Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
Insta - @everythingflowsglasgow
Way back in the 1990's I used to work for a bank, specifically Abbey National and their huge head office at the top of St Vincent Street in Glasgow. Over 3,000 people worked there at its peak! Working for a bank is, in my opinion, not very cool (great pension though!), but for a number of years it was a great place to work. I was 21 and there were loads of people of a similar age. There were regular nights out, five-a-side matches and ... some truly gorgeous girls! Work was just something to do before football or the pub. What more could a young guy want? Oh, the office was directly across the road from King Tuts Wah Wah Hut!
I kept noticing a guy with a mod hair cut, Fred Perry bag and a fishtail parka, cutting about with headphones on. I kind of knew that I wanted to be friends with this guy and that we would very likely be into similar music. Before long, we were. James Barker was also into the Roses, The Beta Band, The Who, Primal Scream and northern soul. He was hanging out at the Art School (much cooler than me!) and in the early 00's he formed a band.
Juno! took on a raft of influences and melded them into their own sound. Beats, samples, guitars, analogue synths and all kinds of percussion ... you never really knew what they were going to come out with. Perhaps, at times, neither did they. That was part of the fun and most definitely part of their charm.
There was radio airplay, some singles, plenty of gigs and James was always working the band. Then it stopped. James has never stopped playing music though and quickly formed Ace City Racers who had their debut Stephen Street produced single released via Fred Perry. They are still going strong and all those years after seeing James cutting about the 301 St Vincent Street offices, we formed Starboard Hazes which was/is great fun.
Maybe it is the age we are getting to, but James decided he had unfinished business with Juno! He pulled together all the bands early recordings and demos to construct an album - Harder Than It Should Be. It's available NOW via Last Night From Glasgow and is a document of a moment in time - MySpace buzz, indie discos, basement venues, electro experimentation, cowbells and tambourines.
Juno! Partying hard at The Rum Shack
Juno! celebrated the album with what is hopefully not a one-off show. Their Rum Shack gig was more of a party, with Tam Coyle DJ-ing before and after their show which was an absolute blast. The band came on stage to Parliament's Come In Out Of The Rain, the music cranked to get everyone in the mood.
James and Juno! were most definitely in the mood. Wonderful was a real highlight for me. James put his guitar to the side to cut loose as the band created a Mondays, Beta Band groove. Shakers handed out to the audience created a great vibe, while onstage there were tambourines and maracas. You can check the Beta Band/Beastie Boys inspired video at the end of this blog.
Manda Rin joined the band for their classic single These Boys Are Athletes, while Mark on keys and vocals rivalled James for the happiest person in the room. Atom Bomb City nearly took the roof off the place with its punky new wave groove. I sincerely hope they play live again.
I caught up with James to learn more about Juno! Read on.
James, Jamie and Manda at The Rum Shack
How, when, where and why did Juno! form? Who was involved?
We formed from the ashes of our previous band, which had the same members as the first incarnation of Juno! being Jamie, Jazi, Jason, myself and our good friend Paul. Paul decided to leave, and in the absence of any other options I overcome my natural aversion singing to give it a go.
Simultaneously Jamie bought a Juno 60 and a drum machine which gave us a new dimension. Probably for the best, as it meant I could stop trying to be Nigel Tufnell and really focus on singing the songs. We had a few leavers and joiners as we went on, with people like Matt, Yoshi, Amanda, Stuart, Dave and Mark all adding to the Juno! gang, meaning at times we had up to 8 people onstage. Rain or shine we always practiced in a Fife barn, which a friend very kindly let us use.
Juno! outside the barn
Were you the sole/main songwriter? What was it like to hear your ideas mushroom into the full band Juno! sound?
The songs were usually written around one of Jamies really well-formed electro backing tracks, which I would then write words and chords around, or one of my guitar/vocal demos which Jamie would then write a backing track for.
By the end we got a bit cleverer and started writing them in the same room together!
I also wouldn’t underestimate how much was added by the rest of the band and producer, who added real musical breadth with their imaginative guitars, trumpets, backing vocals and so on. Plus, Steven as producer left his playing and singing all over the record too.
The first track I consider to really be “Juno!” was Cut it Loose, which was actually a chord progression of Jasons, which we then fleshed out music/lyrics over. I was pretty delirious when we got the mix back because it was so colourful and fresh sounding.
I always remember your shows (and records from the time) as having what feels like a great deal of spontaneity to them. How difficult was it to recreate that spontaneity? Did you ever play songs the same way twice?
Jamie and I used to map out the basic songs (on very big bits of paper!) before we took them to the studio, so we knew where to put the multiple layers of vocals and instrumentation, however they would quite often take unexpected turns dependent on what Steven was hearing. He would hear something he liked and make it a feature. Quite often this would be one of Matts funkier riffs!
Live, the songs would always follow the same basic structure, as we use a drum machine backing track, overlaid with real drums, but the instrumentation on top depended on the playing styles of who actually turned up that! Spontaneity was never a problem, some nights we would have vocoders, extra synth & trumpets, others it would be more of a guitar assault. I can think of one Scottish tour where we pretty much changed lead guitarist for every show!
We always put a lot of energy into our performances, as I genuinely believe if people have paid to see you then the least you can do is put your back into it.
Juno! - Sunshine In My Pocket
What were your highlights from the original days of Juno! Do a song, gig or experience stick out for you?
There are lots of memories that stick out, and happily quite a few of them were recorded at the time, so I can revisit as an old man! Recording Higher was brilliant, as the band went to the chip shop and came back to hear some quite spine-tingling I Feel Love style backing vocals being mixed in by Steven, who had also helped supply them. I got a similar feeling when I first heard Amanda’s vocals on These Boys are Athletes. I also couldn’t believe what a nice-looking video Mark made of Sunshine in my Pocket, just prior to my press ganging him into the band.
