (or maybe Autumn). One of those days when you feel happy to be alive! I think it was 1991/2. Bandwagonesque was out, so I estimate the year with that date in mind. I was in my hometown, Buenos Aires, walking the streets of the Palermo neighbourhood, going back home after a session with my therapist, listening to Bandwagonesque that was recorded on to a cassette tape. Something 'hot me' that day and I think that I was listening to Sidewinder at that point. I think the first song I ever heard was The Concept, but I also recall seeing a clip on MTV of God Knows It's True and that song blew my mind! So those were the first memories of my first impressions.

Why did you fall in love with the band?

The sound and the production were what I liked first. Those airy vocals sung in 2 or 3 part harmony. And in the back those noisy but at the same time intelligent guitars, the blend of classic and modern sound. Also the songwriting reminded me of music I like - sixties style.

Have you seen them live? What kind of venues do they play in Argentina?

Sadly I have never seen them live.

What other Scottish bands do you enjoy listening to?

One of my favourite bands is Belle and Sebastian and I also like Primal Scream a lot. Parallel TFC bands Lightships. Primary 5, Nice Man, Jonny, JAMC, Donovan, New Mendicants (half Scottish). I also recently discovered Kevin Robertson.

What made you decide to do your Songs of ... EP's?

I like to record at home and now in the pandemic, I have more time. I bought a new computer and I was thinking of making a thematic record ... maybe a 60's garage rock selection ... well ... finally I thought 'why not do covers of one of my all-time favourite bands?' At first I thought about recording a selection of songs but then I realised that each composer deserves an EP. Selecting and recording the songs made me appreciate their songwriting even more.

You cheekily throw in excerpts from other songs - some great Beatles sections (appropriately) in your version of Genius Envy and a Lightships riff in one of your Gerry songs. Did you plan that, or fall into it?

It was inspiration, purely spontaneous. Those ideas came to me in an instant, while I was in the process of recording the songs.

What do you think of Endless Arcade?

I think it's a good album, it gets better with every listen. It was surprising when I first heard it because there were some new directions in their style. Of course I miss the presence of Gerry. I think it is great that they keep going on making new music.

When can we expect your Songs of Norman EP? Have you recorded it yet?

I haven't started it yet, I don't know what songs I will select but I have candidates. I think that the production will be in the same acoustic vibe as the other two. And you can expect the same dedication that I put into the Raymond and Gerry EP's.

Lastly, what music are you listening to at present?

I've been listening to Teenage Fanclub a lot. I've been producing 2 albums for Argentinian musicians/bands - Gaspar Tessi and Piloto de Juguetes, so I've been listening to their music all day. Also a lot of power pop, garage rock, psychobilly, rockabilly and sixties music - some quite obscure compilations. Bands recently - XTC, Dukes of Strathosphear, Those Pretty Wrongs, Beach Boys, Love , Magnetic Fields, Matthew Sweet, Pernice Brothers ...

The Indica Gallery EP by Andy Bell

 The Indica Gallery was a counterculture art gallery in swinging central London between 1965-1967, most famously known for being the place that John Winston Lennon met Yoko Ono. In one of my favourite Lennon interviews he describes this meeting; walking in and seeing some step ladders and a magnifying glass, he perches on top of the ladders and peers through to see the word YES. If it had been NO or MAYBE then he might not have stayed, but the positive nature appealed to him and he stayed. The rest, as they say, is history.

Anyway, The Indica Gallery EP is the first of three EP's that Andy Bell is releasing between April and June 2021. Each EP will be released in a different format; 12-inch, 10-inch and then 7-inch, hence the series will be called Ever Decreasing Circles.

Bell's debut solo album The View From Halfway Down was one of my top 10 albums of 2020 and Andy also very kindly gave a very insightful interview for the blog around the release of his single Love Comes In Waves.

I love the creative energy that seems to be pouring out of Bell. Ride have produced some incredible music since reforming, while outwith that, Andy is releasing experimental electronic music under the guise of GLOK and psychedelic guitar pop with lots of grooves under his own name.

Electronic music and blissful psychedelic grooves gel on the 6-track The Indica Gallery EP as the artist Pye Corner Audio is let loose on 5 of the gems from Bell's debut solo album; Indica, Skywalker, Cherry Cola, Love Comes In Waves and I Was Alone. The 6th song is Bell in his GLOK guise also remixing Indica.

The remix of Cherry Cola is a particular favourite. The last couple of minutes are beautifully dreamy, there is feedback in the background as a sublime electronic riff is allowed to run and run, before fading to the guitar riff from the original.

