I Am An Island - Fatherson

Last week Fatherson, an independent/DIY band from Ayrshire in Scotland, released their debut album I Am An Island. It shot into the top reaches of the iTunes alternative album chart during the first week, but then Fatherson have been steadily building a fanbase and reputation in Scotland for a number of years.

The question is now whether they can replicate that in other parts of the UK and beyond.

I have to admit that their album has surprised me. Whilst it is pretty easy to predict when the riffs and beats are coming in on a lot of the songs, it is a good solid debut, including a few gems - An Island, Cat Stevens, Dust and the secret track I Am that highlight the promise of the band. 

I Am An Island is a showcase for singer-songwriter Ross Leighton, backed superbly by Chris Beltran, Marc Strain and Greg Walkinshaw. 

The album opener is one of a few real gems for me. An Island opens with Ross Leighton singing over a picked guitar and prolonged synth chord. Leighton's voice rises and falls, it immediately sounds open, true and honest. The lyrics match the voice. The rest of the band kick in at 2-minutes and then there is a huge 'woah-oa-oh-oh' chorus that would be perfect for a festival with Leighton singing 'I Am An Island' for all his worth over the top of it. A great start.

I find myself liking some bits of Hometown but not others. 

I Like Knowing is the lead single from the album. Crashing in with a riff that screams American College rock, it slows down (Fatherson like the loud/quiet/loud or quiet/loud/quiet formula), builds and then goes a little Futurheads (remember them?) at the end with an 'Oh no, oh no, oh no' refrain. 

I don't know where we are going

Could hazard a guess but I like not knowing

Cat Stevens is a real highlight for me, starting off with a picked guitar riff over a gentle synth chord. The band are in no rush, the structure, song and production gel superbly. Huge guitar riffs kick in at a minute and a half, backed by a cello, before it all slows down in a glorious manner at 2-minutes. What follows is just tremendous; backing vocals that fans can sing-a-long with, a huge and truly epic ending

Music fans will note the nod to Cat Stevens who has the song Father and Son.

Fatherson are managed by Bruce Craigie who also manages Idlewild and there is more than a hint of Idlewild about Lights and Mine for Me. The playing is tight and the guitars sound fantastic throughout the album; a great mix of light, fragile and gentle and then warm, brash, loud and proud at others.

From Idlewild to Biffy Clyro, fellow Ayrshire boys who have an uncanny knack for taking a formula and making it work. Half the Things does that 'quiet, loud, quiet, loud, hammer a refrain home' formula.  You can definitely imagine this going down well at festivals.

I'm on an island that no-one ever visits

I'm wasting all my time here

I'm never getting finished

Dust is another standout (for me anyway). Ross Leighton's voice is beautiful and he shows it off in many different ways throughout the album. Dust strips things down, just Ross and electric guitar. It is rather beautiful. Leighton's voice rises with ease as he strums, bashes and picks at his guitar.

James is big and bold, telling of moving home, making and losing friends. Fatherson may work to the quiet/loud formula quite regularly but they are capable of doing it very well. Many songs sound like they could be 3 or 4 different songs stitched together. In reality, Leighton and his band just have the ability (songwriting and musical) to do what they want and when they want.

James is a fine example of this, the minute (or so) of the song from 1 minute 30 seconds is mellow and gorgeous, picking pace and adding piano and then slowing right down again. It then goes absolutely massive and then breaks into another festival friendly refrain.

So go home, sober up

Take the weight off your feet and just chill

Kiteers doesn't quite work - at least not for me.

The album closes with Foreign Waters then there is a minute or so of silence before a secret track entitled I Am emerges, like Dust, it is just Leighton backed by guitar. Like Dust, it is a highlight.

Fatherson play their biggest headline show to date this Saturday coming (April 26th) at The Arches in Glasgow. Look out for them at Scottish festivals (and hopefully beyond) through the summer.

Sweet Discontent by Tuff Love

Tuff Love is a name that caught my eye in a few places recently. Signed to Lost Map Records, they will be releasing the Junk EP on 5th May. Sweet Discontent is the single from the EP and it is an excellent introduction to the trio.

Pure and raw, Sweet Discontent reminds me of a lot of lo-fi indie guitar records from my youth, as does the video. I find this very refreshing in an age where songs can be deconstructed, over produced and polished to within an inch of their lives.

Sweet Discontent is the glorious sound of a band enjoying themselves; from the sound of the band finding riffs and chords and giggling over the start, to the infectious guitar riff that is played over furious bass and drums that begins when the song kicks in.

The vocals are slightly detached and dreamy, the lyrics tell it all.

When we first met you offered up your soul

And you saw depth where there was a black hole

And what you saw

Was more than I had ever dared to hope for

Tuff Love play the Old Hairdressers on Friday 2nd May.