We played some great support shows at Tuts & Barfly which I remember being packed, and we felt like we could really feed off the audience energy. I was also very pleased that we played one of the very first televised internet gigs for Nexus live. Oh, and at Rockness my wife through a Glowstick in my eye. This literally stuck in my mind. And eye.
I remember you having a buzz, some radio play, your single with Manda Rin. How exciting was it at the time?
It was really satisfying because we had worked on it for so long, I think Juno! started in 2003, but from 2006 onwards things started gaining in excitement, and hearing your songs playlisted on the radio felt like validation. Thanks Jim! By 2007/8 we actually really struggled with all the Myspace gig offers, and were doing regular interviews, radio stuff and even a photoshoot in a fashion magazine! I miss Myspace, it was by far and away the most organic platform for musicians and fans.
You've always written and recorded. What happened with Juno!?
I failed to turn it into something before real life kicked in. Some of the band were awaiting children being born while we were playing Rockness, and it became unfair of me to keep asking so much of the guys when they had more important things to be thinking about.
Towards the end it also felt like a race against time, as with bands you really have to keep building momentum, before you are seen as being long in the tooth. It may be different now, but in those days, labels had a pretty small window in which they would sign you. We played quite a few high-profile gigs and had songs on MTV shows, but I was really naïve about the business side and didn’t have the ruthlessness or evil genius to take it to the next level.
What prompted the delve into the Juno! archives?
As Vic Reeves would say, “I wouldn’t let it lie”!
It always frustrated me that we had professionally recorded so many songs destined for a release that was pulled. I have a real completer/finisher streak, and it niggled at me that the songs which we spent so much time writing and recording weren’t out there in the world.
What was it like to get back in a room together after so long? What song did you play first?
It been lovely, truly heartwarming. We never officially split, and we all remained good friends, but weddings and social events aside, hadn’t really been together as a proper band since 2009. The only thing that is a little sad is that neither Matt nor Yoshi can make the gig.
We have all played with each other in different projects, but for a few years there we were more likely to meet at a buffet than a rehearsal room!
If memory serves me, I think we started with Cut it Loose, as its both the first one we recorded and probably the easiest to play!
Juno! Reunited at The Rum Shack
How important is it to you and the band to have a physical (and digital) document of your time together?
It’s really important to me, and I think it must have been something the band appreciated too, as I didn’t have to do that much persuading to get people onboard with a release. Just some minor Elwood Blues style hunting down to get them to agree to perform live!
What else are you up to musically?
Well, I play with Mark in the band Ace City Racers, we have an album coming out early next year, a dystopian concept album called Welcome to Ace City which we recorded in Green Door.
I may also have accidentally written a new Juno! demo, which I believe Jamie is mulling over, so fingers crossed we can do something with it and Juno! gets a lifeline after the reunion show.
Dave and I from Juno! also have an offshoot Psych recording project called Stars and Sitars, which have most of an album recorded, but we need to finish. I have the basis of a solo record, a whimsical Syd Barret/Ray Davies ish thing demoed but needs finishing and some discipline brought to it , and I’m in another rather good Glasgow guitar fuzz /melodic band called Starboard Hazes which you may have heard of!
Last June I published a blog on Fatale, a new young band from my hometown of Uddingston. They had just played their first couple of gigs and released a demo of an original song called Moves You and a cover of Femme Fatale. You can still check them out here - FATALE DEMOS
I fell for Fatale instantly. And then fell even further upon seeing the band live and bumping into them in person in McChuills and at gigs. Ben Robertson (vocals), Euan Corrigan (lead guitar), Christopher Jollie (guitar and songs), Oscar Tighe (bass) and James Lindsay (drums) are super tight, literally bouncing off each other whether on stage or hanging out. They look the part, with great hair, style, warm smiles and a cheeky charm.
Live, and in recordings, they have developed considerably in the last year. Building interest and generating greater reactions with each and every gig. They are getting about town in all the right places ... and have a wonderful natural confidence, as well as a real thirst for discovering music.
Fatale have wisely taken their time to record and release. Waiting to find the right studio and producer. Chris McCrory has done a cracking job in capturing their raw energy, ear for pop, love of guitars and instinct for hooks and flows.
The result is the six-track vinyl only Saint Mugo EP - named after the patron Saint of Glasgow. You can catch the brilliant DIY video for the song Jesus Christ below. It's like The Monkees in Glasgow sunshine on Buckfast Tonic Wine!
Moves You is an absolute blast. 30-seconds of overdriven guitars leading to the first verse, which could be mistaken for a chorus. This is one of Fatale's strengths, they have an instinct for melody and hooks, verses are like choruses. Raw and soulful harmonies, young romantic lyrics sung from the heart.
Would you find a price for all the stars that shine on you?
There is a sublime, unexpected, dreamy breakdown after the first chorus before Fatale burst back into life. Guitars crash, collide, chime, blur, reverberate and fuzz together. Glorious.
Winged Horse
The guitar intro to Winged Horse warms my heart. Fatale quickly find a groove behind it and the beats encourage handclaps. The bridge to the chorus has the hook I'm walking through the East End of my mind, I'm searching for a place I cannot find. Then the double chorus
You take a piece of me
To make some time for you
Every word I meant to say
Ends up lost along the way
This is under 2.5 minutes of flowing guitar pop.
Another Sunrise
Another Sunrise begins with warm Big Star-esque guitars that sounds like they are basking in summer sunshine. Ben Robertson croons the opening lines.
That summer feeling can't keep me warm the rest of my life
Things then explode for the prechorus, with Robertson calling it out.
