#257: Barstow Bats - Self-Titled (EP review)

Dumfries quartet Barstow Bats haven't, in the grand scheme of things, been a band for all that long.Formed in 2012 and signed a year later, it seems things have worked in the bands favour from pretty much the word go and while their sound isn't all that original, it doesn't have to be. Built on a foundation of 60s pop influences, contemporary indie and typical Scottish weather, the band's debut self-titled EP is four tracks of appropriated genres, gritty vocals and an untapped energy that runs riot across the record's reasonably short run time.

First track 'Play Piano' is a loose, jangly garage rock anthem that rattles towards it's conclusion with the same style and swagger as an early Strokes record. This, coupled with a romanticism that smacks of Dundee's The View, makes for an engaging opening track that encourages listeners to delve a little deeper. Similarly, 'Heartbreak Kicks' is a straight-to-the-point bluesy number complete with wailing guitar and chunky bass riffs. With nothing fancy at play, no opulent ornamentation, it's straight up, balls to the wall rock'n'roll that drips with the same swagger as it's predecessor.

Final track 'Marcitrio' is where the EP gets really interesting. With the first three songs upholding an almost reckless punk aesthetic behind the guitar licks, 'Marcitrio' is where you feel the wings of Barstow Bats begin to unfurl. A slow and mournful lament, the track relies almost solely on the vocal stylings and lyricism of Andrew Rendall, the instrumentation forming an ominous canvas on which the lyrics paint. It's a stark contrast to any of it's predecessors, but it suggests a deeper musicality can than anything it proceeds, and a maturity within the band collective. Great stuff.

Barstow Bats don't care if they're cool, and as a result, they fucking are. Drinking from a wealth of influences, their output certainly isn't as original as some might hope (with the exception of 'Marcitrio') but when it's put forth and brought to the fore with as much confidence and conviction as it is here, originally really doesn't matter. What does, is energy, and the clear enjoyment of the band in question and with the bucketloads of both that Barstow Bats come armed with, you really could do far worse than checking them out.

This review was originally for Listen Up Manchester. Click here to visit their site.

#255: Eagulls - Eagulls

Bridging the divide between the post-punk of the 1980s, and 1990s slacker rock, Leeds-based five-piece Eagulls are a band whose name has found itself in my inbox rather regularly of late. The handful of singles the quartet have released, coupled by their appearance at last year’s SXSW festival, has whipped up a veritable shit-storm of anticipation for their eponymous début, released in March. And while the hype machine does have a tendency to big up those within it’s clutches more often than is usually warranted, it seems Eagulls’ explosive combination of snarling punk cynicism and lo-fi aesthetics are worth every ounce of hyperbole.

This review was originally written for Far Out Magazine. Click here to read in full.

#158: The Last Scout - Self-Titled

Recently, folk music has found itself at the forefront of a resurgence. No longer is it destined to remain a staple of spit and sawdust bars, specialist festivals and niche radio stations. Nor is it only reserved for beardy types who have memorised the entire Emmy-Lou Harris back catalogue (although admittedly there are still a good amount of beards at play). These days folk music seems to have returned to it's roots as a music for the people, by the people. Sure bands such as Mumford & Sons has catapulted it to the dizzying platforms of stadium shows and bigger festivals than perhaps the public was expecting, but that doesn't stop the plethora of acts and artists in the grass-roots scene from plying their trade with enough heart and candour to make anyone swoon. One such band are Cheshire's The Last Scout.

A four-piece act who formed through a shared love of acoustic music, art and photography, The Last Scout are a band whose intelligence and song-writing prowess are shadowed only by their obvious passion for each musical undertaking. Having featured the band earlier in the year and following their progress since, I was excited to learn that the band have finally put together their self-titled, first EP, and even though it's yet to be mastered, the record is a brilliant example of just what the band are capable of.

Beginning with an impactive fusion of picked guitar, cymbals and an effective sample in the form of the intro of 'The Cowboy Song', The Last Scout kicks off proceedings in a brilliant fashion whilst embracing the cultural heritage of a genre that bridges continental divides. Rich vocal layers glide effortlessly over skilled finger-picking and almost-militant drum rolls in a bid to contemporise an aesthetic doused in Americana. All thoughts of the Wild West quickly dissipate, however, when the first notes and harmony of the quaint and delicate 'Scar Love' follow on. A personal favourite of mine, 'Scar Love' is a swooning and quintessentially British affair that adds romantic cello and vocal layers to a backbone of subtle percussion and guitar. It comes off sounding like the record Kate Nash wanted to make before she realised her lyricism left a lot to be desired, and as such, it's all the better for it.

Indeed, that should be the only comparison between the two acts. The final three tracks featured on The Last Scout do nothing to hamper any expectations laid out by the first two, with 'Burn' particularly being a stand-out track in which a vocal duality steals the show amidst haunting guitars. It's a darker, heavier addition to the record, but a welcome one nevertheless, and it's positioning allows the the proceeding tracks ('Alone Tonight' and 'By Starlight' respectively) to sore back to the uplifting and romantic heights established earlier.

One of the most appealing facets of The Last Scout, is their decision not to use their own images; instead the band create their own artwork and photography to use within their work, choosing to let their music and indeed the bespoke art that surrounds it to speak for itself. It's an unusual way of doing things but it's a good way (one that will appeal to those familiar with Canada's Arts & Crafts label) and goes hand in hand with the folk image that The Last Scout are upholding.

Folk bands these days seem to be ten a penny but rarely is there as much care, candour and romance at play as there is here. The Last Scout is a relatable and indeed important record, and not just for the band. It's a statement, a statement that says folk music is still for everyone. They're not just songs about the band's life; they're songs about yours. And while it might be “a perfect day for a breakdown” it won't be as bad as you think, especially if The Last Scout are sound-tracking it. Captivating stuff.

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