Category Archives: Uncategorized

Did Adele rip off BRMC with her mega-hit Skyfall?

Adele is one of the world’s most bankable singers, possessing a voice that has seen her graduate from performing arts student to full on superstar, thanks to the success of her trio of albums, 19, 21 and 25, albums which together have sold over 100 million copies.

The 28 year old’s songs surround the themes of heartbreak and relationships, with hits like ‘Hello’ and ‘Rumour Has It’ generating a popularity reflective of her status as ‘the finest singer of her generation’.

But, amidst all the glory and adulation, exists the rumour that she bent the rules somewhat in the creation of one of her biggest hits, Skyfall, the theme from the James Bond movie of the same name.

The song has sold more than 2 million copies worldwide, earning Adele an Academy Award for Best Original Song alongside a Golden Globe in the same category and the Grammy for Best Song Written for Visual Media in 2014.

The Oscar win, funnily enough, came after Adele’s song trumped three other soundtrack numbers, one of which being – wait for it – ‘Suddenly’ from the film Les Miserables.

But listeners on Youtube have noticed that the song bears a quite strong resemblance to the song ‘Suddenly’ by the American rock-and-roll band Black Rebel Motorcycle Club, a hit from their 2003 album Take Them On, On Your Own.

Lyrically, Skyfall is dark and moody, with a heavy orchestration that effectively captures the real James Bond ‘feeling’ of the Shirley Bassey era theme songs. Co writer Paul Epworth stated that the song is about “death and rebirth”, saying “It’s like, when the world ends and everything comes down around your ears, if you’ve got each other’s back, you can conquer anything. From death to triumph, that was definitely something we set out to try and capture.”

On the other hand, ‘Suddenly’ by BRMC doesn’t speak of all too dissimilar themes; themes concerning dark days, impending judgement, the sky and, most importantly, bitter love.

Perhaps any possible allegation labelled at Adele is best one of ‘aiding and abetting’, as part of a writing duo alongside producer Paul Epworth, who has produced acts similar to BRMC, artists such as Bloc Party, Primal Scream and Death From Above 1979 – who are themselves currently on tour with BRMC.

Epworth also worked with The Big Pink on their second album, ‘Future This’. BRMC’s guitarist/singer Robert Been also worked with the band, contributing to their 4 song EP ‘Empire Underground’.

This isn’t the first time Adele has been accused of ripping off other people’s tracks. Tom Waits fans believe her song ‘Hello’ shares a lot of similarities – lyrically – with Waits’s 1973 hit ‘Martha’.

Meanwhile, fans of Turkish/Kurdish singer Ahmet Kaya believe Adele ripped off Kaya’s 1985 song ‘Acilara Tutunmak (Clinging to Pain)’ with her own ‘Million Years Ago’ track off her 25 album.

Listen to both here and make up your own mind:

Stag and Dagger review

This year’s Stag and Dagger bash offered music lovers in Glasgow the possibility of seeing some of the best live music from home and abroad, without the need for the wellies or the thought of returning to a half-submerged tent, and didn’t disappoint.

 With over 45 bands taking part in the annual all-dayer across 9 venues, the only tricky part was deciding where to go and when.

 London trio Kenneths served up an early treat, playing their turbo-charged brand of punk rock to a packed out Nice and Sleazy’s, with dedications to Travelodge and Glasgow banter aplenty.

 Next up, fresh-faced Glasgow band West Princes offered an antidote to the unwelcomed queue in the rain outside the Art School, as their hip, nonchalant, jazzy groove felt a perfect fit inside the Vic Bar, before the hotly anticipated Haelos blew everyone away with a remarkable performance upstairs in the Assembly Hall.

 With a trip-hop sound that recalls Massive Attack and Portishead, Haelos certainly lived up to the hype, with Lotti Bernadout’s spellbinding vocals on the terrific ‘Dust’ a festival highlight. Bigger stages await for sure.

 Following on from the Haelos high, We Are Scientists showed that, 11 years after the release of their debut ‘With Love and Squalor’ LP, they showed no signs of losing their trademark energy. Showcasing songs off new album ‘Helter Selzter’, the California based indie-rockers powered through a blistering set, with the capacity crowd in the ABC greeting old favourites ‘The Great Escape’ and ‘Nobody Move, Nobody Get Hurt’ with rampant enthusiasm.