Odludek by Jimi Goodwin

As a fan of Doves I was intrigued by the release of Odludek, on Heavenly Records, by their singer Jimi Goodwin. The press release to declare his intentions pressed all the right buttons for me.

If there was a starting point for the record, it was the idea of an old school mixtape. Anyone lucky enough to receive a handcrafted tape from Jimi over the years will testify to his diverse, catholic tastes and Odludek is a heady mystic brew steeped in Northern Soul, Southern gospel, hip-hop, psychedelica, ambient, krautrock, dub, funk and acid house. “I wanted it to be like that crazy mixtape you’d make your mate which had everything from Duke Ellington to some mad hip-hop track you’d just heard, and back again,” says Jimi. “That’s how I listen to music, and I wanted to make an album that reflected that. The last thing I wanted it to sound like was some geezer who was in a band. I don’t like being pegged.”

Terracotta Warrior opens the album in a blaze of noise. Goodwin's voice is sounding as sweet as ever, the bass during the breaks is gloriously funky. The psychedelia box is definitely ticked.

Didsbury Girl slows things down with some more funky bass. A beautiful guitar riff is picked out over a lulling synth chord. This is very Doves-y - no real surprises…but it does retain an element of funkiness and some of the stuff going on over the top is brilliant.

You're the only girl I see, you're the only girl that's free

This is definitely an album to listen to on headphones.

Goodwin stays true to his words as Live Like A River comes in on an Acid House trip. I look forward to seeing how Goodwin recreates the album live when he plays at King Tut's next month.

It cuts short to Hope which is a real stand out; all bluegrass and gospel, really suiting Jimi's voice. The playing and backing vocals are stunning throughout the album, as is the production.

In my dream I'm swimming towards the shoreline

The intriguingly titled Man v Dingo is next, squelchy Acid House synths lead to stabbing Northern Soul horns and beats over white noise; this is a real melting pot of Goodwin's tastes. This is the craziest song on the album; dipping in and out of styles and changing beats is as Goodwin delivers stream of consciousness lyrics.

Keep My Soul In Song is lulling, gentle and all kinds of beautiful that just lets you float along. The strings are lovely.

Oh Whiskey was the lead single from the album, understandably so. It is Goodwin at his best; a sweet sing song melancholy voice that just lifts you up. Things slow down just before the 3-minute mark before it just goes all kinds of dreamy gorgeousness. Absolutely stunning.

Oh whiskey give me patience

Oh you used to bring the truth the truth

You used to give me empathy

How come you just give me the blues

Please don't give me the blues

The Ghost of the Empties builds beautifully as well. When Goodwin hits the mark he really does hit the mark and thankfully he does through most of the album.

Lonely At The Drop picks up the pace before Goodwin collaborates with long term friend Guy Garvey from blow on Panic Tree which closes the album. It is 2 minutes and 37 seconds long; building from an acoustic number into something resembling an old music hall number.

Overall I really like this album with Hope, The Ghost of the Empties, Keep My Soul In Song and Oh Whiskey being my favourites.

Oasis at the Glasgow Tramway 1994

20-years ago I took the week off work to attend some gigs and workshops that made up Glasgow Sound City. I was 18-years old and a musical sponge, soaking up all kinds of stuff from the 60's through to the current day.

One band in particular had caught my attention and imagination - Oasis. They really did arrive at the perfect time for me.

Oasis had released a few demos on cassette giveaways through the NME and Select Magazine and were being talked in hushed tones about being a cross between Happy Mondays and the Sex Pistols. The Stone Roses had also been mentioned in reviews/features and when I saw them on The Word in March that year I was hooked.

When the line-up for Sound City was announced, Oasis were going to be supporting label mates The Boo Radleys (riding high with their acclaimed Giant Steps LP) at a venue called the Tramway. I had to go.

I still have my ticket - now framed (above) in a collage that has The Charlatans ticket from Sound City underneath. Hole were due to be supporting them, but they cancelled after Cobain's failed suicide attempt in Paris, and were replaced by Pulp. Later that week I would be attending The Pastels at King Tut's when sadly news filtered through that this time Kurt had been successful. It was quite a week for a young music fan.

The Tramway is a brilliant arts venue in the Southside of Glasgow and I had no real way of getting there and back by public transport from the backwaters of Carluke where I am originally from. So I remember driving in at the weekend on a 'test run' with my Dad!

I was in bright and early. I always was back in the day, I wanted to capture the build up to all gigs and see all the support bands - especially this one!

Jo Whiley was floating around looking rather gorgeous as the set was going out on Radio 1. I could see Oasis lurking about backstage.

From memory, Liam had a cool blue and white jumper on (possibly the one in this picture but I may be mistaken) and was shaking a star shaped tambourine.

The crowd was pretty sparse with most folk standing at the back or out at the bar before the Boo Radleys came on. I wasn't cool and was right down the front where I met some lads I used to go to school with.

