Song reviews

A rather angular example of what the better Glasgow bands are producing these days, “The Nightmares Leave Us All Inoperational” by Verse Metrics reeks equally of arthouse pretension and intellectual indie intentions. Ponder at your peril.

Everything about this song screams of distortion yet it is that very distortion that makes Fime’s “Hover Hand” more of an anthem to Cobain style guitar powered alienation than an attempt to find their own friendly ears outside of their LA turf.

Maybe it is just all this sunshine we have been having recently but “In The Night” by Canadian synth rock band Favours reeks of druggy influences and, as it drifts along, it rapidly becomes the soundtrack to a trip. Far out!

It is not often these days that a song can be called wholesome yet that is the best word to describe “Fingerprints” by Annie Bonsignore with the song being, of course, a dramatic piano led ballad peppered with spiritual metaphors. Wholesome it is, then.

You can’t go wrong with an excess of retro reverb and The Purrs are the proof with their song “Late Night Disturbance” tripping in from a time long gone. Tune in, trip out and make sure that The Man takes the blame for it all. Spark me, baby!

Manic, oppressive yet strangely endearing, “They Like. We Like” plays like a full-on escapee from the acid house dancefloor looking for a new home outside that time vortex you have in your wardrobe. God bless Mezko and all who blow their sparkled eardrums whilst grooving upwards.

Long time Glasgow cabaret hipsters Scunner strike back from the style basement with this offbeat homage to sixties neo legend Anthony Newley. “Harry’s Shed” won't appeal to the mainstream but any band that dares to be both different and decadent is alright with me.

About as slick an example of modern day urban music as you are as likely to find, Leuca hits all the authenticity notes throughout his song “Right Now”. Play this on the stereo of your Mini Cooper and the air conditioning will automatically turn to cool.

An enigma on a mission, Sheila K Cameron loops and syncopates her way through “Moxie Blues” with the poise and confidence of one who knows how to play the game but chooses to play her own game instead. The result is hypnotic in an oddball sort of way.

Rather more mature than most in her approach, Glasgow’s Megan Airlie makes a fine attempt at substituting style for the affectations expected of a singer these days and thus successfully renders her song “Honey” in shades of grey.

“Hideout” is a song with ambition going from a rather twee start to a diversion through a forest of folk music influences before making a muscular attempt at chart success. All credit therefore to Natalie Holmes for her sterling attempt at taking what should be hers.

A Glasgow band goes Britpop in these troubled times? It happens more often than you might think and The Hector Collectors use the upbeat yet curiously sentimental “Edgelords” to tell it like it was back when music troubled the charts. Shazam!