 From palm trees and sunny beaches to roundabouts, as downstairs in the ABC 2 East Kilbride five-piece The Lapelles put on a performance to continue the track record of the Glasgow suburb producing first-class music, in this case in the form of sweaty, indie-pop gems that had everyone dancing about.

 With Crash Club and The Duke Spirit following them up on the same stage, two reasons as good as any were found to stave off a Sauchiehall St wander and enjoy what was on offer, and neither disappointed.

 Latterly, with The Duke Spirit, singer Liela Moss was on form as the intimate surroundings played host to a mesmerising slice of alternative, garage-rock in support of new record ‘KIN’.

 Meanwhile, having built up a reputation in Glasgow as the crown princes of revelry, Crash Club made their preach to an already converted public with a high octane set that shimmered with raw energy, featuring impressive guest vocals by Ian Mackinnon of Medicine Men and Tony Costello of Tijuana Bibles.

 In the absence of a quiet night in a dark room to regain composure post Crash Club, Band of Skulls stadium-sized rock provided the perfect end to the day, as the Southampton trio a polished, raucous set that had the ABC 1 crowd in raptures, with Russell Marsden’s virtuoso guitar playing packing a pretty punch.

 

Shakspeare’s influence on modern music.

What does modern music owe to William Shakespeare? That’s a question that has been floating around my head this week, as we gear up to celebrate the 400th anniversary of his death.

We all know our Hamlet’s, our Macbeth’s, our Othello’s and our Romeo and Juliet’s, but how central a role did music play in the works of Shakespeare, and how, in turn, has this fed into, and still feeds into, our modern culture today, with regards to popular music? The answer is enormously.

You don’t have to look hard to see modern references to his work across musical genres, and these are only the obvious references.

From the ‘King Lear’ quoting ‘I Am The Walrus’ by the Beatles to Lou Reed’s ‘Romeo and Juliette’, to ‘Desolation Row’ by Bob Dylan and Morrissey quoting Richard III in The Smiths ‘Cemetery Gates’, to ‘Heart of Gold’ by Neil Young and ‘Exit Music (From a Film)’ by Radiohead, to ‘I Bet You Look Good On The Dancefloor’ by Arctic Monkeys and Alex Turner’s assertion that ‘There ain’t no love, no Montagues or Capulets’, the list goes on and on.

For many, Shakespeare is the undisputed king of story-telling, having had an ability to do what the likes of Homer, Tolstoy and other famous writers couldn’t do – tell every kind of story. Whether it be tragedy, comedy, adventure, love, fairy tales – they are all present in his works, and central to these were music.

What is clear is that music played a key role in his understanding of the world around him, with songs and ballads integral to the stories he told, songs which fired the imagination of his audience, delighted them, and entertained and moved them in equal measure.

The most emotive lines in his plays; the expression of such extreme emotions of joy and introspection, have, as their subject, music.

Take ‘A Twelfth Night’ for example. The opening line of “If music be the food of love, play on” spoken by Duke Orsino, obsessed by love, as he orders his court musicians to play long enough to satisfy and dilute his desires.

Or the famous balcony scene from ‘Romeo and Juliet’, which fully encapsulated what we know to be ‘teen angst’, which reads “How silver-sweet sounds lovers’ tongues by night, like softest music to attending ears.”

Of his 37 plays and 154 sonnets, the man from Stratford-upon-Avon made more than 2000 references to music, including over 100 songs and fragments of ballads.

It is clear that he had and sharp and astute ear for the music of his time, and his use of poetic language to give life to these sounds and rhythms has no doubt inspired musicians throughout the ages, music of every style and from every culture and background.

Out-with the musical references, let’s not forget language too, and the role Shakespeare played and continues to do so on the very words that we speak. His ability to use ‘neologizing’ – by expressing new ideas through the invention, borrowing or adopting words and phrases from other languages, means that over 1700 of the words we use today were created by him. 1700.

Words like ‘swagger’, ‘addiction’, ‘bedroom’, ‘lonely’, ‘majestic’, ‘numb’, and even ‘road’ can all find their first usage within Shakespeare’s plays, words that together may look like the ‘cold-turkey’ scene from Trainspotting but words which separately populate popular music lyrics.

And if something has ever vanished into thin air, if you’ve ever been tongue-tied, if you’ve wished someone good riddance, or had a heart of gold, broke the ice, not slept a wink, had too much of a good thing, seen better days, felt love is blind or wore your heart on your sleeve, you again have Shakespeare to thank for creating the expression.

