Gracing our May issue this month with an interview is Wozniak and last night we caught up with this Scottish band as they played The Grand Social. They have been on the U&I radar for some time and it was a real privilege to see them play here last night courtesy of an event organised by Pinkman Promotions. Things opened with ‘Columbo’s Car’ and there is a wealth of individualism on show in this track. Each element is handled by each member of the band and in how they command their instrumental remits respectively everything comes together. The impressive way it feeds the ensemble characteristics stacks up and also brings the gritty side of their sound through commendably. One of the songs that will feature on the new record is ‘Gospel Of Infinity’ and as the tempestuous gnarl of the guitar drifts on in you are sold. The drumming is an equally snappy affair which fashions the delivery and brings a quotient calling to how it sounds. That favourable pique pays its dues to the shoegazer referential that they adhere to so loyally, but there is also a commendable underground referential picked up on that shapes both the delivery and sound here in equal measure.
The deadened weight of the band’s sound is felt on ‘Snow Effect’ and it cleanly picks away in the play. It is also the first vocal display from Sarah Cuthbert Kerr and she adds a lush providence to proceedings that spills forth pleasingly. Overall the entire delivery is quite delicate and balanced, with the hints of notoriety carefully calculated. They are key to adding the pious sense of importance to the delivery and build alongside all of the steady attributes on show. The synth that is thrown into the mix here also adds confidence as it casually coasts along. Following a terrific lead in is ‘Five Star’. The intro is highly selective. This finely measures the anomic countenance and adds splendour as it gets going. Alongside the exquisite way it is all handled they seem to procure a voyeuristic sensibility which doles out a sterling sense of integrity. That is a good showing and the underground sleight of hand is another trait that serves it extremely well.
Dedicating their next song to the one and only Del Chaney, ‘El Maresme’ has a shoegazer drawl that is again worked to great effect. The saturated feel in the play works well. It creates a fine wall of sound which blankets the delivery. The lead guitar drops out on this one but the dedication in the movement compensates its absence. The ensuing sound is one that is sprawled out but also kept under control in a defining way. With ‘Kreuzberg’ the intro is the high point. There is a delicate linger to it that is impressive. The stoic principle on show imparted upon it is definitive without feeling overbearing. That is accounted for in the sensible way it is projected and the outlines are also keenly touched out here. It is on ‘Wings Of Pegasus’ that they come up with something more substantial. The punk styling here gives it prowess and the pace underlines this. How the tempo is gathered also works the delivery in an incredibly emphatic way. That duly noted edge is what carries the progression along.
With a good combination of electronica added to the mix comes ‘Superpanther’. This is what gives it contention.
There is also a lot to it found in the textured way that the guitar and drumming combine. They are favourably processed here and the determination comes across off the back of this. They seem comfortable as well in the hands in showing it must be said, but there is also a neat sense of elegance in the touch that goes a long way. The arcs in ‘Hester And Zelda’ truly mark out the potential of this band. This is very conclusive it must be said. The looming aspects in the sound hold relatively. That providence in the delivery is smartly ushered in. The ambient texture is what richly gives it focus here. How the sedate calling is maintained locks away the intricacies and the consistency abounds as things pick up in the rhythm. It also drops out before kicking back in and bringing a telling sense of trepidation with it that is incredibly fitting in the second coming. That was scheduled to be the final song but the crowd wanted more. They duly obliged with ‘MFMB’ and the intro prevails to show their pedigree. The lavish pique in the guitar rallies the rhythm, but the drive is really found from how the drum and bass combine. It is a smart showing and on that has defined edges in the progression that gift it prominence by design.
Photography by Jay Hutchinson c/o Pinkman Promotions.
To check out the interview with the band and find more cutting edge music check out the latest issue of Unsigned & Independent – http://issuu.com/uandimusicmagazine/docs/may_issue_2015?e=4294730/12884423