I'm beginning to wonder is that all that there could be
My eyes are open, but there's nothing I can see
This leads to the defiant, don't give a f**k statement hook of I'm going out tonight. I can imagine this blasting out of radios and speakers, and being sung wholeheartedly by teenagers across the country (and beyond). Another verse, prechorus and chorus lead to guitars rising and Robertson repeating the hook. Then Fatale slow it down to a delicious fuzzy feedback fade out.
Jesus Christ
I first caught Fatale playing in King Tuts in July 2025 and described Jesus Christ as the catchiest guitar pop song I've heard in a long time. While there are a few contenders on this EP, this is a beautiful riot of a song and recording. Serious top marks to producer Chris McCrory for the energy and guitar sounds he has captured. He gets it - big time.
The guitars of Euan and Christopher collide gloriously, there are more hooks than Rocky Bilbao fighting at his peak. Most bands would love to have the verses to this tunes as choruses! The bridge/pre-chorus is even catchier and then there is the chorus itself;
Jesus Christ knocked on my door
Just let me sleep ten minutes more
Coming out with songs of praise
Oh now I'm lost in a Catholic haze
Having had the pleasure of spending time with main songwriter Christopher, one ambition (that he has mentioned more than once) of his always sticks out: he wants to write songs that feel like one continuous giant chorus - or a seamless sequence of them. Hook after hook.
So immediately out of the chorus appears another super catchy bridge back into the chorus. Keeping up? Well if you can't that is part of the charm of this delicious slice of guitar punk pop. You'll want to play it again ... and again.
How can I hold my head up when you're down
How can I stand the world when you're not around
The little fuzz bass break after the middle eight is superb. Then it's straight back into the chorus for a final blast. Think God Knows It's True era Fanclub meeting The Undertones for a couple of pints of Guinness and then having a jam. Catchy guitar brilliance. Infectious energy.
St Mungo
Title track St Mungo is beautifully melancholic. Robertson's voice has an aching quality to it as he sings she's the song I've never sung. The backing vocals are heavenly, and there is a wonderful feeling to the guitars, especially as they ring through solo/break after Robertson declaring I swear I will learn. They continue to ring through the short outro with gorgeous band harmonies I'll never, ever, learn
Long Hair
Speaking of melancholy, Fatale strip things right back, to go acoustic for the final track. Robertson sounds dreamily in love, not caring about anything other than being with his girl.
I don't know what you're thinking baby
I don't know if your hairs grown long
Robertson declares took so long to find you, and then sings it again, as if he can't believe his luck. Keyboard is introduced and beautifully and naturally adds to the dreamy feeling.
There is a real organic feel to the recording, almost demo like. But sometimes a demo captures things in a way that can't be replicated. Robertson mumbles that's fucked at the end. But he gets it bang on. Sung from the heart.
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?
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.
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.
Back in February my friend Alan sent me a link to a song called Get Out Of My Dream by The Clouds, an 80's indie guitar band from Glasgow who only released one single. I'd heard their name, as Norman Blake from Teenage Fanclub had played with them for a bit. But I didn't really know much about them.
Alan suggested that our sometime band Acer Trees (essentially Alan's band Broken by Rock, but with me singing!) cover the song at a charity night that the Teenage Fanclub Fanclub were putting on at The Doublet. I loved the song, so I was bang up for it.
We had a mere two rehearsals and after the first one Alan tracked down singer John Charnley - sending him a rough phone recording. John's feedback was lovely and he was thrilled that people were still discovering The Clouds.
Glasgow is a small place. John and I used to play 7-a-sides with him for a good few years! He was a cracking player, a winger with a good left foot. Like many people I have played fives/sevens with over the years, I never knew John's surname, or that he used to be in a band.
Anyway. I really fell for Get Out Of My Dream. It was great fun to play and sing. A little over 2.5 minutes of indie guitar pop perfection. Beginning with a guitar riff, 3 beats and we're into the first verse. The first of many hooks comes at the end - repeated twice for effect.
I'll go to a place where no-one else can go
I'll go to a place where no-one else can go
Then after the second verse, the hook is repeated again, leading to a glorious bridge that might as well be a chorus. It has a real Buzzcocks-y feel to it, new wave/punk pop, the energy leaps from it. The lyrics are absolutely perfect to sing as a teenager ... or in your 50's! Timeless!
And I don't know what's going on
And I don't know if I am right or I'm wrong
And every day I feel the same
And it's a feeling I just can't seem to explain
Super catchy ... and it gets better as another chorus comes on the back of it, complete with glorious ba, ba, ba, ba, ba, ba, ba, ba, ba backing vocals.
Get out of my dream
Why do I always feel this way?
Wishing I was somewhere else
As I said before - absolutely perfect to jump about your bedroom to, playing air guitar or singing into a brush or deodorant can. I've listened to this song way more times than any other this year!
The Clouds, Rooftops in Glasgow
Photo by Jim Barr
I set out to write a blog on the song and The Clouds. However, there isn't really a great deal of information about The Clouds online, so I thought I'd email John some questions to find out more about his band. Rather than simply email back, John suggested a catch up and we had a fantastic chat about forming The Clouds as a teenager, all the way through to present day and John's new band Olympic State Choir. Check the live video of the beautifully dreamy Crash With Me at the end.
As a result, this might be the most extensive feature ever on The Clouds! 6,000+ words!
I greatly appreciate John taking the time to meet me for a catch up coffee and interview. As a music fan, this is an absolutely fascinating insight into the Glasgow music scene in the mid-80's, with bands like The Mary Chain and Primal Scream breaking through into the music weeklies and leading the way. Then there was the Splash One Club bringing people together and Stephen Pastel releasing music through 53rd & 3rd as well as his seminal band The Pastels.
John was fresh out of school and suddenly in this world of possibilities, soaking up music, buying his first guitar and forming a band to record a demo. The Clouds only released one single and a flexi-disc. John has never stopped writing and recording music.
Read on ...
Interview - John Charnley
John - London 1988
The demo and Subway Records
We had recorded 4 songs, in about 4 hours on really old equipment in Archie Studio down in Scotstoun. We sent them to Martin at Subway. The Pastels had recorded there as well, I was talking to Stephen about it recently. It was old 60's kind of equipment. It was quite cheap!
So we sent it to Martin Whitehead from Subway Organisation and he said - do you want to make a record?
As easy as that?
As easy as that! This was the thing about the 80's indie kind of thing. Nobody really planned anything, it was all done on the seat of your pants so to speak. So we were in there, it was me and my pals, my brother, a couple of guys we went to school with who had similar taste in music. A guy called Tom, he came from East Kilbride. It wasn't Norman at that point.
We went in, 4-hours, that was it done. Listened back to it - you could sort of hear things, the guitar, the drums ... that'll do. It sounds like ... live. So anyway, we sent it to Martin on the Monday and on the Tuesday he phoned up and said - do you want to make a record? It was done as quickly as that back then. So we said aye!
The compilation album and Get Out Of My Dream
Martin said - I've got this thing coming up, a compilation album for Subway bands. Could you do a song for it?
So I started writing this song. And it was kinda, not quite like what we had done with the demo. The demo was a lot faster. This was a lot more ... not laid back, it's not a laid back song, but in comparison to the demo it was a lot slower.
So we went to Hart Street. Again, it was all unplanned. We came out this way (we met for coffee in Uddingston) to pick up Norman who was living at his Granny's, with the amp. Somebody had recommended Hart Street in Edinburgh and Norman had said it was a good studio. So we picked him up with his guitar and his amp, Gino had his snare - which was a good thing! I'll tell you why.
We're sitting in the van and me and my brother are still working on lyrics. We get to the studio and the two engineers are sitting there. Remember the sound (synth/electronic) drum? These guys are just messing around with drum sounds for ages. Norman's tuning his Epiphone guitar. We're ready to go. We're paying for it, Martin had said don't spend any more than £100 on it, we ended up spending a lot more than that!
We're wondering what they're doing. It's a Sunday, we had to go back and get Norman dropped off, then go back to Carntyne ... so time is of the essence.
So they say - this is what the kids are into these days. And I say - that's not what we're about. And they say - well we've only got this and a kick drum!
Luckily Gino had brought his snare! So we basically set up the kick drum, a snare and a hi-hat and a ride. And away we went. And we just done it ... and it worked. We were still kind of writing lyrics and stuff like that.
We get home and we send it down to Martin Subway, Martin Whitehead, and he phones me up and he says - What have you done? I was like what? - what do you mean?
And he says - that's no representative of your sound. And I say - but it is representative of our sound, cause we've just done it. And he said he wanted something like our demo, but our demo was done in 4-hours, on really old equipment ... we wanted something that would last a bit longer. He said he wanted something that was cheap and nasty. I was like - well you've got that.
Get Out Of My Dream is so well structured. There are hooks that you think - is that a bridge or the chorus? Oh, is that another chorus? A series of choruses!
It wasn't your typical sort of structure to an indie record, where you come in with the chorus, or its verse-chorus-verse. It goes on, there are different parts. We thought that was quite a progression from what we were doing at the time. Of course Martin Subway has since changed his mind and said it's the best thing that Subway ever released!
It's funny you were saying you didn't have the lyrics. As it gets towards the end and that last line - wishing I was somewhere else. That's a great line.
It was all done like that back in the day. We were all really young, like 18. We weren't that long out of school, none of us could really play - and still really can't! The more important thing was to get the feel right. Whatever that feel was, that was more important than the musicianship.
The Clouds 12-inch single
Tranquil b/w Get Out Of My Dream and Village Green
Photo by Gerry Millar
That's why a lot of these songs and records have stood the test of time. People are still interested in them, cause they've got that honesty.
Exactly, at the time the mainstream thing was all about, not exactly showing off ... but. I saw something yesterday with the Mary Chain talking about Eddie Van Halen. They were saying they hated him. they were saying that Peter Hook's bass lines for New Order meant more to him than Eddie Van Halen. And I totally agree with that. I was exactly the same.
Whereas at school, Dennistoun at that point was, and still is a bit rock. Back in the day it was heavy metal, then goth, then grunge, it's never really lost that thing. So all the guys that were at my school, all played like Eddie Van Halen.
Simply Thrilled fanzine feature
Photo by Kaori Laird, from her personal archive
That was the same at my school. It was all Megadeath, Metallica and Slayer - stuff like that.
Yeah it was like, you've got to be able to do this if you wanna be in a band. I was like - I don't know if I want to be in a band that sound like your Eddie Van Halen and that. He could play 100 notes in 10 seconds like it was an Olympic Sport!
So we just go in and jam it. We've got the song. You know how it should feel, you've got the idea. I remember saying to Norman - play it like a drone - and he just did it. What do you want to do with the intro? And you play it. There was something brilliant about that, cause you don't have time to think, cause you're not really a musician.
And you don't have the money to spend on a studio!
Exactly, we had like £100. So we just plug in, play and record and see what happens. There is something kind of brilliant about that.
The Jesus and Mary Chain, Bobby Gillespie and Splash One
The big one for us was The Mary Chain and Upside Down. I remember going down to my mates house. We were all into The Smiths and The Bunnymen, but they were all quite good musicians.
I remember going down to my mate Gavin's in the Calton and he said - wait 'til you hear this. And he'd taped it off the John Peel Show the night before and it was Upside Down by The Mary Chain. The alignment in his tape deck was a little off and it made it sound wwhhhhhoooosssshhhh.
And we're like - this is crazy! This is amazing! What is this?
