Archive for the ‘Glasgow’ Category

99% of other reviews make a beeline for comparisons with At The Drive-In and …And You Will Know Us By The Trail of Dead with this Glaswegian quartet, and this is certainly true of tracks such as ‘Go Away, Don’t Leave Me Alone’ and ‘Dust To Light’.  I’m surprised that there’s very little mention of early Idlewild.  Not since their 1998 ‘Captain EP’ has a Scottish band combined infectious energy and youthful exuberance in such a manner.  United Fruit have a knack of melding their discordant music into something quite anthemic. Tracks such as ‘Wrecking Ball’ and ‘The Alarm’ portray this perfectly, shifting gears and winding the abrasive instrumentation into radio-friendly choruses, it’s an impressive trick, one that also reminds of the satisfying, ear-drum bursting dynamics of former Glaswegian Indie-Rock heroes AC Acoustics.  As too is the whirlwind, overwhelming start to ‘Confuse Her Now’ which recalls Sonic Youth at their most raucous.  Again there’s room for melody amidst the fiery, post-hardcore shouts, corkscrewing guitar interplay and breakneck speed instrumentation.

A muddy production mix means a lot of this LP loses its impact, however.  You really want tracks such as ‘Kamikaze’ and ‘Red Letter’ to overcome this, but they don’t quite make it. The vocals can be difficult to decipher especially when the band are at full stride, while the drums could do with a good bit of oomph, instead of the damp, watery sound prevalent throughout– though they’re actually kind of reminiscent to that of Sonic Youth’s ‘Sister’, so perhaps the drum sound on ‘Faultlines’ was intentional..  Production issues aside, this record is definitely worth investigating especially by those with even a passing interest in any of the bands mentioned above.  As a start this record is noteworthy, but with a prestigious slot secured for the T Break Stage at this year’s T in the Park Festival, United Fruit seem destined to go onto bigger things.


Gone are the short, sharp shocks and brutal sensory assaults of their two previous records.  In their place is something a little more refined, and a great deal more enterprising.  It’s always a joy to see a band that you’ve been with from the start progress their sound in this manner and Take A Worm For A Walk Week have hit musical pay dirt on ‘TAWFAAW’, revealing a band that’s become more musically intelligent and imaginative.

At just 25 minutes long, this is hardly what you would call an LP, but still it’s more than double the length of some of their previous recordings.  The Glaswegian quartet career through the songs effortlessly here, retaining all of their nervous, chaotic energy while adding new and compelling twists along the way.  There’s a bundle of brass instrumentation, for example, strewn across a number of tracks.  There’s also some brilliant horror B-movie synths that adds toe-tapping tension, see ‘So Alive’ and ‘No Right’ in particular.  They even attempt a chorus or two.

Lyrics are kind of indecipherable in a maniacal sort of manner.  If frontman Joe Quimby isn’t screaming, yelping, shrieking, gasping, cackling or howling, then he’s delivering quick-witted lines in a thick Scottish brogue like a cross between David Yow and Alex Harvey.   The sort of accent that has hardly done the likes of The Twilight Sad any harm at all.  A totally captivating performance.

Emma Pollock (of Delgados fame) adds haunting vocals on the creeping ‘Coach Perry’ to form an album highlight, while the downright funky ‘So Low’ is also a feature track, showing this outfit can slow things down without losing any of their acerbic impact.  Opening number ‘These Luscious Things’ is another favourite, inventively combining thundering bass with abrasive guitar, with brass adding the flourish, the pummeling and mischievously-named ‘Shagadugaday’, meanwhile, is destined to be a live favourite with its rapid-fire precision.  Likewise  ‘Like My Pacifier’ delights with its machine-gun like delivery, deranged lyrics and battering horn section, like Rocket From The Crypt on a week-long bender with Shellac.

The fact that each of the ten tracks has something new to offer is the true story of this record.  While Take A Worm’s idea of accessible music is enough to make the more casual listener cower behind the sofa, after all this record is anything other than conventional, there’s much going on here to suggest that this lot may just have opened plenty of doors for themselves.  More to the point, for those who crave a sound that’s fresh, exciting and totally original, ‘TAWFAWW’ is, without a doubt, the album for you.