Oasis strolled on confidently, were introduced by Jo Whiley, and they launched into Shaker Maker, throwing in lines from the New Seekers I'd Like To Teach The World To Sing for good measure. They looked like a real gang.

Digsy's Dinner was next and the band blasted through it. It's not their greatest song but I always enjoyed it live and the line 'these could be the best days of our lives' was pretty apt for an 18-year old at the time.

Live Forever is one of their greatest songs though. Astonishing. There was nothing else out that spoke to me as much as Oasis did at the time. I was looking for a band to fall in love with, a front man to model myself on and songs to sing from the bottom of my heart. I had found them.

I knew Cigarettes and Alcohol as a demo version had been given away on an NME tape. The T-Rex rip off riff and the shake of Liam's tambourine built into a powerful wall of noise that just blew people away.

You can wait for a lifetime, to spend your days in the sunshiiiiinnnneee

You might as well do the white line

Cause when it comes on top

You gotta make it happen

You gotta make it happen

Supersonic ended the short set. Tony McCarroll's drums were simple but punk pure, Noel's guitar sounded sensational.

I bought an Oasis poster and t-shirt after the gig. I followed them intensely for the next few years. That night at the Tramway led to some incredible nights out and life long friendships. I think the bands that you fall in love with in your teens are the bands that last with you through your life, for Oasis to come along when I was 18 was just perfect.

Oasis - Tramway setlist
Shaker Maker
Digsy's Dinner
Live Forever
Cigarettes and Alcohol
Supersonic

Vigo Thieves at the ABC Glasgow

Last night Vigo Thieves, an unsigned band, played the O2ABC in Glasgow. They packed it out, they smashed it, they didn't just tear up the rule book; they didn't even pick it up, they just wrote their own.

For a band with 2 self-released EP's and a single to their name to sell almost 1,000 tickets for a 1,200 capacity venue is incredible. The reaction they received was even better.

Belief, drive, anthems and interaction with fans have generated a word of mouth buzz that led to last nights show. Two years ago they released the 'Heart & Soul Pt I' EP with lead single 'Heartbeats' and they sold out Nice'n'Sleazys down the road from the ABC. One year ago they became the first unsigned band to sell out 2-nights at the legendary King Tut's Wah Wah Hut and they followed that up by selling out the Arches.

Vigo Thieves are building an increasingly passionate following; the terrace style chants of 'Viiiigggooooo' that greeted their arrival on stage last night was proof.

The band came on stage to 'Wide Awake' from their debut EP, bursting into action with 'Steal Your Heart', the stirring circular guitar riff flowed superbly and singer Stevie Jukes was backed by the crowd as he sang the hooks and the chorus.

Stay young in your heart

And young in your mind

'Blood Red' followed at a furious pace with Stevie striding to the front of the stage at the end to urge the crowd on.

'Believe' sounded huge. Vigo Thieves write songs for occasions like last night - great venue, good sound system and a crowd demanding to be entertained. Arms were aloft, some went on their mates shoulders and the band turned in a performance that left no-one in any doubt that they believed.

The band - Gordon Phipps on bass with a smile as wide as the Clyde, his hair bouncing around as he jumped along with the fans, Barry Cowan generating beautiful guitar riffs that sounded epic, Chris Gorman on keys, synths and stunning back vocals that add so much to their cannon of epic anthems, Alan Jukes on drums - pounding his drums like he wanted to destroy them, Stevie Jukes on rhythm guitar and vocals - leading and conducting the songs and crowd.

Stevie and Chris did a short piano version of 'Heartbeats' that got the crowd singing - band and fans as one. A special moment.

'Won't You Be Mine' one of the bands very first songs received a rare outing to the delight of some of the fans who have been there from the beginning, before 'Steal Your Heart Pt II' brought a tear to my eye - sounding bigger, better and bolder than ever before.

You're looking for the love to heal the pain from all the scars

So live for the moment and you'll shine like the stars

'She's On Fire' was a cross between Simple Minds and U2 before the band embarked on a closing segment that just blew people away.

'Forever' is probably my favourite Vigo Thieves song when they play live. It tugs on my heart-strings and it is so cleverly constructed that when the second chorus kicks in the song just soars.

Let's live forever, together we can stay young

'This Love' was utterly amazing. Chiming piano, pounding drums and a flowing melody before the chorus is literally rammed down your throat - backed up by pyrotechnics that just added to the ever increasing evidence that Vigo Thieves are an arena band.

How many bands do you go and see and you can't remember a chorus the next day? No chance of that with Vigo Thieves! The sing-a-long hooks, choruses and chants will be in your head after one trip to see them.

The band departed only for Chris Gorman on keys and the guest sax player to come on to start a slowed down version of 'Ghosts' before the rest of the Vigo's returned to blast into the full version. Beach balls dropped from the roof and everyone quite literally had a ball.