William and Jim Reid
Obviously there's no internet or anything. We knew what Jim and Willie Reid looked like, but didn't really know about the rest of the band. I was working on a YTS scheme and I went down for my lunch and there's a guy standing there with his girlfriend, Doc Martens, multi coloured anorak, black straight hair with a big fringe over his face and he just stood out a mile, completely stood out. And I'm looking at this guy and I'm buying a bag of chips while he's saying goodbye to his girlfriend. I went round to see my pal and I said - I saw this guy today and for some reason I think he's the drummer in The Jesus and Mary Chain.
He said - I know who that is. Bobby Gillespie, he's in a band called Primal Scream. I read it in the NME.
So we went down that same week and bought All Fall Down by Primal Scream, flipped it over and there was Bobby Gillespie. It was him I'd seen. I could guess he was in a band from seeing him on the street. That's how small Glasgow was at the time.
That was a big influence on us. The Mary Chain were on the Old Grey Whistle Test and stuff and they could only play three chords as well. So that was a big thing for us. And that you could see Bobby walking down the street.
He was a pretty cool guy - amazing hair ...
Gillespie was a massive part of it. And I don't think he gets the credit. Cause he moved away and he changed ... a lot of people resented that. But what he did with Primal Scream, Mary Chain and Splash One. We missed the first one, which was The Loft. We went down to the second one which was The Pastels .... and we went there and that was insane. 300-400 people who were all like-minded, all into the same thing as you.
It was brilliant, I remember standing there listening to The Ramones ... I think it was Blitzkreig Bop, Feel A Whole Lot Better by The Byrds, Nancy & Lee's Some Velvet Morning and The Loft Why Does the Rain ... and I'm thinking - you don't even hear this on the radio, never mind in a club environment. There was nothing for us at that point and this kinda brought everyone together. There was live bands like Felt and Sonic Youth and all that.
And that's how it all started. That's how you learned your trade. You were hearing this music at Splash One ... it was almost like having an older brother saying - check this out. You would go there once a month and hear stuff like Nancy and Lee ... all that kind of thing. You were just constantly finding new things.
Nowadays you can hear about something and check it online - but back then you had to really dig to discover these kind of records.
I like that you can make a Spotify playlist and send it to someone and it sends them off on a path. I've never been a snob about it. It should just be about the songs.
Photo by Paul Dean
I like what you're saying about Bobby Gillespie and his energy.
Splash One was a massive thing for Glasgow. It was like stepping into a different world. Everyone was like minded. Not just the music. The fashion. The films you went to see at the cinema. The books you were into. Politics. Everyone.
You would walk out at the end of the night and people would look at you like you were some kind of a freak. And you didn't care. You were at that age. You knew there was something happening. And you knew that Glasgow indie music was coming together. It was gonna be put on the map.
And it was. Fanzines really focused on Glasgow. And Gillespie played a massive, massive part in that. If it wasn't for him it might not have worked out as well as it did.
I think him and Stephen Pastel with his band and label were so important
I liked The Pastels and Primal Scream right from the start. They were blazing a trail for a lot of people like us. See what you're into, we're into it. We've got a club night, a gig, a fanzine.
When you're 17 and you're trying to work out who you are and what your band should sound like. That just kinda blazed a trail - that's perfect - that's exactly what I want to sound like and be part of.
The Pastels, Primal Scream, The Mary Chain were perfect for people of my age. 17 just getting out of school, just discovering all that kind of stuff. It was a perfect time.
Forming The Clouds - The first guitar, demo and Get Out Of My Dream
When did you decide to form The Clouds? Was it you and your brother?
It was 1982 and me and my mate, we decided after seeing The Jam, we were 15 and coming back on the 51 bus to Carntyne we decided - lets start a band. We didn't have any instruments or anything! We were still at school. It was a couple of years before we could afford instruments. I had a paper round. We were determined to form a band. So we always had this in the back of our heads that this was gonna happen.
There was a shop in the Saltmarket, it was closing down, Greens? An old school music store ... my mate said - it's closing down and they're selling guitars for £5 or something.
Eugene won't remember this. Eugene Kelly was at my school, he was a year older. He was coming out when I was going in to get my guitar. We were both into Orange Juice and all that kind of stuff.
It was kinda just coming together about that time. At 16.
So that's shop got a big part to play in the Glasgow music scene?!
I know! It was closing down. Here, take these guitars for a few pounds. These cheap sounding guitars, but that was OK, you know? It was a guitar! And it wasn't like a Marshall or a Les Paul, it was cheap. There was a pal of mine, Mick Docherty, he said someone, a stoner, was selling an amp for a fiver.
So I had this guitar, a K or something, and it was cheap. But I could use it to write.
So I go up to this guy's house in Riddrie to buy the amp and this guy comes out stoned out his box.
I says - I'm up to buy your amp off you.
He says - I'm not selling an amp.
I says - Mick Docherty said you were selling an amp.
He says - Oh did he? How much for?
I said - A fiver.
He said - OK
And I gave him a fiver and a took it down the road. And that was the start. I phoned up my mate Andy and said - remember how we were gonna start a band ... this was all done in the one day or something like that.
He went and got a bass. Out the Littlewoods catalogue. He paid like a pound a week. It was very wooden souding, but there was something quite good about that. Bruce Foxton's bass was wooden, so it was kind of The Jam, but we were kind of moving away from The Jam. We discovered the Mary Chain, we were listening to The Bunnymen and The Smiths. But that was too hard to play - you had to be a real guitarist to play that.
Too hard, yeah, Johnny Marr and Will Sergeant!
Way too hard to play, especially johnny Marr's guitar parts. He's a strange one, if you're gonna be influenced by Johnny Marr, you're gonna sound like Johnny Marr. Whereas other guitarists are not as distinctive sounding.
We were getting into distortion and reverb and that opened up a lot for us. We done Get Out Of My Dream.
Simply Thrilled fanzine feature
Photo by Kaori Laird, from her personal archive
Was that one of the first songs you wrote?