Elsewhere I Was Alone just seems to float and glide. Ladies and Gentleman, we are definitely floating in space with this beauty! The pH value on this remix is a clear 14. Sublime.

Love Comes In Waves is transformed into ... well psychedelic waves that just keep coming! Skywalker sounds like it could do with a 12-inch all to itself, just taking off before teasingly being brought back down.

Love Comes In Waves (Pye Corner Audio remix)

With Indica it's interesting to compare two different artist taking on the same song. Pye Corner Audio layers beats and synths, creating a warm melting pot you could easily get lost in. Then Bell, as GLOK, starts with blips before adding beats, synth bass and then introducing a riff that reminds you this a remix, taking you on a trip. The remix compliments the original perfectly. 

The Indica Gallery EP is further proof that Andy Bell is in a rich vein of form right now. He seems to be blessed not only with real creative energy, but with the outlet to get things out there. Martin Jenkins aka Pye Corner Audio, works wonders, taking the songs to new places, yet they feel right, like this is a journey they had to go on.

Jenkins and Bell met at The Social in October 2019 for label Sonic Catherdral's 15th birthday party

"Pye Corner Audio was headlining with bdrmm and myself playing live sets, as well as Simone Marie Butler, Maps and others djing. Before this legendary night was over, Martin and I agreed we would work together on something, sometime. I wasn't sure he' remember the conversation, but luckily he did."      Andy Bell

"It gave me a great deal of pleasure working on these remixes, and I think the EP is a fitting companion piece to the album." Martin Kenkins aka Pye Audio Corner

Andy Bell - Bandcamp

Cherry Cola (Pye Corner Audio remix)

Pye Audio Corner - Bandcamp

ABBA-esque

Cover version of the month #39 - Erasure cover ABBA

My kids recently discovered ABBA via the Mama Mia film, so our house has been full of pop perfection for the last month or so. Thankfully it isn't always the film that is on. There is only so much of Pierce Brosnan singing that I can cope with!

So it got me thinking about the monumental ABBA-esque EP by Erasure that came out in 1992 when I was 16. Erasure seemed to be everywhere with this - Top of the Pops, the Chart Show, in the papers, in magazines and all over the radio.

Andy Bell and Vince Clarke camping it up in drag in the Take A Chance On Me promo video is something that I'm sure most people from my generation will remember!

Erasure were huge in the late 80's and into the 90's, their 1992 compilation POP: The First 20 Hits emphasised their ear for pop with Sometimes, A Little Respect and Stop being favourites of mine. Vince Clarke is a pop genius, early Depeche Mode is really the only era of the legendary band that I enjoy and then his work with Alison Moyet as Yazoo produced some incredible synth pop soul gems, Only You must be one of the best debut singles released in the 80's.

After Yazoo, Clarke placed an advert in Melody Maker to recruit a singer and he discovered Bell. The duo have never looked back and hit upon formula of euphoric synth led pop that broke down barriers and led to critical acclaim and huge commercial success.

Covering ABBA was probably very natural to two people so infatuated with pop music. And Erasure set out to have fun whilst doing it.

Clarke provides the beats and synths and whilst its not quite karaoke, Bell is clearly enjoying himself and not taking it too seriously. As was the way in 1992, in Take A Chance On Me they duo introduce a female to sing a brief ragga rap.

Erasure covered Lay All Your Love On Me, S.O.S. , Take A Chance On Me and Voulez Vous on the EP. Remaining pretty true to the originals (especially in terms of vocal melodies) and bringing ABBA's pop perfection to a new generation. After a couple of number 2 singles, this EP gave them their first number 1.

And what can you say about the ABBA originals?! They are pristine and sublime slices of pop perfection. Lyrically, melodically, in delivery, structure and production. Timeless! They deserve an essay, but for now just take some time to revisit some masterpieces of pop.

Previous covers of the month

1. You've Lost That Lovin' Feelin' 

2. Going Back To My Roots

3. Nirvana play The Vaselines

4. Slip Inside This House

5. Top 10 covers by Teenage Fanclub

6. Only Love Can Break Your Heart

7. Time For Livin' 

8. Sound and Vision 

9. All Along The Watchtower

10. I Am The Walrus 

11. Guiding Star

12. You’ll Never Walk Alone

13. Hurt
14. This Guy's In Love With You

15. I Wish I Never Saw The Sunshine
16. California Soul
18. Wonder wall 
19. Dancing In The Dark
20. Always On My Mind
21. Ceremony
22. Heroes
23. Different Drum
24. Wild Horses

25. Respect
26. Mr Tambourine Man
27. I Heard It Through The Grapevine
28. Superstar
29. Twist and Shout
30. Purple Rain
31. Baker Street
32. Not Fade Away
33. Stop Your Sobbing
34. I Don't Want To Grow Up
35. Serious Drugs
36. Dancing With Myself
37. How Does It Feel To Feel?
38. Love Buzz

God Knows It's True

Welcome to a feature blog on Teenage Fanclub's God Knows It's True single/EP. Originally released on Paperhouse in the UK, it was then released by Matador in the US. 

