Posts Tagged ‘Take A Worm For A Walk Week’

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.


Take A Worm For A Walk Week – ‘Take A Worm For A Walk Week’ (Midmarch Records)

Here’s another older review I wrote back in early January 2007.  This one details the debut offering from Glaswegian quartet Take A Worm For A Walk Week.  The reason for posting this will become clearer in a week or so, when I review their new LP ‘TAWFAWW’, which has already scored a 9/10 from Rocksound and a 5/5 from The Skinny.  What I’ve listened to on their bandcamp page sounds like one of the most engaging, fresh sounding records I’ve heard from a Glasgow band in some time, this band have seriously progressed in their relatively short lifespan.  For now though, let’s delve into the past and learn about their debut record.

This release from Glasgow group, Take A Worm For A Walk Week, is a ‘slight’ departure from has went on in this site previously. But, I like to think I am an open-minded guy and will give most things a try. The artwork for this CD (a mass of skeletal bodies on a black background) points to a band a little more direct and, perhaps, dangerous.

Dangerous, however, would not do the music here justice. It’s ferocious, blistering, menacing and bludgeoning. The group themselves have been gaining a reputation locally on the Glasgow live circuit and also nationally, supporting the likes of Sikth. Kerrang! and Rock Sound both gave the band excellent reviews recently and the music on this self-titled release seems to back up this up.

I have to admit to being behind the times when it comes to heavy rock, my own tastes have just moved in a different direction of late. Having said that though, 3 or 4 years ago I would have lapped this album up.

It is a relentless blast of discordant noise that jumps effortlessly between Eyehategod sludge and Dillinger Escape Plan time signatures. In fact, it is the impeccable and complex rhythms that propel this 13 track, 15 minute release above its peers. It barely pauses for breath and it must take a remarkable amount of concentration when playing this stuff live. The razor-sharp vocals are delivered in the same manic manner as Jesus Lizard frontman David Yow, possibly even more deranged!. While some of the instrumentation simply bludgeons you into submission.

Fans of calm, ambient soundscapes need not apply here, but if you like gutteral roars, impeccable time signtaures and sludgy guitars this is the album for you. What it lacks in length is more than made up for by the outstanding delivery and instrumentation.

About as subtle as a knife to the face, as grating as feeding your hand into a mincer, take a worm for a walk week thrust their riffs down your throat, then scream them into your bowels. Tech as fuck, fast and hard, mixing the intensity of eyehategod with the speed of agoraphobic nosebleed, and almost Jacob Bannon esce vocals. Hailing from Glasgow, featuring ex-members of Torqamada, their self-titled album weighs in with 13 tracks.

The album was recorded by Aereogramme’s Ian Cook, and boasts stunning artwork from artist Richard Forbes-Hamilton, who has designed for such acts as ASVA, depicting a writhing mass of bodies, fading into corpses, a perfect metaphor for the desperation and pummelling nature of this band. ‘TAWFAWW’s 15-Minute debut will leave you felling disoriented, irreparably violated, and with a charred and bloody mess where your face used to be.


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!)


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: