The latest single from Edinburgh-based alt-country noir rock band Augustalia is a dark little ditty which wouldn’t sound out of place on David Lynch’s car stereo as he goes cruising down Mulholland Drive at 3 in the morning.

“You’re not afraid of me now but you should be” sings Hannah O’Reilly, her sweet-sounding vocals edged with razor-sharp menace as she tells the tale of bloodletting and stilettos (daggers or heels, possibly both). This is a song which wants to wake you up in the middle of the night, whisper nightmares in your ear, then slip you something to make you fall back asleep again.

Musically, things start off with gentle strummed guitar punctuated by a smattering of drums sounding like thunder in the desert. Then, Stiletto begins to creep up on you: every time you turn round, it’s a little bit closer, until the production reaches its murderous crescendo, with guitar, bass, drums and Hannah’s harmonies all competing for the privilege of delivering the final blow.

Take the lyrical content away and Stiletto is a brooding and atmospheric spinetingler. Add in the tale of vengeance and murder, however, and it turns into a gloriously dark trip into Augustalia’s noirish head – but fortunately a head with its tongue still firmly in its cheek.

Making some of the most distinctive and original music on the Edinburgh scene, you may not be aware of Augustalia now – but you should be.

The Job, The Flat, The Girlfriend

The Job, The Flat, The Girlfriend is their debut EP: an accomplished trio of tracks which slowly peel back their onions skin layers of textured guitar and complex structures.

Paralysed is the opener and standout track – managing to sound beautifully understated and majestically epic at the same time as the tune swirls around in a shoegazing mixture of Snow Patrol and Frightened Rabbit: a gentle sigh with an underlying murmur of menace at its heart.

I’m Not Dead is jerkier and more angular, with Jamie’s vocals taking on David Byrne at times in the chorus in a track which gathers its strength before blasting out with a passionate energy. Look On Your Face hushes down again, a lapping coda to the EP, featuring production which gives the guitars, synth and vocal harmonies the room to breathe gently upon each other.

This is a strong debut from the band: mainstream enough to have a wide appeal; yet with an alternative edge which lets them hold their own amongst their contemporaries. You get the sense that the deep red of their sky is the sunrise heralding a very promising future.

Check out The Deep Red Sky on the web, where you can sample and buy The Job, The Flat, The Girlfriend and find out more about the band.

Ben, Mark, Cammy and Andy - The Nature Boys

Mark – together with bandmates Andy, Ben and Cammy – adopts quite a different guise when playing with The Nature Boys. Like feral children raised on scraps of Iggy Pop and the Pistols, the Boys steal from the punk greats to create a raucous and in-your-face sound, tempered with the occasional burst of low-fi punk poetry on songs like Upside Down Sinner.

Live, a Nature Boys gig is always an event worth witnessing. Due mostly to frontman Cammy’s chaotic capering and the fact the band are good mates with other bands like The 10:04s and The OK Social Club, their gigs take on the atmosphere of a great big party (one you’re glad you don’t have help clear up afterwards).

Young man, there's a place you can go...The Nature Boys

Cammy promises he has “a wee surprise up his sleeve” for this gig – which judging from past appearances could range from anything from dressing up as a dalmatian to trashing anything onstage which isn’t nailed down.

We’ll certainly be there to see what pops out from his cuffs this time; even if we do end up chickening out and watching from a safe distance…

The gig is on Friday 3 June, 7-10pm at Cabaret Voltaire, and features support from The 7 Deadly Sins and Blank Canvas. It is presented by Bainbridge Music as one of their regular ‘The Mine’ nights.

The 7 inch single.

Back in the day, the feel of slipping out a shiny vinyl disc from its cardboard sleeve was hard to beat. Flipping it over in your hands to examine the labels; almost getting a feel from the music recorded on it from the shape and pattern of the grooves alone.

Maybe not going quite so far as sniffing it, but almost.

Bringing it back - Underclass' single

Underclass pay a nod to those prehistoric days with the release of their new single Bruised Eyes / Sheep (a double a-side, no less). Available on good old fashioned tactile vinyl from Bainbridge Music, each copy sold comes with a card unlocking a digital download, perfect for all those who wouldn’t know what to do with a vinyl record if it came spinning through the air towards them like a sharp black frisbee.

To celebrate the single launch, Underclass are headlining a gig at The Bongo Club. The merch stall is set up, the soundchecks are over, the floor is all sticky and things are about to kick off.

The Bongo’s a great venue for gigs. Although the likes of Henry’s and Sneaky’s are ideal for getting up close and personal with your favourite local bands, the Bongo’s stage and size make you feel as though you’re at a special gig, without having your view of the band obscured by that big tall bloke who always ends up standing in front of you.

Scrap Brain

First up are Scrap Brain, looking completely at home on the Bongo’s stage. Angie does her usual and prowls around like some kind of rock big cat, making full use of the space between her and Myke, who bangs out bass, guitar and synth riffs to help create SB’s whirling tornado of sound. Stew keeps them both in check with his signature beats and the band put on a great and captivating performance.

Though their energy and presence is immediate, Scrap Brain’s songs take a few listens before they hit home – but when they do, they burrow into your grey matter like little post-punky weevils.