It was, we done 4 songs in the demo and it was all quite immediate. All done in the space of 4 weeks, I had written 4 songs for this demo. We went and recorded it, sent it to Martin and he sent us the money to go and record it.
It was all changing though.In the space of a month. You were hearing things all the time.
We wanted to slow it down. Martin wanted to speed it up!
If you speed it up 'cause you think it sounds a bit more 'indie', you're gonna ruin the song.
Get Out Of My Dream was one of the early ones and he said - you can put this on the album. Then we were going in to record the single and we changed our mind about what should be the A-side ... and by the time the single came out we'd kind of split up!
It all happened in the space of a couple of years. At that point a couple of years seemed like a long time.
Oh yeah, when you're young ...
Yeah, it seemed like forever. Now two years ago seems like yesterday. So we crammed a lot in. Get Out Of My Dream was good because it was a slower kind of song from what we'd been doing on the demo. I thought it worked really well. I still, when I listen to it, it's done well.
The back of the 12-inch
Photo by Gerry Millar
There's a freshness to it. It's got the hooks. It's a great pop song.
I think if we'd sped that up, we would have ruined the feel completely. So I'm glad we went - no that's the way it should be and we stuck to our guns.
Cause we never demo'd it. We just recorded it. I think he sent us £100 and we spent about £500 or something like that. And he wasn't too pleased about that! Then he got it through the door on cassette and he was like - that doesn't even sound like you.
And I was like - well it does now. The demo had been recorded months ago, like a lifetime ago.
But I'm glad we never demo'd it and we just done it that was. And that was the way it was in the 80's where you just ... there was no plan or anything. You just woke up and you just done it.
Gigs and the band name
What about gigs? It sounds like you went straight into writing and recording?
We had a guitarist called Tom Carroll and he lived in East Kilbride. He'd grown up with The Mary Chain and Meat Whiplash as friends. The Mary Chain then moved away.
Other people started using the Daddy Warbucks where Splash One was held to put on gigs.
Meat Whiplash had a single coming out on Creation and their pals decided to put on a night, The Jesus and Mary Chain did it as a favour, it was called the Psychocandy club. Just Like Honey was coming out and their said they would play it, even though they were selling out the Barrowland at that point.
Psychocandy had come out and Just Like Honey was the fourth single. We all went down and JAMC played this wee stage. The following month it was Meat Whiplash for their single that was coming out. Their pal and our pal asked us if we could get ot together to support them.
We said, aye OK. So we did the four songs on the demo. This was before we'd recorded Get Out Of My Dream. The reaction was really, really good, it was a brilliant reaction. We weren't even gonna call ourselves The Clouds, it was my mate that decided that.
He said - call yourselves The Clouds, it sounds like a garage band.
And I thought - I don't even know if I like that name!
Duglas (BMX Bandits) and all his mates were there, Sean and all that, and he shouted up - what are you called. And I said - The Clouds.
So you didn't really have a name?
No, not really! We were just there to support Meat Whiplash.
I think it's a good name!
I think it's alright. I remember at the time thinking - I don't know. I maybe needed a bit more time to think about it. But because I said it over the mic ...
That was it!
There was 400 people or something there. So that was it! It stuck.
Norman joins the band
Then Tom left. He was a bit more mature than is. He was grown up, we were wee boys. He was finding it hard to play in a band where the songwriter was a couple of years younger than him.
So what were you at this point? About 18?
About 18, aye.
What a great time to be in a band! And hanging around all these other bands.
Aye, it was amazing. We were discovering things all the time. Discovering things just constantly. There had been nothing up until that point.
So Tom left and Duglas came up to us in Splash One and said - what are you doing with your band?
And I said - well our guitarist has just left.
And he went - I know a guy who is looking for a band. His name is Norman. I was in a band with him and he's a really good guitarist, do you want to hook up.
And we said - aye, brilliant.
We met Norman outside Virgin Records in Union Street. We went back up to my Mum's in Carntyne and we just jammed a few things. And he was into it straight away. We had very similar taste in music and ideas.
Pretty soon after, we went in to record Get Out Of My Dream. As I said, that was kind of how we did it. Oh by the way, we've got to do this record!
Norman just said - pick me up in Bellshill. I'll have my Fender Twin.
None of us really knew how it worked.
So you didn't have a manager or anything?
No, none of us really knew what we were doing.
That's part of the fun of it.
Exactly, exactly. It's like ... indie music was in its infancy in a sense. Record labels, fanzines, bands ... we all just made it up as we went along. Sometimes it worked and sometimes it didn't.
Simply Thrilled fanzine feature
Photo by Kaori Laird, from her personal archive
Going on tour ... and breaking up
Then we got asked to go on a tour. The Chesterfields were a band from Yeovil, they were on Subway as well. That was for 2-weeks. At that point Norman had done a demo of a Boy Hairdressers song - Golden Shower. I think Stephen was gonna put it out on his label - 53rd & 3rd.
So he said - look I'm gonna leave the band. So at that point Gordon Keen came in who has gone on to play with Eugene.
He's played with a lot of people.
Aye, the Bandits and all that.
Then he left and then John Hogarty came in to play guitar. Who I have recently started working with again.
And at that point it was breaking up. You know we weren't quite sure what we wanted to do. The bass player Andy had left, Gino had left. We were just young... there was a lot of arguments and stuff.
It's the nature of the beast shall we say. If you're a teenager in an indie band in the 80's and you don't know what you're doing, if it works then it works really well and it if doesn't work and you start arguing - oh you've missed a beat there ... and stuff like that. Your singing is out of tune, the bass is out of time.
A lot of bands who make it have been in other bands before and learned lessons. You were really young.