So for what it’s worth, 400 hundred years later, it’s clear that those who love our music, we owe a curtain debt to the man. And to use another word Shakespeare created, if we were to translate his influence into a sound, that sound would be ‘deafening’.

Man of Moon reach for the sky.

Man of Moon haven’t quite got the hang of using chopsticks, as the fresh-faced two piece from Edinburgh, looking decidedly jaded after an early morning return home from opening last night for The Twilight Sad in Manchester, tuck into some Asian inspired vegan food in Glasgow’s Hug and Pint, scene of tonight’s headline show and precursor to tomorrow night’s supporting slot for the Sad at a sold out Barrowlands.

Their mannerisms tell me they are not too sure about they are eating, but it tastes bloody good. Belly’s full and a pint down Chris and Mikey, who formed the band after being paired together during their sound engineering course, are ready to take a breather and look back on quite an eventful 2015, a year that saw both of them blow out just the 20 candles on their birthday cakes.

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So how does it feel being back on the road with the Sad again? “It’s been really good, they are such sound guys. It’s the same kind of crowd we get so people that go to see them dig us I think as well”, said Chris.

“It’s good for them to have us as well because it’s small, us being only a two-piece it’s really easy for them. Its good fun and not a lot of hassle, chips in Mikey.

Has there been anything learned from The Sad that they will bring to their own shows? The answer was a resounding “Oh aye, definitely” from both.

“I guess watching their live show and just seeing the stage presence they’ve got and watching them sound check and stuff. They are such pros. Learning that kind of stuff is so useful,” says Chris, with an air of gratitude for the Sad that speaks volumes.

The band were more than buzzing about tonight’s show, as they cast their minds back to the last time they played the Hug and Pint in April earlier this year, a gig that for them ranks as their highlight for 2015.

“That was an amazing gig. One of my favourites we have played, really really proud of it. The fact that we do so many support gigs, to play a sold out show in Glasgow is such a good feeling,” said Mikey.

Chris followed that by declaring his love of the city. “The crowd was so good. We are quite used to playing loads of shows in Edinburgh and seeing so many familiar faces, but to walk out into a sold out crowd and not knowing any people that were there…that’s when we knew we were doing something right.”

“Glasgow crowds are always the best crowds, it beats Edinburgh.”

Controversial, coming from a band that hail from the capital? Not to Mikey…

“I think just overall it’s a better scene and people are more into and from that we get a better response”.

Not taking anything away from tonight’s headline slot, it was obvious the bright neon lights of the Barras were more than visible on their respective horizons.

“Tonight’s a warm up for tomorrow. That’s the reason we booked tonight in the first place”, said Mikey.

Although I’m trying not to think about it until we walk out”. I think if it was further down South somewhere not so familiar  it wouldn’t be as nerve-racking, but Glasgow, it really is one the best places around”, thought Chris.

With Mikey adding, “The Barrowlands. The biggest gig of our career. Our families and friends are all going to be there as well. It’s such a good opportunity, with the amount of people that are going to be there who haven’t seen us before”.

Are The Sad in the same boat?  Not according to Mikey. “They are playing it cool I think”.

For The Moon, having their sound play out beneath the famous blue and white tiled ceiling is as big a deal as any band could ask for. “If you look at just a list of everybody who has played there. Playing on the same stage as all these legends. It’s just crazy, it’s cool.”

Perhaps the only down point for the band was not picking up the Best newcomer Act earlier this year at the Scottish Alternative Music Awards, although they felt Bella and the Bear were more than worthy winners. How they found out was a story in itself, as Chris shared.

“It would have been nice to get it. It was great to be voted though. I remember bus’ing it through from Edinburgh and the traffic was murder and I got into Glasgow late, so I had to sprint up Sauchiehall Street to try and make it to The Garage in time. When I got to the door someone just told me, ‘Aye you’ve no won’. And true enough, we went in and it turned out it had already been announced.”

What about their debut single, The Road, being heralded by one member of the music press as the best British debut since New Order released ‘Ceremony’ way back in 1981, many moons before Man of Moon came into the world.

“It was great. It’s mental. It was quite a statement. I genuinely don’t know what to take from that but it’s cool to see that someone likes it, said Chris. ”

And how did the song come about? Surprisingly easily.

“The Road was written really quickly. The basis of it anyway. We got it down in about 2 minutes. I mind doing it in Chris’s attic,” said Mikey.

With Chris adding, “I had just started using a Wah pedal that Mikey let me borrow and just switched that on and Mikey started playing along. It’s just mental the response we have had from it.”