The Red Show

Picking up where Scrap Brain leave off are Glasgow-based three-piece The Red Show. Their sound defies easy categorisation, but it’s filled with bluesy riffs and rock tunes which rise so high they get all tangled up in the netting hanging from the Bongo’s ceiling.

Frontman Gareth leads The Red Show in a tight and varied set: songs alternating between rocking chest-thumpers, where Swales’ bass comes into its seismic own; and some funkier stuff which showcases Mike’s versatility on the drums. This is no-nonsense rock music at its finest, and Edinburgh should always be ready to put on a warm welcome for these lads whenever they decide to play here.

John from Underclass

By the time local heroes Underclass take the stage, the venue is packed – it seems like all the band’s many fans have turned out tonight to celebrate their single launch with them.

Their set of powerful multi-layered rock songs is impressive; Mikey’s guitar and Kevin’s keys adding a kaleidoscopic texture to Sean’s bass and Callum’s drums as John belts out their hook-laden songs which reel you in by the ribcage.

There’s a camaraderie on stage as well, with the lads obviously enjoying themselves up there, which gives them a presence and energy to match their material (although a soaking-wet Mikey may disagree a little with this, after John drenches him with water midset).

By the time the gig’s over, there’s a queue at the merch desk and Underclass have proven themselves to be strong contenders as one of Edinburgh’s bands likely to smash their way out of their class restrictions and make it big.

Remind Me (Fatalima) by Samba Sene & Diwan

Remind Me (Fatalima) is the first release from Samba Sene & Diwan, featuring Samba’s rich and wide-ranging vocals, backed by a 10-strong band of international musicians, 6 guest artists (including guitarist Rise Kagona, an original member of the Bhundu Boys), and 2 female backing vocalists.

With 10 original songs all written and composed by Samba himself, the album is a vibrant rainbow of colourful beats and rhythms, running the spectrum from Afrobeat and reggae through to ska, funk and pop; with a touch of traditional African hues thrown in for good measure.

Songs like album opener Yonambi and Lolambe are joyful and exuberant dances between guitars, keys, horns and multi-layered percussion and drums, evoking all the diverse positivity and hospitality of Samba’s Senegalese home.

Keman swaggers to the ebb and flow of its sultry reggae rhythms, whilst Alone gets up on the dancehall floor with some addicitive ska-tinged beats.

Things slow down with the atmospheric Yaya Anna, a haunting track with a traditional feel where Samba’s voice soars above the hypnotic music. Warouna, another standout from this impressively varied release, also allows him to demonstrate the full range of his vocals over the mesmerising sound of the traditional wooden balafon, a West African xylophone-type instrument.

Things close with Africa, Samba Sene’s hymn to his homeland, and a fitting end to an album which represents the wide variety of styles and rhythms of the continent. Life-affirming and upbeat with a production which allows the music to sparkle and shine, Remind Me (Fatalima) is a welcome ray of Senegalese sunshine, highlighting some rich and rewarding sounds which you are bound to enjoy basking in.

Check out Samba Sene & Diwan on MySpace and Facebook.

The high-ceilinged bedroom of a top-floor tenement flat probably isn’t where you’d expect to find one of Edinburgh’s most promising bands practicing.

Echo Arcadia

“We like to have one quiet practice here every week,” explains keyboard player Majied, sitting in the bay window of drummer Dan’s room, “and one loud one in a rehearsal room.”

“The neighbours don’t seem to mind,” says lead guitarist Siobhan, smiling.

Echo Arcadia were formed as the lights dimmed on Brightside, the band’s previous incarnation.

“A couple of people left,” says frontman Leigh, “and we were advised to change the name as there were other bands out there with the same one. We wanted to take things seriously, so needed a unique name.”

“My girlfriend’s an art historian,” says English-born Majied, “and we were looking at stuff and saw the phrase ‘Ecce Arcadia’ – and thought that was perfect.”

“Though we changed it to Echo when the Scottish guys in the band told me ‘Eccy’ was slang for Ecstacy…”

“It feels like an appropriate name,” says Siobhan. “Garry Boyle, who recorded our EP, introduced us to the Space Echo pedal – ‘Radiohead in a box’ he called it – and that seemed to be the missing part we were always looking for.”

Echo Arcadia’s music is a little bit darker and spacier than the upbeat poppiness of Brightside. Influences like Radiohead are there, but the band are keen to forge their own sound.

“I’m really influenced by minimalist composers,” says Majied, showing his classically-trained roots. “Building a whole song around something as simple as this -” he picks out a simple two-note refrain on the keys which then shifts around a chord change to create an effective and atmospheric mood.

“And I’m a fan of using poignant lyrics on something a bit poppy,” adds Leigh. “Though we do like to have at least one face-melting song per set!”

“Whereas I’m trying to find my sweet spot,” laughs Dan. “I’m a fan of complicated music!”

Echo Arcadia have very recently had to undergo a line-up change as a result of bassist Paul moving to the US to work with Microsoft’s gaming division (“Xbox stole our bassist,” laughs Leigh).

Leigh, Majied, Dan & Siobhan welcome Marty to Echo Arcadia

In some kind of transatlantic exchange programme, new member Marty from Wyoming has stepped up to the mark and is currently shadowing Paul before he leaves to ensure as smooth a transition as possible.

“Yeah, it’s going great,” says Marty. “And I’m also trained in double-bass, so I’m going to see about adding that into the acoustic stuff.”

“Yes, we’ve got an acoustic EP planned soon,” says Leigh, “and seven new tracks in the works.”

“We really want to push things as hard as we can now. We’re not indie enough to fit into that scene; and we’ve not broken into the mainstream yet either.”

“Our plan is to look at supporting bigger bands and getting our music out to as wide an audience as possible.”

“Ideally, we’d love to play the festival circuit,” he says.

Their music – with its soaring choruses and cloud-scraping melodies – would certainly be a good fit for a large-scale open-air audience. And with their hard-gigging ethic, they’re building up quite a fanbase.

“We’d really like to thank everyone who’s supported us so far,” says Leigh. “Everyone who’s come to our gigs, bought the EP and to Garry Boyle who’s helped define our sound – we wouldn’t record with anyone else now.”

“We do want to keep our integrity,” he says.

“Yeah, and as long as it’s fun and we’re enjoying ourselves, we’ll keep doing it,” adds Siobhan.

Dan checks out Leigh and Siobhan's baby's singing voice

It’s no secret now that Leigh and Siobhan are Edinburgh’s first couple of indie-pop, after recently tying the knot – Echo Arcadia even put on a short set at their reception, where Siobhan played in her wedding dress. But their relationship wasn’t always public knowledge.

“We first got together when Siobhan joined Brightside,” says Leigh. “But we kept it private – we didn’t want it to cause any problems if things didn’t work out.”

Happily, things did work out, and Leigh and Siobhan are expecting a very special ‘new release’ in July.

“I’m definitely going to keep playing throughout,” says Siobhan, placing a hand on her stomach. “I want to show that a woman can still be in a band even though she’s pregnant!”

And with a pair of talented and passionate parents – and a band full of ready and willing uncles-in-waiting – Leigh & Siobhan’s offspring will probably be playing in Echo Arcadia before he or she can talk…

Keep up to date with Echo Arcadia on their website and on Facebook & Twitter. Their Broken Chapters EP is available to download on iTunes.

Battle of the Bands competitions can have a bad reputation.

Too often, they are a cynical way to get punters through the door (and spending money) whilst the hapless bands involved end up being selected by judges who’ve spent the entire gig in the green room consuming the rider, all for the chance of winning a set of commerative plectrums.

Not so with the competition at Maggies Chamber, organised and run by Róisín Tuohy of FRESH Music Promotions. Here, integrity is the name of the game, with bands being judged on their merits rather than the number of fans they bring along; and prizes which include recording, filming, promotion and a yet-to-be-revealed ‘mystery prize’.

We went along to the first heat to check it out.

The Glitch

Four bands were competing for the chance to go through to the finals on Feb 5th, with two from this evening being selected. Kircaldy-based five-piece The Glitch were first up, and impressed the crowd and judge alike with their melodic slowburn and prog-coloured rhythms.

One of the good things about a BotB competition is that the bands will give it their all in a chance to impress, and The Glitch are no different – frontman Jordan complements his stage presence by battering away at a floor tom for one song; and guitarist Jack whips out a violin for another, playing it with his guitar still strapped round his neck.

Holy Bartender

Holy Bartender were up next, bringing their Beelzebub-summoning metal from deepest, darkest Penicuik to an appreciative Maggies’ audience. Too many metallers take themselves far too seriously: not so these guys, who laugh and banter their way through a hard-hitting headbanging set.

It’s also apparent by this point that judging the bands is going to be hard. Tonight’s adjudicator is Annabel Cooper from Leith FM. No blue smarties in the green room for Annabel: she spends the entire gig sitting at the side of the stage, taking copious notes (which Róisín willl then send on to all the bands later). She agrees she’s got her work cut out tonight, but is also loving the chance to see some bands she’s not come across before.

Back Alley Romeo

Step up Back Alley Romeo, whose blend of theatrical glam and Marilyn Manson-style shock metal offers something sleazily different on the menu.

None more so than when frontman Alii whips off his combats during their cover of Electric Six’s Gay Bar and thrusts the mic stand between his legs – the stand-out performance of the night.

Art of Privilege

Last up are Edinburgh-based grunge rockers Art of Privilege. These lads have already built up quite a following on the local circuit, and their hard-edged set is delivered with their usual tightness and energy – their sound may be grungey, but their performance is as polished as a diamond.

And so the scores are in. Annabel’s ratings are added to the soundman’s rankings as well as Róisín’s own opinions. It’s a tough one to call with only a few points separating the bands.

But someone has to win – and The Glitch and Art of Privilege emerge triumphant, their place in next month’s final secured.

With three heats still left to go (on the 15th, 22nd and 29th January), this is shaping up to be a battle well worth visiting the frontlines to witness: and if the winners of the other heats are of the same quality as tonight’s, the final on the 5th Feb is going to be one climactic – and enjoyable – fight to the finish.

Keep up to date on details of the next heats – and all the other gigs and events at Maggies Chambers – on their Facebook page.

Echo Arcadia - Broken Chapters

Sparks is the first portion and aptly enough crackles and pops as it burns its way through a three-minute fuse of smouldering pop. If bands like The Pixies were masters of the ‘loud quiet loud’ thing, Echo Arcadia are the peanut butter equivalent: their songs are all ‘smooth crunchy smooth’ and ‘Sparks’ is a perfect example. The verses highlight frontman and rhythm guitarist Leigh’s mellow vocals, whilst the chorus allows Siobhan’s lead guitar and harmonies to flourish, the two parts blending together to create a blindingly-good opening.

