Review: Song, by Toad’s Granfalloon

‘Granfalloon’ has its origins in Kurt Vonnegut’s Cat’s Cradle; Edinburgh’s Song, by Toad have since repurposed it as a proud label to apply to those gathered at last month’s label-centric mini-festival. Fittingly bookended by two predictably top-notch Meursault sets, the latter was ostensibly the I Will Kill Again album launch, though this was ultimately gig-bombed by the extraordinary megafan who worked her way to the front row, ultimately clocking up a guest appearance on backing vocals for her troubles.

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Review: Flint & Pitch Lyceum Variety Night

Had you asked me the following morning what there was not to enjoy about Flint and Pitch’s second Lyceum Variety Night, I’d be at a loss for words.  Probably I’d manage to say that it had all been too genteel and non-confrontational – like a date you’ve been introduced to by your mum.  Prominent in the memory would be a raffle, a style of compering, swathes of people sipping wine and telling each other just how much they were enjoying every single act; rarely the acts themselves.

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Review: Personal Shopper, Glasgow Film Festival

How do you describe a film like Personal Shopper?  Several have chosen ‘Hitchcockian thriller’ as the go-to comparison, but to me it seems neither of those things.  Anyone expecting the ostentatious brand of Hitchcock schlock is certainly going to be bitterly disappointed.  In fact, anyone expecting anything is bound to be let down in one way or another.

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Review: Band of Horses & Israel Nash

Relationship tip: find someone who looks at you the way a Band of Horses fan looks at Ben Bridwell. Or vice versa, for that matter. When the group posted their handcrafted set list on Twitter, followers were quick to notice that they’d gone through their last Glasgow show – from back in November 2012 – and purposefully avoided overlaps. If you’re going to love a band, why not pick one that loves you back?

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Israel Nash: I’m mad as hell

Israel Nash’s Silver Season was recorded in a Quonset hut which the singer-songwriter built himself on his own land; as recordings began, he and his band had to dig a trench around it to keep out a spate of encroaching spring flooding.  Such insights as these underlie the subtle sense of self-sufficiency burning through the album, which is also awash (no pun intended) with a mix of swirling instrumentation and ethereal vocals. The Fountain put some questions to Nash about a few of the album’s songs – as well as the state of American politics – on the eve...

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