inSIGHT
7
Oxjamboree
>> Laura Doherty
W
hen you’re given the promise of ‘plus
very special guests!’ on a bill it’s only
natural you begin to think big. It’s a
claim likely to backfire when the se-
cret attractions reveal themselves and the crowd
- who've conjoured images of being serenaded in a
toilet cubicle by Dylan - are dismayed when treated
to the latest craze to hit Alex Kapranos’ band-name-
dropping autocue. However, tonight is a Postcard
Records Tribute night put on by the lovely people of
Oxfam as part of their fundraising month, so cyni-
cism aside there is hope that some proper old tim-
ers will hop out of the woodwork down to Mono for
a good cause.
Postcard Records, for those of us too young
to remember, was an independent label set up by
Alan Horne back in 1979, situated in a flat on West
Prince’s Street. It was initially the home of Orange
Juice and Josef K, then later to Aztec Camera and
The Go-Betweens. Postcard has been cited as an
inspiration for a lo-fi indie-pop movement of the
early 80s and is still respected for its DIY approach
to music.
So as sure as vegan beer and organic lemonade
will be on tap, the notable names of indie-pop will
be present to show their appreciation and support.
Not to disappoint, the first onstage are William
Douglas and the Wheel, featuring members of
Aberfeldy, The Proclaimers and The Hula Hoops;
they sing a ropey medley full of handclaps and
Radiohead
In Rainbows
Ind. – 10/10 - Digital Download
The hype sur-
rounding the
release of Radio-
head’s seventh
studio album,
In Rainbows has
been almost
unavoidable.
First song '15
Step' is immedi-
ately recognisable as a Radiohead, electro-melodic
song. The next song, and to my mind the best on
the album, 'Bodysnatchers' is also indicative of Ra-
diohead in its relentlessness, and absolutely steams
along, with enrapturing drum-beats and overdriven
guitar licks.
The album ends on a high, with the soaring and
catchy 'Jigsaw Falling Into Place' followed by the
enduring 'Videotape'. A melancholic but perfect
way to end an album that in no way disappoints,
despite the years of waiting.
In Rainbows certainly has its own voice within
Radiohead’s impressive back-catalogue. Though
still easily-recognisable as Radiohead, there are
subtle differences which make it distinct. This is a
sign, if needed, of Radiohead’s enduring talent.
(David Jackson)
strained cheer which doesn’t quite justify their half
hour sound-check. This is then redeemed by Lou
Hickey, sometime burlesque performer, other times
sultry jazz pianist, and her soft, warming inter-
pretation of Aztec Camera’s ‘Walk Out to Winter’.
The Low Miffs then take to the stage fulfilling the
We can make such a
difference just by taking
part in something we love.
promise of ‘special guests’ by playing Josef K covers
with Malcolm Ross on guitar. Their incredulous
glances and grins are obvious and understand-
able given they’re playing with a bit of a musical
legend tonight. Malcolm Ross could be described
an emblem for the Postcard years, having played in
each Josef K, Orange Juice and Aztec Camera in his
time.
It’s a warming scene, soon equalled when
The Poems team up with Attic Lights to perform
a beautiful, almost choral version of The Velvet
Underground’s ‘Pale Blue Eyes’. Now the crowd are
nicely enthralled, The Bluebells take to the stage,
admitting they probably remember the Postcard
days better than most, ‘cause they’re auld, perform
a haunting version of the theme from ‘Midnight
Cowboy’ before the rousing Orange Juice track
‘Blue Boy’.
The highlight of the night has to be The BMX
Bandits tearing into their instruments with more
Orange Juice before Justin Currie of Del Amitri lends
The Fiery Furnaces
Widow City
Thrill Jockey– 15/10
The prolific Fried-
berger siblings re-
turn on a new label
with another dose
of their own unique
off-kilter brand of
wilfully esoteric
twisted blues.
B e t w e e n
Eleanor Friedberg-
er’s deadpan, verbose lyrics and the playful melding
of discordant styles as varied as no wave, baroque
pop, rockabilly, and Sonic Youth-esque twisted
noise Window City is likely to delight the faithful
and puzzle the majority. Navy Nurse sounds like
Patti Smith fronting The Blues Explosion and the
kitsch lofi of Restorative Beer is as unique a break
up song as you’re likely to hear this side of Jeffrey
Lewis.