Up next is the spacier Satellite, which builds around a simple guitar refrain before taking off into a Celtic-tinged love song, where Siobhan and Leigh’s harmonies take on an emotional resonance in a gentle and appealing number.

Love Song is perhaps the standout track on the EP. It sees Maijied’s keys being chased around by Paul and Dan’s bass and drums, whilst Leigh and Siobhan’s guitars unfurl in the chorus with a driving and satisfyingly powerful punch. Leigh’s vocals take on a slight Roddy Woomble quality; and the lyrics (‘we’ve barely started breathing before we’re thinking about leaving’) have a bittersweet darkness to them which add an extra layer of interest to an already compelling track.

Last up is the gently chiming Lucinda, which slowly builds into a crescendo of guitar-filled fireworks which explode in a faintly folk-tinged display of well-crafted and produced tunesmanship and brings the EP to a fitting climax.

Mature without being boring; intelligent without a hint of pretentiousness; pop without the pap: Echo Arcadia’s tasty portions of indie-pop come highly recommended from us and we’re already looking forward to the next helping.

Broken Chapters is available to purchase on iTunes.

Augustalia are a band so achingly cool they’re probably responsible for the recent snowfall.

Augustalia

However, the four tracks on their debut EP ‘It’s Never Too Late To Ask For Your Knickers Back’ smoulder with enough noir rock fire and alt-country warmth to keep the subbest of zero temperatures at bay.

First track ‘Love & Laudanum‘ has its feet set in the noir camp, with singer-songwriter Hannah O’Reilly in deliciously self-deprecating and ironic mood (‘I’ve got a place to be and I’ve got my herbal tea’). Taking the baton from the likes of The Dresden Dolls with a suitably narcotic refrain and some crunchy guitar work from Adrian Michalski, the track sets out Augustalia’s wares for all to see: melodic rock, crystal-clear vocals and harmonies and a smattering of ‘parental discretion advised’ lyrical content.

It's Never Too Late To Ask For Your Knickers Back

‘Dimes‘ is – due to the fact the lyrical content would turn half the chorus into one big bleep – the track least likely to be played on the radio. Though with its country-tinged guitar, Gary Anderson’s bluesman bassline and Hannah’s infamous kazoo, it can certainly stand proudly on its own musical feet.

The boys leave Hannah and her ukulele to her own devices on the closing track ‘Ode to Lederhosen’. Like some unholy alliance between Bridget Jones and Amanda Palmer, Hannah sings about relationship breakups and big pants, whilst strumming her way through this lovably charming and amusing little underwear-themed ditty.

The EP is a great introduction to Augustalia’s unique sound. With their marriage of musicianship and mischief, they are cast-iron originals on the Edinburgh music scene and deserve to get their stuff heard well beyond the EH postcode zone.

‘It’s Never Too Late To Ask For Your Knickers Back’ is available to purchase on Amazon

Echo Arcadia

The artists formerly known as Brightside, Echo Arcadia have been slaving away in a hot studio and have now emerged with a shiny new EP – Broken Chapters – to promote.

This free gig at The Wee Red Bar is as much a thank you to the band’s friends and fans as it is a promotion – though after their set of sparkling, harmonic and intelligent indie pop, more than a few people willingly part with the readies to get their mitts on their own copy of the CD.

Bass-player Paul Murphy provides a hard-working common thread throughout the evening, playing the four-string in both supporting covers bands – Ivory and U-Know-Hoo – before strapping on his instrument for a third time with Echo Arcadia.

The band blend C86-style indie with a 4AD-ish dreaminess, all topped off with a smattering of Celtic rock which echoes the likes of Deacon Blue. Siobhan and Leigh’s harmonies therefore swirl around their jangling guitars and melodies, with Majied’s keys providing some colouring on top of Paul and Dan’s tight pop / funk rhythms. This adds up to a hard-to-resist whole, the vocal harmonies in particular producing some spine-shivering moments.

The short set starts with a couple of poppy Brightside era numbers, before moving into the roomier melodies of the EP itself. The band are tight, gleaming with the kind of shine which shows they’ve been polishing these songs for quite some time. ‘Lucinda’ is a highlight here, dripping with Leigh and Siobhan’s harmonies as the music builds up like layers on an indie pop gateau.

Echo Arcadia close with ‘The Joker’, a song which Leigh fears will ‘slay’ his voice. He manages to keep his tonsils alive til the end however, and the song – with its addictively melodic chorus – is a winner; the kind that has people humming the tune as they file out of The Wee Red Bar, copies of Broken Chapters held tightly in their hands.

Intelligent and happy; tuneful and self-effacingly charming: there’s a lot to like about Echo Arcadia live and you’d be advised to head down for a leaf through the chapters of their Big Book Of Indie Pop the next time they play.

Broken Chapters by Echo Arcadia is available to buy on iTunes.