As for 2016, the band see themselves doing at least a few festivals as they take their sound out to fans across the country.

“Really keen to do Green Man next year. It’s such a good festival and I think it would really suit us”, said Chris, with Mike adding, “I’d love to play Secret Garden Party again but like a different slot. We opened up for the festival pretty much last time and pretty much nobody was there.”

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Fans will be happy to note that the band expect to release a four track EP early next year, which they will be touring at a later date, with Mikey confirming it, “It’s completely recorded, it’s just getting mixed and mastered. I don’t think there’s a real rush to get it out but when it does I think that will give people something to listen to”.

With Andy Monaghan from Frightened Rabbit on production duties, the band felt that he got the best out of them. It was amazing, he would fire ideas at us and we would be like ‘We didn’t think of that’.  He was just really encouraging. That’s what you need,” said Chris.

And even though they have been playing together for the past three years, the band still don’t see themselves as the finished article quite yet.

“I think we are still essentially finding what we are sounding like. We still buying more pedals and expanding our sound. Even now, some of our tracks sound really different from each other, they could almost be put into two different sets,” answers Chris.

As for influences from fellow Scottish acts out with the likes of The Sad and Frightened Rabbit, the band were keen to add The Phantom Band, We Were Promised Jetpacks, Errors and Kathryn Joseph to that list, with Mikey keen to thank them for their support.

“Playing with these bands makes us feel so lucky. Its crazy as well cause a lot of these bands have been playing for years and we are just really starting. For that we are pretty grateful”.

As the band put in their pretty low key rider request with a joint “Tennents” shout, their final assertion, in response to a heady future on making more waves in the music world, was a firm “We are ready to go”.

With some bands making relatively small steps up the music ladder, Man of Moon have been leaving footprints the likes of which others could only wish for. One giant step after another it seems indeed, for a band that, with a night at the Barras soon to be under their belt, have the sky as their limit.

White, your new favourite colour.

2015 has been some year for White. Big ups from Elton John, headline sets at Tenement Trail, and making the floor bounce at Amsterdam’s legendary Paradiso venue spring to mind for the band seen as the best export Glasgow has had to offer the music world since a certain Franz Ferdinand.

To put the cherry on top their proverbial pie, the group walked away with ‘Best Breakthrough Act’ at the recent Tartan Clef Scottish Music Awards in Glasgow. Not bad for a band that have only been on our radar for the best part of a year.

As the band swanned up the attention on the red carpet, frontman Leo Condie admitted that the award represented a nice milestone for the band.

“We are all really excited that we are winning something that makes us feel that we are getting somewhere. It’s always hard to tell because we have our heads down immersed in the music, so it’s really nice that people have taken notice of us.”

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“We’ve always kind of written songs that we want to be immediate, songs were you are able to get them without having heard them and listened to them over and over again.  We want them just to hit you straight in the chest. When you go out and play and you get the right response from that it’s fucking great.”

As for highlights so far, the band were hard pushed to see beyond the Amsterdam gig, as guitarist Hamish indicated.

“The Amsterdam gig was fucking amazing, it was like a rave. It’s probably one of my favourite gigs we have done. We were the last act on at 2am and the room was stoud out and everyone was jumping around. Our friend was in the audience and said the floor was moving when we were playing.”

Although closer to home, headlining Tenement Trail still lingers fresh in the memory.

“That was amazing, we owe Tenement TV a lot. We are a totally new band and there were a lot of bands that have been going for a long time on the bill so for us to be given the chance to headline a Glasgow festival like that was awesome. It put us right in people’s faces. The festival will just get bigger and bigger.”

Hailing from previous groups such as the Low Miffs, Kassidy and Garden of Elks, bass player Lewis is quick to extol the connection between the five-piece.

“The reason why we have all came together in the band is that we all love music, we all love playing together and we are all friends. Me, Hamish and Chris have been writing together for ages so it was great when Leo and Kristin came in and added this other dimension to the band.”

Whereas guitarist Chris was keen to tip his hat off to Glasgow.

“It’s cool to have an eclectic mix like we do in the band. It totally resembles what the Glasgow scene is like just now. There’s a lot of people making music because they want to without holding any unnecessary grudges against other bands.

And with respect to their home city, Leo feels more than happy to see the band mentioned in the same breath as Franz Ferdinand, with WHITE’s upcoming headline show at the QMU a personal triumph for him.