I know, there's a part of me that thinks you should never really start a band until you're in your early 20's. But there's another part of me that thinks - no, make the mistakes in your teens and do all that ... and then give up. It's too much hassle! Then go and get a job in a bank!
It seems to me that it is really good fun discovering it all. Until there is a bump in the road. When there's a bump in the road there's no-one there with the experience to sort it.
We all knew each other from school. So we're best pals. We were really open with each other. Almost too open. No-one held anything back, so there was a few, almost, square goes in studios and rehearsals and things.
And your brother was in the band too.
Yeah and we were actually sharing a room
No time apart at all!
If he was one day older he would have been in the year above me. If I had been born a month later I would have been in the year below.
So you were really close and in the same year at school?
The same year at school and the same room ... I wanna play my album. I wanna play my record. One guitar there .. we formed a band ... we went to the same gigs ... played football at the same park ... went to the same places for nights out ... Of course when you're like that you get on each others nerves.
Oh yeah, I've got a wee brother as well!
14-months between us. What about you?
Just over 2-years. We shared a room with bunk beds, played football together, but then we would fight over things like who would get to read the sports pages first from the Sunday Mail. Proper fighting!
We would do things like go for the shopping and then fight over who was carrying the bag of messages back, You know, that's 100 metres. It's your turn. We were too competitive. Too close. We were in the same room, in the back of a van touring, studio, rehearsal, arguments, arguments, arguments.
Sibling rivalry!
We just ended up splitting up because of that. Just because you're too young.
So you released one single?
One single and a flexi disc. We did the demo, the flexi disc, I forgot about that. Then Get Out Of My Dream for the album. Then another two songs for the single, for the 12 inch. Again out in Edinburgh at Peer House. The Soup Dragons had recorded there and recommended that and Norman said - that's a good studio. It wasn't as good as Hart Street. I don't know if there was a lot of recording studios in Glasgow at that point. So we went out there.
The Clouds - Jenny Nowhere (flexidisc)
We recorded Tranquil and Village Green. I think Get Out Of My Dream sounded better from Hart Street, slightly better production.
Do you have any unreleased material?
Not really no. We did a Janice Long session. But that was a bit of a nightmare. We went down overnight and I think Norman was playing with the Bandits that night ... we had to go and pick him up. Andy the bass player was driving, so none of us really slept.
We got to the studio and the band The Smithereens had problems with their amps or something ... so we didn't get to start recording until 4 in the afternoon and it was meant to be 10 in the morning. We're all falling asleep. We'd been up all night. The guy had to wake us up and say - do your vocals.
We ended up staying. Cause they'd messed up they gave us money for a hotel. We saved the money as we ended up staying at a mates girlfriends! So that was OK!
But if you listen to the recording it sounds like a bunch of guys that have been up all night. And falling asleep! I've never listened to it all the way through! It was on Medium Wave, it sounded a bit tinny.
So that was all we recorded. It was all done just like that. It was over.
Writing songs, Glas-goes Pop and Olympic State Choir
Did you keep writing songs?
Aye I've always wrote songs. And then last year I got a message out of the blue from Tita and Kenji from Glas-goes Pop. They had liked The Clouds and they had been talking to John Hogarty and he had told them that I had kept writing songs. John had given them a few 4-track things that I had done with him years and years ago.
And they said - could you put a band together and play Gas-goes Pop? That was in the January.
My brothers cancer had just come back. We weren't really sure how it was gonna go. He hadn't really been told anything yet. We just knew it was back. We didn't know how serious it was.
I met up with them one Sunday afternoon in the Sparklehorse bar for a coffee and I just said - I'll do it. And then I was walking along the street and I had a panic attack. I don't have a band. My brothers got cancer!
So I texted John and said do you wanna do this? And he said aye. And then Finn from wor-kspace, my nephew Sonny is a brilliant bass player, my mate Duffy and then Jen on drums. So we done that.
I missed that! I always seem to be on holiday when Glas-goes Pop is on. So what name did you go under?
I always wrote, I never stopped writing. I just never took the time to put a band together. So I'd just record in the house, whether that be a 4-track or logic.
Have you still got a 4-track Tascam?
I do, it's still sitting there and all the tapes. I put them on to mini-disc, remember them? They were the thing. I recently went through a lot. I got some, that were like 25-years old and I stripped them back to the bare bones and then sort of re-imagine them. It almost feels like you're covering your own song. And I really like that. I really like that approach.
So, the songs, no-one had heard them?
No. Nobody had heard them.
Kenji and Tita said themselves that it was the only band they'd booked that they had never heard. Cause it was Olympic State Choir. And we went on. And you didn't get a soundcheck or anything. You just walk on.
We managed to get 2 and a half rehearsals. i had never met the drummer. We were on the Saturday and I met the drummer the previous Monday! She met the whole band that night.
Photo by lab71Glasgow
So you were winging it in the 80's and it hasn't changed!
Exactly the same, exactly the same.
We went on stage and it was like - this is real sink or swim stuff. Exactly like the Psychocandy club nearly 40-years previous to that. You're walking on like ... blind ... and 40-years later I'm still none the wiser and there's no soundcheck and you just go on and you just plug in and play and just see what happens. Which is kind of how it should be. It puts a rocket up you and makes you think.
But if you're playing with good guys ..
They're all really good, good players and everybody understands the feel of the songs, what the song needs. They don't overplay, it's stripped back
I'll go on and check it out.
So that's where we are at the moment. So I'm seeing John next week to discuss dates for actually recording Olympic State Choir.
So are you gonna do home recordings?
No we'll probably go to La Chunky. Finn's son is gonna do it. It's kind of like a collective where different people can come in and play. It's gonna be a 9-track album.
Hopefully do a wee gig or two?