Augustalia are a four-piece band fronted by singer songwriter Hannah O’Reilly. The band are named after an ancient Roman festival – aptly enough, as this gig has all the hallmarks of celebration and decadence of a bacchanalian orgy. If only the Romans had invented the kazoo…

This gig at the Voodoo Rooms’ Speakeasy is to promote the launch of the band’s wonderfully entitled EP “It’s Never Too Late To Ask For Your Knickers Back”, four tracks which demonstrate the twin camps Augustalia migrate between – alt-country and dark cabaret. The mirrored walls and opulent decor of the venue suit the mood perfectly: this is music for an unmade David Lynch movie; piped into the room direct from another world.

The Dull Fudds

First support act of the evening is Lee Patterson, who takes to the stage without fanfare or introduction. Reminiscent of Tom Waits, Leonard Cohen, classic gospel, blues and Dustbowl balladeers, Patterson recalls music one has heard many times yet remains a singular voice.

Using the simplest of accompaniment – guitar, washboard, drum sticks on a mic stand – and no banter between songs, Patterson still manages to deliver a performance which is passionate, profound and unforgettable.

Next up are the best thing to come out of the Borders since Hawick Balls – The Dull Fudds. Like a cross between Shooglenifty and Gogol Bordello, their energetic and upbeat folk tunes weave like wildfire through the stomping feet on the dancefloor.

Three lady Fudds on guitar, bass and flute and a Mr Fudd on drums get the crowd jumping and hollering to a set which would go down a storm anywhere, with its addictively joyful mood and music which is about as far from dull as it’s possible to be.


So the place is already pumped up by the time Augustalia take the stage. Hannah is front and centre, jaunty of hat and devilish of grin as she whips out her ukulele and launches into ‘Ode to Lederhosen‘, channelling the spirit of the likes of Amanda Palmer as she sings sweetly about frilly underwear and big white pants.

Augustalia

Hannah commandeers the stage between numbers, ordering tequilas from the bar, throwing plastic kazoos into the audience and generally lapping up the attention and reaction Augustalia deservedly receive. The boys to either side show skill as they move from one style to the next, Gary Anderson’s bass and the hirsute Steve Galbraith’s drumming underpinning everything. Adrian Michalski’s guitar alternates between picking out sweet country-tinged melodies and revving up like a lumberjack’s chainsaw to accompany the rockier numbers.

Hannah O'Reilly

When everything gels together, Augustalia’s sound is addictive as some of the substances they sing about; they could also quite easily choose to focus on one genre only and make a success out of it. Hannah’s vocals are also deserving of particular mention, as the New Zealand singer possesses a vocal range which adds emotional depth to every song – no matter what the lyrical content.

By choosing to walk the line between two genres, Augustalia are successful in combining the best of both – and whilst sound & technical issues may cause them to teeter on the tightrope occasionally, they always end up regaining their balance with a flourish and a fanfare that makes them hard to resist.

Augustalia

She has joined forces with guitarist Adrian Michalski, bass-player Gary Anderson and drummer Steve Galbraith to create Augustalia, a band treading a beguiling line between melancholic alt-country and Amanda Palmer-esque dark cabaret.

Foolish is the lead track from the band’s soon-to-be-released debut EP, the gloriously-titled ‘It’s Never Too Late To Ask For Your Knickers Back‘.

It begins with gently-strummed acoustic guitar lapping at its shores, before Hannah’s seductive vocals are born Venus-like from the water. Then, like being engulfed by a tidal wave in slow motion, the track gently sweeps you away as Hannah laments her addiction to a destructive relationship. If Foolish was a drink, it would be absinthe on the rocks. Make that a double.

As the sun slowly dips on the song’s horizon to the layered and lush musical accompaniment from the boys, Hannah’s crystal-clear vocals and mesmerising harmonies take on the mood of a fallen angel knowing she’s watching the sunset for the very last time.

We defy you to listen without at least one shiver being induced.

You can bask in Augustalia’s warm glow yourself on November 18th, when they release their EP at The Voodoo Rooms, supported by The Dull Fudds and Lee Patterson.

Sander, Lesley, Matthew and Paul - A Fight You Can't Win

“It’s over 18s anyway, isn’t it?”

He then goes on – in some detail – to give an example of the kind of between-song banter he’s become (in)famous for.

“We’re being realistic about it,” says drummer Sander, once Matthew’s active imagination’s been exhausted.

“Though we do feel we’re a good fit with Biffy Clyro.”

“And there’s a lot more people who like heavy music than let on,” adds bassist Paul.

The band that plays together...

Since forming in March 09 from the embers of a band Northern Irish Matthew & Paul used to play in, A Fight You Can’t Win have stuck to their ‘manifesto’ of firing out short, powerful and poppy grunge-coated classics, as evidenced by their excellent (and over far too quickly) debut LP. [Download it - FOR FREE - here]

“It was officially an LP by 6 seconds!” says Matthew. “But we’ve broken our own rules now – one of our songs is over 3 minutes long! It’s time to move on.”

Dutch drummer Sander nods. He joined Paul & Matthew after swaying between wanting to join the band and feeling he was too busy with other commitments.

“The guys advertised on a music site saying their influences were the kind of bands I loved – Nirvana, Soundgarden, Queens of the Stone Age, Tool.”

“My wife encouraged me to go along to the rehearsal, and I was hooked,” he recalls.

As a trio, A Fight You Can’t Win have since gigged at every opportunity, taking their sound on the road around Scotland and Northern Ireland.

“One of our first gigs was at The Wee Red Bar,” says Matthew. “It was absolutely crazy, really mental.”

“And, as we went on, we met some other bands that shared our attitude – and we’ve become mates with a few, such as Hagana and Fatalists.”

Though issues outwith their control saw them having to take their foot off the gas a bit.

“Things went a little bit stagnant,” admits Matthew.

“Around this time last year, we first had the idea of getting an extra guitarist in. We thought about Dave from Hagana, then had the idea of getting a female in – we wanted a different perspective.”

The axewoman cometh

“She’s filled things out,” says Paul. “The extra guitar really adds to our live sound.”

“Though I’ve only played with them live once,” says Lesley, a bit nervously. “I’m still cr*pping myself at the moment!”

She needn’t worry about her trousers (nor need the audience..). Lesley is also guitarist with Edinburgh ‘angry popsters’ Jump:Press A, where she regularly demonstrates her considerable skills with the six-string.

“J:PA songs are quite intricate,” she says, when asked what the difference between playing in the two bands is. “I’ve got to be spot on when playing with them.”

“With A Fight You Can’t Win,” she says, smiling, “it’s totally different. I can go up to 11 with this lot.”

As A Fight You Can’t Win prepare for another gig (by swigging Guinness and drying their trousers – don’t ask…), we would love to see them go all the way up to 2011 on Hogmanay.

With their powerful and well-crafted grunge-pop arsenal, they’d see in the new year with a bang louder than the fireworks.

Even if Matthew does end up getting arrested afterwards.

He's just a big pussycat, really

Check out A Fight You Can’t Win on MySpace and Facebook. Download their LP for free on Bandcamp – and don’t forget to vote for them on Hog The Stage!

Sitting in their ‘spiritual home’ – The Royal Mile Tavern – The OK Social Club are in optimistic mood.

Raff of The OK Social Club

“Though we’re under no illusions,” says Chris, the most recent member of the band. “We’re not millionaires yet!”

“We do feel as if we’ve cracked Edinburgh though,” adds Rick, the band’s drummer. “And if we can make it here…”

Indeed, The OK Social Club do stand a great chance of being able to make it anywhere. Although Raff & Rick have been playing together since 2005 (“playing some bad & terrible songs”, says Raff, laughing at the memory), the band feel as though they’ve really taken off in the last 18 months.

“We stopped playing our old stuff and wrote a lot of new material,” says Raff. “We were a trio for a while, which didn’t really work – then Chris joined us last year and we’ve never looked back.”

The OK Social Club have been compared to bands like The Strokes and The Cribs, with their punk-fuelled melodic tunes and driving rhythms.

“I don’t think we sound like anyone,” says Raff. “Those bands influences are there, but we all bring different things to our sound. I love a lot of the Motown stuff, for instance.”

“I’m drawn to anything with a good rhythm,” says Rick, smiling.

“I loved Muse and the Manics when I was younger,” says Chris. “But then The Libertines really had an impact on me – they proved anyone could form a band and make a go of it – really break down the barriers.”

Chris of The OK Social Club

“We love Edinburgh,” says Raff. “We’ll play anywhere – we really love places like this and The Mitre, as well as the larger venues.”

That attitude’s paid off for them, and the band now have a sizable loyal support in the city. Their recent EP launch attracted a crowd of over 300 people – fans of the band, newcomers who’d heard about them, and friends in other bands.

“Yeah, there is an Edinburgh scene we feel part of,” says Raff. “Stevie (Bolton, the frontman of The 10:04s) is my cousin; so we kinda grew up with them, and the Nature Boys.”

“The Pose Victorious guys are all good mates as well – we all go to each other’s gigs and support each other wherever we can.”

They’re realising it’s time to get themselves heard outside the capital though.

“We’re really concentrating on the music now,” says Chris. “It’s a lot of work and can be chaotic at times – and we’re getting more selective about what gigs we do play.”

“We’re not taking anything for granted either,” says Rick. “The great thing about this band – and Jess, our manager – is that we’re all a team. Everyone pulls together.”

Club by name, club by nature.

With this attitude and a work ethic to back up their sound, the band really don’t have anything to stop them taking it all the way.

So, join The OK Social Club now and you can tell all your mates you were amongst the first lucky members.

Check out The OK Social Club on MySpace and Facebook

STOP PRESS: The band are looking for a new bass player – anyone interested should get in touch with them on their MySpace or Facebook using the links above

Edinburgh’s Hogmanay celebrations are justifiably regarded as the best in the world.

Hog The Stage

As well as the street party, funfair and fireworks, it always features some great music to bring in the new year. This year, Biffy Clyro are set to headline the gig in the gardens – and one lucky up-and-coming Scottish band are also set to win a slot playing in front of the revellers as part of Leith Records and The Skinny’s Hog The Stage competition.

The site already features some bands we’ve featured on the site before: from the folk-rock of Aos Si (who rose from the ashes of The Visperas) to the electro pop goodness of Jarp Sport. Local indie faves Pose Victorious are also in there, as is the unique sound of genre-defying outfit White Heath.

Make Matthew happy - #AFYCWHOG

And sitting there defiantly in the entry pile are one of our favourite bands (not just cos Hagana and Jump: Press A haven’t entered) – A Fight You Can’t Win.