“I remember growing up in Glasgow and it was so exciting how well it was going for them and  it made the eyes of the music world turn on Glasgow for a while, although we were all a bit to young to be in bands to profit out of it. I remember standing outside the QMU when I was at uni listening to them sound check and stuff, so for us to be playing there is great.”

A slot on the bill for Edinburgh’s Hogmanay street party will see them play out the year in some style, as the band look to a 10 date UK tour spread over February and March, with Hamish keen for the band to spread their wings further afield again.

“I’m kind of hoping we become one of these bands that does well in Europe and we can go over and play there all the time.”

To which Leo finished with a smile…

“We will be headlining Hampden next year.”

And, although he was being tongue in cheek, you can’t fault the swagger and confidence the band gives off, as the cry for ‘a new colour in the musical palate becomes as loud as the band’s wardrobe.

WHITE.

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A gem to be found with FOUND.

Cloning, released on November the 6TH, represents a welcome return to action from Edinburgh band/art collective FOUND, which, as the name suggests, offers an engaging post-modern vision that sounds like it has torn a page or two from inside a Philip K Dick novel.

After 2011’s celebrated factorycraft, the BAFTA winning group’s new release sees three become two, with Ziggy Campbell and Kevin Sim continuing proceedings after Tommy Perman’s departure for pastures new, and this long awaited return sees the duo stick to a winning formula of opaque, experimental, synth pop, dowsed in sparkling analogue synth chords.

Opener A Souvenir for Every Hope You Had gallops along like a more sugar coated version of Mogwai’s Mexican Grand Prix, while diverse tracks such as The First Catastrophe and Halfway Cured give a polished, dream-like dystopian sound that ventures occasionally into 80’s horror film territory.

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Standout track Wheel of Apocalypse brings Campbell’s vocal talents to the fore, as the Vangelis-esque synths juxtapose with romantic notions of impending catastrophe: “Futures come and futures go, there’s a future I can’t get to / Now it’s gone, I have to choose, a future where I can’t forget you.”

At eight minutes long, The Second Catastrophe continues the cataclysmic feel with pounding drums accompanying fragile, soaring vocals against an eclectic synth backdrop as Credits offers a strong, brooding finish to a distinctive, yet dynamic piece of work.

Holyesque get spiritual.

It’s a Sunday afternoon, and it’s bucketing it down. The four local lads who together make up Holyesque shuffle in soaked one after the other, some still sobering up post Finnieston flat-party, to sit down to chat about their upcoming double A side single and  Glasgow headline show at St Lukes and subsequent release of long awaited debut album At Hope’s Ravine in February.

Since the band’s inception in late 2010, a steady flow of single releases, celebrated gigs, European support slots and SXSW jaunts have gradually heightened the buzz around a group whose sound, driven by singer Pat Hynes’s raspy, primal scream and industrial guitar, fails to conform to any comparative music out there, and all the better for it.

Celebrated recent shows at Tenement Trail, the SAMA’s and Camden’s Barfly – with a certain Annie Mac in attendance, alongside multiple Radio 1 plays of upcoming single Silences, seamlessly draws a line towards an arrival at the big time, and the band, whose design background seeps into their image – keyboardist Keir Reid and drummer Ralph McClure both study at Glasgow School of Art while not making music – are keen to take full advantage, as Pat himself intimates.

“We are planning on keeping the momentum going. It’s picking up I feel like we are progressing and we going in the right direction.  We are in the best position we have ever been just now and we hope the anticipation will pay off and people are going to be into the album.”

The chemistry amongst the foursome – Pat, Ralph, Keir and guitarist Shug – is contagious. It’s like old pals that just happened to pick up their instruments and decide to make music, and Keir believes that this sense of camaraderie is what drives the band forward.

“When we started the band there was never any blueprint or any kind of set idea or discussions. Everyone has their own inspirations and influences. We were all from different angles and places.

Pretty much all decisions are made as a group. Anything creatively, whichever direction the band is going in, whatever we are doing, we all decide together.”

Although for many fans, the album seems to have been a long time coming from a band that first got our tongues wagging with 2012’s Rose, Keir mentions that the wait for the album wasn’t as a result of a lack of material, far from it.

“With an album generally it’s not about the amount of songs you have, there are so many other factors to take into account. It needs to be right. It annoys us when people think oh ‘we have finally got an album worth of material’. We held it off because we wanted to make sure it was right and done properly.”