'Heartbeats' was always going to end the set and it did so in a glorious euphoric manner. Stevie Jukes sang like his life depended on it, arms were raised, confetti rained down on everyone and everyone was smiling, dancing and singing a-long.

Stevie jumped in the crowd and was carried almost to the back of the venue and then returned to the stage just in time to thank everyone.

Thanks to Vigo Thieves - writing songs with heart and soul to be sung by the masses. Quite why a record company haven't snapped this band up is beyond me.

Love is the fire that's burning

Seasons (Waiting On You) by Future Islands

Every so often I stumble across a song or performance that reminds you why I love music so much.

The Guardian are currently streaming Singles, the forthcoming album by Future Islands. They are also (rightly) raving about this incredible performance of Seasons (Waiting On You) from Letterman.

Wow! If you get 4-minutes of Prime Time TV in America then you have to make the most of it and these lads certainly did.

A flowing bass underpins a constant beat, emotional synths float over the top and the vocals are just outstanding, as is the performance from singer Samuel T Herring. Pleading and soulful vocals and a performance that comes across part Springsteen, part northern soul and all 'can't believe we're on Letterman I am gonna smash it.'

Two verses, two choruses and smash it they do. Hope they come to Glasgow.

Seasons change, and I tried hard just to soften you
The seasons change, but I've come tired of chasin' you
Because I've been waiting on you, I've been waiting on you
Because I've been waiting on you, I've been waiting on you

As it breaks, the summer awaits
But the winter washed whats left of the taste
As it breaks, the summer awaits
But the winter craved whats gone, crave whats gone

People change, though some people never do
You know when people change, they came to peace but they lose one to
Because I’ve been hanging on you, I’ve been waiting on you
Because I've been waiting on you, I've been hanging on you

As it breaks, the summer awaits
But the winter washed whats left of the taste
As it breaks, the summer awaits
But the winter craved whats gone, crave whats gone

30 Odd Years by Vic Goddard

It's been almost a month since I bought 30 Odd Years; a 2-disc, 44-song compilation of Vic Godard songs from throughout his career.

With so much material on offer for an artists I was previously largely unfamiliar with, it has taken me quite a bit of time to digest what is on offer. The same could be said about his career - from punk to postman! Find out more HERE 

There are some real stand outs amongst a rather eclectic mix. Punk, pop, northern soul, garage, to the downright off the wall. Vic Godard isn't afraid to change style to suit his taste or muse. That said, there is something immediately identifiable on all these songs that stamps Godard's mark and talent on them - a sense of freedom and fun, a rawness, a feel and most definitely energy.

So…what are the stand outs for me?

Disc 1
Different Story
Quite Belle & Sebastian-y. Loose, melodic and clever.

Empty Shell
Scratchy electric guitars are then underpinned by acoustic before Vic comes in.

You used to be see in important places

Make Me Sad
I again I thought of Stuart Murdoch, Stevie Jackson and Belle and Sebastian on hearing this. Probably one of the most accomplished songs on the compilation in terms of songwriting, production and structure. Lovely.

Same Mistakes
So simple, so clever. Strong melody, nice harmonies, flows superbly with a great motown beat,

The same mistakes again will be the end of me

Won't Turn Back
Orange Juice are one of many bands that have been touched by the influence of Vic Godard. This could easily be an Edwyn Collins number. Total pop soul. Brilliant.

Incidentally - just found out that Edwyn produced this and played guitar on it!

Disc 2
We'll Keep Our Chains 
Buzzsaw guitars over an infectious synth riff and brilliant pop punk melody.

Common Thief
A falsetto vocal backed with gospel singers, a tinge of harmonica and more than a dash of northern soul.

I Wish
This immediately reminded me of J Spaceman in terms of vocal, melody and lyrics. One of my faves.

I wish I could be like a bird in the sky

How sweet it would be if i found I could fly

I'd soar to the sun and look down at the sea

Then I'd think I would know how it feels to be free

Best Album
A mod style riff and beat keep a groove going throughout and let Goddard do what he does best over the top; just let loose and go with the flow.

(Oh Alright) Go On Then
Fuzzy, choppy punk chords kick things off. Goddard's unmistakable voice leads us to a beautiful guitar solo before things break down in a pretty unique style, before it all just kicks back in.

Regular readers of this blog won't be surprised that I've chosen the popper, catchier numbers on offer through this compilation. Godard's most well known song is arguably Ambition, yet the version here is a throwaway live version that sounds like a pisstake. There is a real eclectic mix in style, also in production (well hey, this is over 30 odd years), yet there is a lot to delve into. This is an artist who is fiercely independent, doing things his way, making friends and influencing people.

For the record, here is the original of Ambition in all its glory.