Remember last year’s ‘Rage Against The Machine for Xmas #1′ campaign? Although the Hog The Stage judges’ decision is final, one of the factors affecting their choice is the number of ‘likes’ and comments on each band’s page.

So, we (well, one of us) thought it would be mildly amusing to back A Fight You Can’t Win in their quest to bring their short, sharp grunge-punk attitude to an audience of thousands this Hogmanay.

At the very least, it would be extremely amusing to see if lead singer Matthew can keep his charming line of between-song banter in check in front of a massive audience…

Even if you’re not a big music fan (actually, that may be a benefit…), why not visit AFYCW’s Hog The Stage page and share the love by leaving a comment or pressing the Facebook like button on their page – Edinburgh’s Hogmanay will definitely be an altogether noisier and punkier party if they get to unleash their aural assault on proceedings…

Connor & Stewart of Casino Queen

“Loud, dark and noisy.”

That’s Stewart’s response when asked to sum up Casino Queen in three words.

Stewart and Connor have been together for two years, playing their unique mix of noised-up blues-tinged rock.

“We don’t see ourselves as part of any scene,” says Stewart. “We do this for ourselves.”

Connor nods. He’s quiet during the interview, but onstage he’s possessed by the black spirit of Casino Queen’s live sound, fronting the duo with his mesmeric guitar and stream of consciousness vocals.

Behind him, Stewart treats the drumkit like a wild animal needing tamed: hammering at it pneumatically and with seemingly reckless energy to create rhythms which help create the band’s soundscape.

“I guess you could call it avant-garde,” says Stewart, referring to their sound. “It’s all about the noise.”

Later that evening, they put their noise where their mouth is, creating music which is at times brutal, at times beguiling – but always compelling. It’s obvious from the crowd reaction that some people don’t ‘get it’ – but the pair don’t really mind…or care.

“We’ve got a fairly loyal and cultish following,” says Stewart. “And we’ve got loads of gigs lined up too.”

So it’s likely their following will continue to grow. As well as gigging hard, Casino Queen are also working on recorded material – four separate releases which will add up to a ‘quadrilogy’.

“They are concept albums!” says Stewart, laughing. “I guess it is quite arty. Our logo’s a circle, and as we release the albums, we’ll fill it in, a quarter at a time.”

It’s a cool idea, and will certainly give focus to their recorded work, and will likely appeal to those cultish completists the band have attracted.

As they continue with their plans – punctuated with their loud, dark and noisy live gigs – Casino Queen prove themselves to be a band definitely worth placing a bet on.

Check out Casino Queen on MySpace.

A Fight You Can't Win - Now with added guitar

This gig was the debut of AFYCW’s new guitarist, Lesley (she’s a lady, she doesn’t sweat – but she did glow quite a bit).

Matthew seems happy with how things turned out

The addition of an extra guitar has bolstered their sound, filling it out and turning it into a full-on assault.

Frontman Matthew and Lesley stand at opposite sides of the stage, throwing crashing chords back and forth like they’re playing punk ping-pong. Bassist Paul stands front and centre, his fluid style of playing brought to the forefront as he dodges the blows the guitars deal out.

Drummer Sander pounds at his kit like he wants to kill it, producing beats and rhythms which complete the aural kicking AFYCW administer.

Some of Matthew’s distinctive banter is almost as long as the songs they play – these are two-minute salvos which don’t waste any time with filler or unnecessary mucking about: they go straight for the jugular and do it in a suitably gripping way, locking onto it like angry puppies until they let go briefly – before doing it all over again.

Lesley seemed pleased too

Before Lesley, AFYCW were an exciting live act with a great set: not for the faint-hearted, but giving it their all with every gig.

Now, it’s as if Lesley’s guitar-playing is the piece they never knew they were missing, and it slots in perfectly to complete the band’s sound, allowing them to fully lock and load and turning them into one of the most powerful and enjoyable live bands on the circuit.

Keep up to date on the sweaty world of A Fight You Can’t Win on MySpace and Facebook.

The Nature Boys

Edinburgh’s own The Nature Boys are the latest to add their trashed-out tunes to the top of the heap with their Pretty EP.

Due mostly to frontman Cammy’s masterfully mad mayhem on (and off) stage, the Boys are fast becoming an unmissable live act on the circuit. Does Pretty prove they’re as vital and exciting on record as they are live?

Cammy - up close and personal

Cammy joins a long line of luminaries who prove attitude is more important than a great singing voice as the guitars and drums create a satisfyingly meaty rhythm behind his drawling vocals. Blameless and shameless, it nicks Thor’s hammer off him, whacks him in the nuts with it, then runs off laughing.

You’re So Pretty shoulders its way into the post-punk party with a choppy and angular ditty about rude stuff and a tune which throws itself down the stairs, dusts itself off, then goes back up to do it all over again.

Upside Down Sinner is the highlight of the EP. Like Pavement doing the Monster Mash, its repeating bassline and stop-start guitars provide a spacey backdrop for Cammy’s semi-spoken vocals, with some literate lyrics creating a memorable impact.

And when Cammy leads into the chorus with “and here we come“, all high-explosive hell breaks loose before the verses smoulder along again after the blast.

