shows // Subcity Sessions
Subcity Sessions are back with a bang to bring you live recordings of new music and interviews from bands and artists from all over
colonel mustard // frizzo
Colonel Mustard are a Glasgow-based and genre hopping group. Their music ticks a wide range of boxes, covering rock, indie, country, disco, punk, hip-hop, flamenco and more. Their live shows are known for their tendency to get crazy, but in the best way. As an example, former shows have included Justin Bieber exorcisms, laughter yoga, gaffa-taped crowd surfing and cattle stampedes. This session is not for the faint-hearted. Our Subcity Team interviews Colonel Mustard after their eclectic set.
Frizzo, originally from Italy, is a Nu Jazz Electro Swing Funk DJ currently based in Glasgow. Frizzo has performed in various countries such as Italy, Scotland, Ireland, and Brazil. Following his set, blending jazz harmonies with club grooves and a bouncy bass sound, the resident Variety Bar DJ gives Subcity an interview.
Posted at 13:46, 15th May 2015
antique pony // froth
Antique Pony are a foursome from Erskine, now living in Glasgow, probably best described as experimental. Their first album, Museum of Blood, came out in September 2012 and their latest album is called Pony, both through the private press label HIKIKOMORI FAMILY. They’ve played a lot of shows around Glasgow last year and here they are playing Subcity Sessions.
FROTH are a five-piece band hailing from Glasgow. They have just released their second EP, The Eterniturtle, with Number4Door Records. Having played a variety of gigs around Glasgow and been named Bloc’s Pick of the Week at the end of February, this local talent makes up a confident group with a subversive scope. In this set they’ll be using their guitars and drumkit, as well as a cello and an organ. Check it out!
Posted at 14:13, 28th March 2015
the draynes // omie // clench
Founded in February 2014, The Draynes are an Edinburgh-based garage-punk duo. The pair, Rick on guitar and vocals and Stan on drums, cite their influences as 60s garage and psychedelic rock, as well as punk blues. On Friday the 6th March they’ll be playing the Voodoo Rooms in Edinburgh alongside The 23’s, The Cracking Void, and Soldier On.
Around since 2011, Omie is the work of one Patrick Blake. He lives in Glasgow, describes his music as basement-pop or deli-rock, and thinks of himself as a really tall sunflower that kills the other sunflowers in the vase. With an impressive array of musicianship including vocals, guitar, drums and trombone, Omie is a little hard to define. So, as he does when asked to define the genre of his work, we’ll just copy him and say DIY. You should definitely check out his tumblr: http://crop-dust.tumblr.com
Clench are a Glasgow-based four-piece rock/alternative group frequently compared to Kings of Leon and Foo Fighters. Together since March 2011, the four boys have been playing gigs around Glasgow, including venues like King Tuts and the QMU. Though currently unsigned, their debut EP “Better Peace of Mind” was released in August 2013 and their limited edition versions quickly sold out.
With Daphne warming up with some tunes from 9.
Posted at 15:21, 2nd March 2015
Lawrence English is an Australian sound artist with a penchant for field recordings, audio sculpture, and other intellectual acoustic practices. English curates Room 40, as much an international collaborative body of work as it is a record label. Each of his performances offer a unique take on the room; playing its resonant frequencies, rumbling its tables, and forcing its occupants to get contemplative, or giggly, or leave. This recording serves as an account of his exploration of Nice ‘n’ Sleazy, an excerpt of a live show intent on provoking deep listening, a shared artistic experience, and - ultimately - enjoyment.
How did you come to be involved in sound art?
My interest in sound comes out of a very simple experience I had when I was a kid. When I was very young I used to go birdwatching with my dad. There was a particular kind of bird called a reed-warbler, it's a really small, brown marsh bird. It basically lives in very dense reeds. We'd go looking for this bird when I was a kid and my dad would say, "Listen, what you have to do is close your eyes and listen for where the bird is. Then once you get an idea of the space the bird is in, open your eyes and look for the bird." It almost always worked. You'd find this bird, whereas if you'd just looked in the reeds you'd see nothing. If you listened you got an idea of space and a sense of where it might be, then you understood it. So, while I wasn't thinking about it at the time, for me that's probably my first experience with this idea of space and sound, which are basically the fundamental building blocks of what I've been interested in since then. A large percentage of the concert tonight involved actually playing the room, physically manipulating objects and, unfortunately, making glass bottles fall off and smash on the ground. That was an unexpected side effect, but it's very much about this idea of how sound influences and can be shaped by the space in which it is found.
Which medium do you find the best for your art?
I think I enjoy them all differently. Everything is a quite discrete experience. What you do in the studio, for example, never translates necessarily into live practice. The same goes for the art installation. Working in installation is probably the most direct way to create an experience with people because in some ways you're actually setting the circumstances in which people will experience the work entirely. Whereas, if you record an album, the moment you finish that album you hand it over to someone and they either listen to it with their ipod earphones in, or they put it on a home stereo, or they put it through a big PA. Your control ends at the point that you issue it and give it to the world. In a gallery context, you're controlling that to some degree.
Posted at 20:22, 1st May 2011
Having produced nearly 100 tracks in the past year, Frazer Graham (aka HaHaHa) is a dedicated producer, recording found sounds to create some of the phased melody lines that share something with the slick submerged DnB of LTJ Bukem. Manipulating the sound of snapping wood and dripping taps on some of the tracks on his Evil EP (available via Swimteam Records) has just been one of his approaches to a brand of house that takes some tighter ascending 8-bit synths on latest track Cyclops. His live performances involve a big bag of live percussion, re-edits, original productions, tight punchy bass drums and rattling toms.
His most recent project has been a collaboration with fellow Subcity cohort Raksha, a few tracks have already been leaked from an EP planned for release later this year. Even Subcity veteran Benny Boom has given his latest mixtape props on the Mixed Bizness blog.
Why did you start Swimteam Records?
Me and my friend Suezz, who I do Alpine Ski Champion with, wanted to start our own platform to release what we were recording, so we set it up and released Kingdom which was the first four songs we made together.
How do you approach your productions?
That track Leaky Submarine on my EP, took a couple of weeks. I was trying to limit myself at the time. All the songs were just recorded with a kick, high hat, cracking wood and water. A big influence of mine is Micachu and the Shapes, they have used the sounds of hoovers, that really influenced me. I don’t really like synthesizers, probably because I don’t really have a good one. I think it's kind of interesting using familiar sounds but making them sound a little bit different. Sampling them or make melodies of them to, I try not to do too much, I like minimal stuff. I like making it just to sound interesting.
Posted at 01:56, 21st January 2011