For me, the 7-inch of  God Knows It's True b/w So Far Gone perfectly captures the energy, sound and development of my favourite band at a crucial and extremely exciting point in their career. This release is a perfect bridge between A Catholic Education and Bandwagonesque . We have Gerry joining Norman on songwriting duties and in addition to the 2 main songs, the EP (12-inch and CD) contain the crazy Weedbreak and Ghetto Blaster - perhaps more fitting with The King LP.

So, with the Creation shows coming up, I thought it was an ideal time to revisit and review the release.

As well as my own thoughts, there is an interview with David Barker from Paperhouse Records who was present at the recordings and I am very honoured that David has shared some fantastic pictures to accompany his memories. 

And I am delighted that Gerry Love has shared his thoughts on recording his first song with Teenage Fanclub and a few other memories.

Before you go any further, dig out your vinyl or CD, get ready to stream, or click to watch the promo video for God Knows It's True below ...

A warm guitar riff introduces Norman Blake's God Knows It's True before the band fall in behind in that glorious Fanclub way - sounding like it might fall apart at any time, but hanging together. Beautifully raw and soulful. And extra little riff lifts us towards the first verse.

Norman, picture courtesy of David Barker

Blake finds a melody and his voice soulfully strains as he works his way through the first couple of verses that lead to the chorus. The band are off again, vibing on the cracking riff that the song is built on.

Maybe I just got it wrong

Express the feelings in a song

I didn't mean that much to you

I'm given such a tainted view

After the second verse and chorus the song is lifted with the singing with a different band middle eight before another chorus. The last 1-minute and 20 seconds is all instrumental and for me this is the incredible sound of Teenage Fanclub around this time captured on record. It was just before I got into them as a 15-year old through the release of Bandwagonesque - oh how I wish I had seen them live around this time. It must have been a joy.

Picture courtesy of David Barker

Gerry Love's So Far Gone starts at breakneck speed and barely lets up. The guitars are on fire, the drums have Keith Moon-esque rolls and the bass just about keeps it all together. Love asks questions and then sounds like he is head over heels in love/infatuation in the chorus.

Could you be the one who wants to turn me into something new?

Could you be the one to underestimate my point of view?

So far gone, so far gone

I'd love to turn you on

Love and Blake's voices combine brilliantly on the understand my way section before the band tear straight into another verse and chorus. At 2-minutes 10 seconds, after the third verse and chorus, the song breaks down before slamming into the final 43 seconds, climaxing in one final chorus.

Picture courtesy of David Barker

Teenage Fanclub sound like they are having the time of their lives on the two leads tracks. Ripping through 2 slices of guitar punk pop perfection. The energy leaps out of these songs and the recordings

Weedbreak sounds like it was conceived, performed and recorded on a uuummmmmm weedbreak. The band sound like they are jamming with no real purpose other than fun (the best purpose!) with an element of Sonic Youth to the sound.

Ghetto Blaster has ferocious drumming from Brendan O'Hare and the band tear into their guitars. Brendan's drumming is a real feature across the 4-tracks, driving the band on.

Raymond courtesy of David Barker

A query on the artwork on the Teenage Fanclub forum (a few years ago) led to Gerry Love confirming - It's a photograph taken at Dublin Airport on the way back from our first trip to New York in July 1990. We flew Aer Lingus and we were waiting for our connection to Edinburgh. The photo was taken by Raymond, possibly around 7 or 8 in the morning. I don't know if he meant the triple exposure but there are two snaps of me and one of Brendan.

Interview with David Barker who put out the bands early releases on Paperhouse Records.

EF - Can you remember how you first heard about Teenage Fanclub? What was the first song you heard?

DB - Stephen Pastel told me about them. They might have still been called Superdrug at the time (the original name). I worked with Stephen on my Glass Records label in 1986/87 and was just setting up the Paperhouse label at the time. Norman sent me a tape of A Catholic Education (a scan of the letter that came with it is inside the Deep Fried Fanclub CD booklet) so I guess the first track I heard was the first track on it. I liked the tape obviously and phoned him up.

EF - How did you come to work with the band?

DB - They had a gig at the Glasgow Art School, so I booked a flight up there. This must have been Feb or March 1990. Then Norman called to say they had a gig at the Bull and Gate in Kentish Town, London the day before, so I saw them there then again the next day in Glasgow. I told them I wanted to release their record and things moved fast from there. They already had interest from Matador in the US.