Age Is A Number is the punkiest of the four tracks on offer here, a collision of Sham 69 rabble rousing and Pistols snot-nosed sneering. If it ain’t broke, don’t fix it, and this disposable chunk of cheek will have you pogoing around your bedroom til you fall down.

So yes, listening to the Nature Boys in the privacy of your own home is certainly a different experience from seeing them live. You’ll get all of the sometimes surprisingly well-crafted tunes and a healthy portion of their ‘kiss this’ attitude, but you won’t get the delights of a sweat-drenched and bare-chested Cammy rushing up to you and yelling in your face.

We leave it to you to decide whether or not that’s a good thing…

A Fight You Can't Win

This Edinburgh-based punk / grunge trio have a knack of firing out short sharp tunes which blister with energy and seething passion. This is combat rock for those discharged for being too loud and too angry.

Production values are high and satisfyingly punchy, with Paul Diamond’s bass providing a suitably solid footing for Sander van den Driesche’s rapid-fire beats and Matthew Bakewell’s shock & awe guitar and clear vocals.

Sprinkled liberally with ‘hey‘s – and the odd ‘ho‘ into the bargain – the twelve tracks here come out fighting from the word go.

Opening track ‘Send‘ is over in 90 seconds flat, with drums hammering away like machinery in a munitions factory as bass and guitar chop around a chanted refrain, with Bakewell’s Lydon-like vocals rising from the cacophony. It grabs you straight by the throat, stares at you with a manic grin and then runs off laughing like a nutter.

The grunge influence is clear on tracks like ‘These Dark Treats‘ and ‘Sitting Bull‘, where the grip is loosened and the songs are given a little room to breathe. The latter in particular is a massive attack of a song, punctuated by gunfire-like drumming and shuddering riffs that dodge around the main melody. Powerful stuff.

Most of AFYCW’s medals are from the Punk Wars, however, and they are at their best when the drums are pounding through the floorboards, the guitar strings thrashed to snapping point and Bakewell’s vocals almost struggling to keep up with the tempo.

‘The Mean Season‘ and the riff-filled ‘Oran Rath‘ are highlights here, with guitars buzzing angrily around fast-burning fuses of songs which threaten to explode at any moment.

By the time the Pearl Jam-esque album closer ‘Trevor Fist‘ is over, AFYCW’s debut has smacked you around the head with a dozen crackling tunes, leaving you a bit battered and bewildered, but – like Tyler Durden in Fight Club - mad keen to get back out there in the car park and do it all over again.

Check out A Fight You Can’t Win on myspace and Facebook.

You can buy their album on Amazon’s MP3 store.

Scrap Brain

Myke, Stew and Angie firmly believe their diverse tastes are what make Scrap Brain work.

“I guess the stuff I like could be called a bit mainstream,” says band frontwoman Angie, namechecking The Yeah Yeah Yeahs, The Kills and PJ Harvey.

“Where these guys,” she says, pointing to guitarist & keyboard player Myke and drummer Stew, “like the pretentious rubbish!”

They laugh together as mates, showing it’s not just a shared love of alternative guitar-based music that keeps Scrap Brain together.

Myke of Scrap Brain

“Stew and I formed Scrap Brain in summer last year,” says Myke. “We had a few singers in the band before we saw Angie at an open mic night.”

“We were impressed with what we heard, so we spoke to her after her slot. She agreed to come to a rehearsal and blew us away – not only did she come along with her own lyrics to sing, but her energy was fantastic. She was a natural fit.”

“I suppose I’ve always been a frontwoman,” says Angie, grinning. She’s studying music at college and has sung in several bands, but fronting Scrap Brain allows her passion for music and her onstage persona to flourish.

“I love that loud quiet loud thing,” she says. “And I get caught up in the music.”

She’s putting it mildly.

Live, Angie’s chaotic onstage abandonment ensures Scrap Brain are as exciting to watch as they are to listen to. She also provides a perfect front to Stew’s sledgehammer rhythms and Myke’s sometimes off-kilter sounds.

“I like to experiment with different things,” Myke says. “With the keyboard, I never use any pre-programmed stuff – a lot of the things I stumble across accidentally.”

Stew of Scrap Brain

Stew shares that view. “Sometimes at gigs, other drummers will come up and ask me why I’ve set my kit up the way I have,” he says. “I’ve picked up drumming as I went along, and I suppose I have what you’d call a unique style and setup. But it works for me.”

Whilst Angie has her studies to keep her busy when not punching cymbals onstage, both the guys also have other duties beyond Scrap Brain.

Stew drums for another band, Casino Queen, as well as undertaking recording for Scrap Brain; and Myke plays in The Remnant Kings as well as running The Edinburgh Rock Network, a successful website featuring news, reviews and interviews with bands on the local scene.

“There’s so much out there,” says Myke, referring to the Edinburgh scene he knows so well. “There can be a bit of reluctance for people to go along to a gig and take a chance on a band they’ve not seen though.”

It’s a common observation – and unfortunately a true one. Whilst Edinburgh does indeed have more than its fair share of great bands, they can often struggle to fill venues or get their music heard beyond people who are already fans.

Bands as genuine, passionate and downright exciting as Scrap Brain however deserve to be seen and heard by as many people as possible.

Angie of Scrap Brain

Check them out on myspace and facebook; and follow them on Twitter.