We did another one with Snowgoose at Oran Mor. We got 1.5 rehearsals for that! It was great, very basic and stripped back and it sounded great. That's what the album will be like. You walk on the stage without really knowing ... we'll walk into the studio without really knowing. You don't want to over rehearse, cause then you ruin it. You ruin the feel. If it works, it works. 9 times out of 10 it'll work. Don't do the vocals more than 3 times.
We'll probably do 2 singles and the album. We'll get that out very early next year and start playing gigs as well.
I've long been a fan of Jamie Keenan, former drummer of La Fontaines and have been fortunate to get to know him a little over the years through a mutual love of Teenage Fanclub, our friends in Vigo Thieves/Saint PHNX and his sister Helen who introduced me to everyone after we met on a charity hike many years ago. Keenan has a natural charm, ear and a knack for melody and is a brilliant storyteller. At some point in time, I hope Jamie releases an acoustic album and publishes a book!
Maybe that will happen one day. In the meantime, Keenan has stepped from behind the drums and the ashes of the Fonts to pick up his electric guitar and blast out his love for indie guitar pop music with new band Glass Cheques.
The Dardanelles, their latest single bursts into life immediately, warm guitars and Keenan sounding super positive.
I love waking up in the morning
And catching the waves
This is glorious sunshine guitar indie pop. Keenan's rich and soulful voice sounds full of joy. Lead guitarist Darren McCaughey (also formerly of La Fontaines) adds fizzing guitar behind the rhythm. The Dardanelles wouldn't sound out of place on a Lemonheads album with guest vocals by Kelly Jones of The Stereophonics.
Glass Cheques have just returned from the joy of touring Spain with the legendary Edwyn Collins! The play The Glad Cafe on Sunday 31st May. TICKETS.
I caught up with Jamie to learn more about Glass Cheques and their future plans. Watch the video for The Dardenelles (good band name for someone!) at the end.
1. Why, how, where and when did Glass Cheques form?
Glass Cheques formed at the beginning of 2025 from the remains of my old group The LaFontaines. We had about eight songs recorded before we had done our first gigs, which was opening for the aforementioned band's last ever performances in London and Glasgow. The idea of the band was simply to make unpretentious "guitar music" and write songs that were different from the hip hop sound we had before.
2. Who is in the band and what do they bring to the sound?
Myself and Darren McCaughey are the two writers within Glass Cheques. I sing and play the guitar and he makes it all sound coherent. I'll play the drums in the studio while Darren plays the bass, but when we play live, our two good pals Callum Brand and Liam Shaw (who also play in "A Sudden Burst of Colour") step in to compliment us, arguably playing all the parts better than we could.
Darren and Jamie
3. You've just released your second single, which is a real burst of guitar pop brilliance. It sounds super positive. What was the inspiration behind it? Did it form pretty quickly?
That song was written really quickly. It came out of nowhere, really. It's loosely about a soldier/sailor going off to fight in World War 1 but having a real air of optimism and naivety about what it is he's signing up for. However, the song isn't too graphic, so the lyrics are ambiguous enough that it's just an enthusiastic song about life.
4. Where have you been recording? How has the experience been?
We've recorded our EP at Chem 19 in Blantyre with Martin Johnstone (Vukovi drummer). He's been wonderful to record with as we've known him for years and he gets where we are coming from. I'm exceptionally happy with his recordings. He's got the same surreal sense of humour as us both, and some of his favourite bands are My Bloody Valentine and Neutral Milk Hotel, so he's able to accommodate some of the more "out there" type of sounds that we're after.
5. You're just back from Spain, where you had a run of dates with the legendary Edwyn Collins. I know you love travelling. How was the tour? Did you get a chance to explore - any recommendations? And what was it like seeing Edwyn up close every night?
I've been involved in dozens of tours but can safely say that was by far the best one. All of the crew that were on the run of gigs were exceptional. Every venue/hotel/city was incredible. The audiences were brilliant too - maybe a bit older than we had been used to playing to, but they were all just fans of indie music so we seemed to go down really well, selling loads of our vinyls and t-shirts.
Of the ten dates we done, Barcelona was the only place I had been before, so as a lover of travelling, it was tremendous being able to see a good whack of Spain. Some of the cities had long drives so there was a couple that we never had too much time in which to explore, but a notable mention to San Sebastian which was probably the best overall. We had a full day there beforehand and were able to go to the beach and try lots of the food. I had a life-changing chorizo in Bilbao as well.
Every night, watching Edwyn Collins was a dream. His band were unbelievable. You'd think watching the same set ten times would get old, but his songs are just that good. That being his last ever tour as well made it all the more special.
6. You then play The Glad Cafe to launch your EP. What other songs will be on it?
The six tracks that are on the 12" vinyl are called (I'm not sure of the order at the minute):
Seeking Adventure
The Dardanelles
Crocodile Done Deal
Blue Ragdoll
Confucius
Shame
Seeking Adventure and The Dardanelles are both released on Spotify etc., and we'll roll them out over the next few months.
7. Are you working towards an album? Is it too soon to say when that might come out?
Yes and no. We're just constantly writing and recording at the minute. I guess we're still trying to figure out the "sound" at the minute. The plan at the moment is to release this EP at the end of May and then probably another one at the end of the year and then maybe an album at some point next year that would likely include some of the best tracks from both. It's still early days yet though.
8. What music are you listening to just now? Have any bands influenced the sounds you're creating with Glass Cheques?
I've been on a deep Hank Williams dive as of recent. Added on to my playlist are quite a few bands from Edwyn's pre-gig playlist that I had heard of but never explored: The Mekons, Modern Lovers, and some of the other tracks from the roster of Postcard Records.
A lot of the bands that have heavily influenced our sound so far have been Scottish indie guitar groups such as Idlewild, Teenage Fanclub, Mogwai, and the Jesus and Mary Chain.
.jpeg)
.jpeg)
.jpeg)
.jpeg)