EF - What are your memories of that time? What did they bring to the table? What was your influence?

DB - So many memories. Supporting the Soup Dragons at the Forum, London when the stage was invaded. The security didn't bother going out for the support act. People really liked the group. Leeds, Liverpool, Doncaster (where we had a 'London Pizza' - which was pizza with chips on top), the front cover of SOUNDS. The New Music Seminar in New York, July 1990 I guess.

The recording of God Knows It's True with Don Fleming, who I introduced them to. CBGS where we met Urge Overkill and Superchunk. Ireland with Sonic Youth in the Autumn. The first European dates. All in 5 or 6 months. I had no influence on the sound but I may have introduced them to some music on the tour bus. They f**ked off to Creation and a year or so later so did I!

Don Fleming and David Barker, picture courtesy of David

EF - What do you think of God Knows It's True and So Far Gone all these years later?

DB - Still love them. My opinion of course carries a lot of memories with it. They were playing So Far Gone as an instrumental cos Gerry was a bit shy about singing live. When they recorded it of course he sang and it sounded fantastic. They next night they played CBGB'S and as Gerry went up to the mic to sing it ... he bottled it and they played it as an instrumental again.

EF - They have gone on to release some incredible music - in quality and quantity - do you have a favourite album? Could you pick a few favourite songs?

DB - Don't really have a favourite, but I spent time with them during the recording of Thirteen so feel close to it. Actually the handclap on Sparky's Dream is me. I think Paul Quinn and Chas Banks clapped too but I got credited on the sleeve ha ha. I like a few of the b-sides too like Long Hair and Maharishi Dug The Scene. I tend to go for the less commercial stuff. That's my taste in music.

EF - If you could spend a week in the studio with Teenage Fanclub what would you hope to achieve?

DB - I would like to record them like Steve Albini or like Dylan records. Two takes of each song and move on to the next one. Someone else can mix it.

EF - What are you up to these days? 

DB - I revived my old label Glass Records as Glass Modern and am actively releasing and re-releasing music again.

Thank you so much to David for sharing those special memories and pictures. And thanks to Gerry Love for sharing a few words on So Far Gone.

Brendan and Gerry courtesy of David Barker

EF - Was So Far Gone the first song you wrote for the band? Were you encouraged to join in songwriting duties? Had you written much before?

GL - Yeah So Far Gone was the first song I presented to the group as an idea. It started off as an instrumental, the first few times we played it live it was just a piece of music, although secretly I did have a melody and some lyrics. It turned into a song during the God Knows It's True recording session with Don Fleming in New York. After we had recorded A Catholic Education, played a few shows and become a real group, there was an openness for all of us to at least present ideas as possible future songs. Before that I had recorded lots of half ideas and little musical doodles at home on a 4 track but I had never let anyone hear anything so it was great to have an opportunity to be involved creatively.

EF - What confidence did this give you as it would seem like you entered a prolific period of songwriting afterwards into Bandwagonesque and Thirteen?

GL - Although it sounds a bit rough to me these days, the difference between the bedroom demo and the NYC recording of So Far Gone was massive. Hearing how a rough idea changed into a real song via quality musicians, talented engineers and great studios gave me a lot of confidence. Hearing that some people quite liked So Far Gone gave me a lot of confidence to try another one. Being involved with Norman and Raymond, who in my opinion were operating on a different level than most local musicians at that time, was completely inspiring. Learning chord progressions from watching them play, hearing Norman's harmonies and then gradually hearing them in my own ideas was inspiring. Being in what I thought was a really good group was inspiring. Hearing new music and hearing old music was inspiring. Being young and daft and curious and full of all possibilities was probably the most inspiring thing.

EF - There is a great energy that leaps from the two main tracks. It sounds like you are enjoying yourselves and that excitement is spilling on to the records. Do you have any memories from the recordings?

GL - There was a lot of energy in the group in those days and you can hear it, especially in that session. Here we were in New York, personally I had never left the British Isles before that, and we were certainly buzzing. New York was a pretty lively place in those days. We were definitely having a few drinks during the session and probably a few smokes. We recorded a whole load of cover versions. I was probably half-cut when I sang the lead vocal on So Far Gone. I was still a little nervous about singing but the drink, and the encouragement of others, probably pushed me over the line into action. I don't have detailed memories, more abstract due to the passing of time and the quality of the drinks/smokes, so there's a nice impressionistic haze over my recollections of that session. That first trip to the USA was pretty crazy. I have lots of mad memories.