This experimental ethos and constant battling
of styles can prove clogged and exhausting, no
more so than on Uncle Charlie, but the heart and
soul of this record is wilfully pop. Despite Window
City’s supposed pretensions it remains a good deal
more interesting and progressive than independent
music from this side of the Atlantic.
(Mark Oliver)
music
his honeyed vocals and spasmodic performance to
‘Falling and Laughing’ – the song that started it all –
the first single to be released on Postcard Records.
The evening ends and not much has been
said about charity, but as Oxjam organiser Stacey
Shackford tells us: “Oxjam is a truly grassroots
music festival, with events put on by local volun-
teers and music fans. We’ve had some big names
involved, but mostly it’s about coming together to
celebrate local talent - while being part of some-
thing bigger. It’s amazing to think that we can make
such a difference just by taking part in something
we love – music.
Oxjam is a festival with a difference: thousands
of events put on by music lovers in October will
produce the equivalent of 500 days of continuous
music, all raising money to fight global poverty.
Lightspeed Champion
Falling Off Lavender Bridge
Domino – 15/09
Test Icicles were
a musical curio.
A thrash/pop ex-
periment consist-
ing of screaming
vocal, metal guitar
and a drum ma-
chine only, played
by a trio of skinny,
geekish London
boys. Many hailed them as the future of British mu-
sic, while most dismissed them as a flash in the pan
joke-band. Dev Hynes has continued to confuse
with his latest incarnation.
Gone are the searing guitar riffs and shouting
vocals in favour of acoustic, country-tinged folk
and gentle pop. The curiously titled 'Devil Tricks
For A Bitch' is a string-led highlight. A pop-gem
displaying maturity and intelligence. 'Everyone I
Know Is Listening To Crunk' confounds expecta-
tions: a surprisingly sweet and straight-faced gentle
modern love tale. While occasionally over-indulgent
and let down by slips into mediocrity, this album is
eons ahead of the immature posing of Test Icicles,
and will have seldom listeners asking ‘Is this a joke?’
this time around.
(Michael Crosby)
PA G E
Lost in Music
>>Laura Doherty
T
his month marks the three year anniversa-
ry of the death of Mr John Peel; three years
in which the face of discovering new music
has changed phenomenally. Who knows if
it’s been a general demise in the quality of national
radio since then pushing us to look via other means,
or the rise in technological advances which has cre-
ated an overwhelming number of outlets for new
bands. I’m always curious to find out how others
stumble upon their favourite new music in this day
in age. I’m a bit of a technophobe when it comes
down to it; I can’t bring myself to download, wheth-
er it be illegally, or other; I have no real idea of what
LastFM actually is and can’t see past its Orwellian,
voyeuristic qualities. I’m a self confessed myspace
freak, but only for messaging friends, not for taking
chances on the next big internet sensation – hell,
I’m not going to find them; I still buy albums on cas-
sette from second hand stores.
Recently I was in the library – doing work, not
refreshing my myspace homepage – and opened
the CD drive to put in an album. To my shock,
surprise and delight I found there was already one
I still buy albums on
cassette from second
hand stores.
sitting there. It was an album I hadn’t heard and it
still intrigues me as to how it got there; was it left on
purpose by a good natured soul who, after having
had the full experience of its tracks, felt the need
to pass it onto a fellow poor student? Was it left
after one listen by a disgusted fan, disappointed by
a poor second album? Or was it by sheer mistake,
the shiny disc has since been sorely missed and I’ve
unwittingly committed music theft, something I
presumed the technologically inept were unable
to do?
Part of me likes to think it was some innova-
tive ploy to pass on free CDs to library goers a bit
like the ‘Book Crossing’ craze where readers, after
finishing a novel, leave their books in a public space
for others to find, read and pass on themselves. Not
being entirely sure of the owner’s intentions I might
eventually take it back to level three and attempt to
reintroduce it to its former habitat, but all the while
always keeping an eye out for any other new finds
lurking in CD drives…
On the web this issue...
Manu Chao interview
More gig and album reviews
www.glasgowguardian.co.uk