With regards to At Hope’s Ravine, the band removed themselves from the goldfish bowl that is Glasgow, splitting their time between Copenhagen and Brighton, a decision, that Keir thinks, paid off dividends, especially with regards to ramping up the creativeness emanating from the band.

“We spent a week and half in Denmark where we got all the basics down and then went for two weeks to just outside Brighton to experiment and work with the songs more.

It was kind of this great atmosphere and we were like ‘fuck it will we try it’. We ended up singing in stables and using wee kids toy pianos, just anything. It was our first real experience of experimentation in the recording process. Trying to tap into something new.”

 

Keir is also keen to detail working with Grammy award winning producer John Schumann, a bona-fide fan of the band, and how it seemed the perfect fit for where they wanted to go as a group.

“We became quite friendly with him when we did the Ravonettes support slot (in 2012), he was into the band and we knew he was a ‘somebody’. I think we rubbed off on him.

He gets it, he understands what we are doing and he is enthusiastic about it. John brought out the best in us and sent us in the right direction.”

And although a few years have passed since their 18 date jaunt around Europe with the Danish indie-rock duo, Ralph doesn’t discount heading back out to the continent on a support slot ticket; although this time they might treat it a little differently.

“Something like that would be perfect for us. The last time we were on a tour we were young and impressionable but we learned a lot (from the Ravonettes). We were stealing their rider and wanting to go out and party every night while they were real pros. We were arseholes. It was an insight.”

The band also seem to have found themselves a niche market in the form of Austin, Texas, with a visit in 2016 not out of the question, off the back of trips out there the past three years in succession. Something Pat is eager to share.

“We seem to have a yearly residency now out there. We have a lot of friends now and we just have a really good time. It’s been getting better every year for us. Especially since we started playing in dive bars and cupboards. I think a lot of people suffer from that but for us it really did help us and turned out to be quite beneficial.”

Casting nostalgia to one side for a moment, Pat gets back down to speaking about their number one concern, the music, and the connection that exists between the foursome.

“The majority of time the best songs are done on the spot there and then. It’s the best feeling in the world for us when we are all playing things and it just comes together and you know there’s something there. It’s like there’s a silent understanding between us.”

Further to this, however, is the design element, which flirts alongside their music to deliver a whole package, something that the band themselves are keen on expressing, as Pat and Keir indicate.

“You need to offer more than just a song. People need to grab onto something. Whatever we are doing we want to make a visual element that worked with the music. I think it goes hand in hand. You spend so much time writing and recording a song and making it sound good, just to give it to a label to put their own thing behind it. For us it’s part of the process. One benefits the other.

I think music is pretty two dimensional. So for us it’s important to pull in these other aspects to it, to open it up for people to take more from it, not just the music.  It’s just another edge to the sword.”

Doing so, it seems, helps the band really develop their own sense of how they see themselves as a band, helping to avoid what Keir regards as “lazy” comparisons with other bands.

“We don’t like being pigeonholed. We have been against that from the get-go. There comes a time when it can become detrimental to a band.”

While Pat agrees.

“Pidgeon-holing. Fuck that. We’ve always wanted to leave things open to interpretation with regards to our music. We’ve always encouraged people to question what we are doing. Why this lyric is that in the song, why those visuals are in that video, for example.”

Meanwhile, seeing out the year by playing at new Glasgow venue St Lukes ,a venue they themselves chose for the upcoming single launch , will, Keir hopes, give them the kind of blank canvas they are looking for to really cement their ambition, purpose and intention to those in attendance.

“I’m interested in the idea of communities and religions and that place has been used as a kind of gathering place over the years. I quite like the idea of us re-contextualizing it in our own way, with our music and with our own visuals. We really can’t wait for it.”

In between all the preparations for the album, the St Lukes gig and the single launch, Pat points out that they haven’t let that get in the way of already looking towards album number two.

“We are already working on it (Album 2). There’s no breaks for us. What else would we do? We are in the studio writing new songs all the time.”

With a drive and determination that may put other like-minded bands to shame, the group don’t seem like they are the kind who would take stock. Indeed, the band seem pretty humble with respect to how much they feel they need to achieve before they have ‘made it’, judging by Keir’s admission.

“We know we will have made it when we come back in here to the pub with fur coats on with enough money to get a pint.”

Jokes aside, it’s refreshing to hear from a band, who, undoubtedly are one of the best acts to come out of Scotland in the past decade, who have their feet firmly on the ground and are just focusing on doing what they do best, making vibrant, intense and unique music.

Here’s to the Holy.