One of the main aims of this site is to promote Scottish music, particularly from my native Glasgow.  It’s a city that is a lot smaller (just over 1 million people in the greater Glasgow area) and quite close-knit in comparison to the likes of more cosmopolitan places such as London, New York and Toronto, but it has an equally interesting music scene — with lots happening and very frequently.  One band that have been on my radar for a while are three-piece Super Adventure Club.  I saw them supporting Volcano! and they more than held their own that night.  I was impressed by their quirkiness, inventive song writing and clever lyrics.  They have an odd sound that’s hard to pinpoint (trust me I’ve tried and tried), unique but with vague reference points.  As the video for smart, almost telepathic live performance of  ‘Dog With Two Dicks’ shows these two boys and one girl are an impressive live unit.

There’s a few records available via Scottish imprint Armellodie

Take A Worm For A Walk Week have recorded a session for BBC Introducing… In Scotland.  Peenko has it available for download or you can go down the more legal route of streaming it via the BBC Iplayer.  This group has morphed their sound from the brutal workouts on their eponymous first LP, into a slightly more accessible sound without losing their visceral edge, somewhere between former Glasgow heroes Lapsus Linguae and The Jesus Lizard — the new vocal style may even appeal to international fans of The Twilight Sad, who love the thick Scottish accent.  New album ‘TAWFAWW’ was recently given a glowing review on The Skinny

Take a Worm for a Walk Week is a Pattercore band from Glasgow, Scotland, comprising members Joe Quimby (vocals), Jonny Scott (Drums), Johnny Docherty (Guitar) and Iain Quimby (Bass). The band is currently signed to Undergroove Records and have released two full-length albums, as well as several EPs. Their 2007 debut, Take a Worm for a Walk Week, went relatively un-noticed, but through a series of live gigs became a talking point.  While their second album, The Monroe Transfer, was released in 2008 to good reviews. (I have no idea what ‘Pattercore’ is!)


Evocative poetry readings of some of the greatest poets are combined with an introspective music and eclectic videos. This was produced in 2006 for a unique performance in Glasgow, UK.

I knew immediately, without hearing anything by this band, that I was going to like them, with a name that perfectly describes their sound.  Discovered via the latest Astral Visions podcast,  The Cosmic Dead are a trance-inducing Krautrock/Space-Rock collective making one unholy, unearthly sound.  Having recently supported Arbouretum in their native Glasgow, The Dead are set to launch their debut album with a cassette only release through Who Can You Trust, though I have a feeling a free download of this may crop up on the excellent Winning Sperm Party label.  There are just 150 copies available which the band have described as a ‘an 80 minute mind melting affair featuring four tracks.’  I’m unsure if the track below on the soundcloud widget will feature, but fans of Kyuss, Sleep, Hawkwind, Can, Stereolab et al, will surely find lots to love about The Cosmic Dead.  The video comes complete with trippy Alice In Wonderland imagery.

Given their two previous recordings, at 25 minutesT.A.W.F.A.W.W qualifies as something of an epic for this feral Glaswegian quartet. In fact the days of 30 second blasts of Locust-esque fury are apparently behind them. Instead this time we have ten servings of almost sensibly paced, acerbic post-hardcore nihilism: akin to Tom Waits being minced, fried and messily eaten by the band Daughters.

Indeed “nihilism” is almost certainly the key word here. Tracks end abruptly. Lyrics spiral into post-modern farce. Trumpets and pianos find their sarcastic way in amongst guitar lines as sharp as broken bottles. Meanwhile the rhythm work is as flawless as ever. It’s this seamless blending of flippancy and water-tight musicianship that has been the underlying secret to Take A Worm’s continuing reputation for unpredictable excellence and thus much of their appeal. T.A.W.F.A.W.W is an inventive, utterly compelling barrage of sneering cynicism mixed with driving hardcore and about as progressive as this genre gets. [Austin Tasseltine]  source: