Hello there! Argos Barks is set to return for the new year after a lengthy hiatus. Much is in store as Argos reshuffles and reinvents itself, as we will slowly kick things up a notch and return in style with all new reviews, interviews and features on the best of music in Scotland and elsewhere landing soon on the blog.

A whole new design for the blog is also in the works and a couple of new features that with time will make an appearance. We hope you like them!

For now, you can head over to our brand new Facebook page for a daily dosage of music videos and updates on Argos Barks - just click here and ‘like’ us!

Woof!

If you have read my recent review of Build a Harbour Immediately, you should know how much I love this record. If you have listened to it, then chances are you love it as much as I do. The one and only person responsible for all this is Adam Stafford, who recently embarked on a solo adventure after ending the Y’all is Fantasy Island era.

As he prepares next month’s album launch gig in Glasgow, Mr. Stafford took the time to answer a couple of questions for Argos Barks.

Argos Barks: Hello, could you introduce yourself for us please?

Adam Stafford: My name is Adam Stafford, I was a member of the Falkirk group Y’all is Fantasy Island and I run the digital label Wise Blood Industries.

AB: How would you describe the music you make?

AS: It’s varried. Up until now most of my solo output has been pretty experimental I suppose, but the new record has elements of everything. Hopefully it’s all unique to my own voice. The disparate parts are limbs all connecting to the same body.

AB: What are some of the bands/artists that have influenced you?

AS: The list is too vast to mention, but I’ll tell you this, the first time that I heard Blind Willie Johnson when I was eighteen I had an epiphany. His voice moved like water over scorching embers; his passion, righteousness and anger jumped out at you like the Holy Ghost hiding behind a bush; he was also one of the best guitarists that ever lived, the rawness of his message and music still puts most modern acts to shame.

AB: What was the response you’ve had so far as a solo artist?

AS: For the few people that have seen me live, the response has been lovely and kind so far. Im trying now to put more emphasis into the performance being an experience instead of just some guy in jeans and a t-shirt playing songs. There is more of a congregational element, a sermon that takes you to outer space.

AB: What was the transition like from Y’all is Fantasy Island to going solo?

AS: The biggest difference is not having to deal with dynamics, and I don’t mean musical, but the way people interact in a band situation with each other. I wasn’t a very honest person when I was in Yifi, I’m so glad a lot of friendships survived through some of the rougher periods. There was a lot of forgiveness on the parts of others and a lot of introspection for myself, like, how can I learn from this and try and be a better person and communicator. But, we will get together in one form or another under a different name sometime soon.

AB: How do you feel more comfortable as musician, playing solo or as part of a band?

AS: In a live context, it’s becoming easier to play unaccompanied. I love collaborating, but I do enjoy recording more than exposing yourself to an audience when you are at your most vulnerable. Sometimes you can hide behind the band, but you should’nt. I try to channel the nervous energy into the performance now, and there is a lot of it!

AB: How was the process of creating and recording Build a Harbour Immediately?

AS: It was joyous but hard work. I loved every minute of it but I also poured in everything I had, when we weren’t in the studio every day for 10 hours I was working my usual job of taking emergency calls at the weekend. By the end of the two weeks I was totally exhausted, losing sleep and my voice at the same time! But working with Paul Savage was a pleasure, the man is at the top of his game. After working with him for one day, I’d felt like I’d known him for years.
He came on board as an engineer but it was soon apparent that he was as much a sculpturer sonically than any of the musicians. Technically, everything was mapped out to the nth degree. The songs were written, demoed and practiced before any of the mics rolled so we were all very well prepared. There was some vocal and string improvisation, songs were chopped down to a shorter length in the mix. It was quick and efficient, like open heart surgery, there was no time to get nervous or emotional.

AB: What music are you listening to at the moment?

AS: Bobby Womb, who is ex-Yifi clarinetist Jon McCall has a new ep called Beyond the Reach of Binoculars which will be out on Wise Blood soon. It contains these lovely surreal instrumentals written for clarinet and percussion that sounds somewhere between Fridge and Bernard Herrmann. Im also down with albums by Tune—Yards, Peaking Lights and Micachu & The Shapes.

AB: What’s the next thing we can expect from you?

AS: Music-wise, I’ve demoed the next record and want to start recording next year. It’s definitely the strongest set of songs yet and will be a much better record than Harbour - more ambitious in scope with choirs, beatboxing, odd percussion. The songs are more direct and electric, a lot of emphasis on harmony. Less dilly-dally.

Many thanks to Adam Stafford! Make sure not to miss him on 20 August at Stereo (Glasgow), with support from PAWS, Miaoux Miaoux and Mondegreen.

At some point in our lives we are all guilty of prentending to be inside a movie, perhaps as we are riding the bus and we let our head rest against the window, as we stare blankly outside in melodramatic fashion. In such occasions the only thing that would be missing is the music to give it that little extra bit of drama, but it can’t be just any sort of music.

Plastic Animals should definitely be able to help. This Edinburgh trio formed by Mario Cruzado, James Lynch and Dave Wark have recently released their debut EP, despite having been together since 2006. A Dark Spring is a box filled with melancholic, early-90’s shoegazing-esque, dark-pop rock, or whatever you might want to call it. Distorted guitars surf along waves of ambient patterns, building heavily atmospheric tracks with more than a touch of melancholy.

First on the EP is Intro, a very aptly named track that, without any vocals, manages succefully to put you in the required mood. It’s an atmospheric sound that would definitely fit in the soundtrack of a film like Lost in Translation or basically any staring-out-the-window scene, all before things shift slightly as the second track begins and Mario’s vocals along with a more prominent guitar make for a slightly darker setting.

As with the volume dial of a radio, the increasingly dark atmosphere continues its ascension until it culminates with Grey Blood, its guitar riffs now making for a perfect backdrop as Mario’s vocals evolve into a soft screaming lament. 

Plastic Animals appear as an upolished diamond, it will not wow most people on a first listen, but give it a second chance and listen to it properly, perhaps while cruising through the city on a rainy day, and you’ll see the magic happen.

• Bandcamp

Austin’s best new band has recently released the excellent E.S.P. after pleasing many with their performance at SXSW. As they continue to tour North American with their appealing minimalistic indie-rock, Love Inks took the time to answer a few questions for Argos Barks.

If you’re yet to familiarise yourself with the Texan outfit, then what better time than this. Read on to discover what makes the band tick and then listen to their debut album - you’ll be more than pleasantly surprised.

Argos Barks: Hello, could you introduce yourselves for us?

Love Inks: There are four of us in the band now - Adam on guitar, Kevin on bass (song writer extraordinaire), Beth on percussion (live drums and drum machine) and Sherry on vocals. (Sherry is doing this interview and obviously stoked on parenthesis).

AB: How would you describe the music you make?

LI: Simple and emotive, with room to breathe. We just finished a month long tour of North America. During our travels we started to realize that the music we make is fairly reflective of the place we’re from… Austin, Texas. I think if we lived in NYC or Los Angeles or any other great city, we wouldn’t have made the same music. Each city has it’s own pace and identity and I think you can feel Austin somehow in our sound.

AB: What are some of the bands/artists that have influenced you?

LI: We all have such different tastes and influences that it’s hard to pin this question down! I’m more of an Otis Redding, John Lennon, Joni Mitchell type. Definitely influenced by soul singers. Kevin is a huge fan of the Ramones and you can see that in our song structure. We’re all music history geeks and constantly listening to new music. We didn’t listen to any specific band and say, ‘We want to make music like this’. Our process involved talking about what music we wanted to make and building songs around the idea of clean, expressive music.

AB: What was it like playing at this year’s SXSW? Did you expect to be so well received there?

LI: (Sherry passed interview to Kevin) It was fun, in a way it’s more stressful than touring even.  People were excited to hear about us I guess, it’s rare that anyone goes just to see a band at that festival so I think we were in the periphery, for example when it’s between us or Moby, people who have never heard us are going to the Moby show.

AB: From what things did you draw inspiration for your debut album, E.S.P.? 

LI: I’m not sure.  Each other mostly.  Our inspiration was to go against the barrage of effects used in music now.  We got inspiration from other Austin bands who aren’t really musicians, they just bought a bunch of pedals and smoke a lot of weed, they have no song writing sensibilities.

AB: You could be easily named as America´s answer to The xx as you too share the ability to create short and simple but incredibly elegant and effective songs. What goes behind the creation process of Love Inks?

LI: It’s all songwriting and crafting the songs.  We spend a lot of time coming up with elaborate songs and then cutting them down to the bare bones.

AB: What are some of your favourite films and if you could include your music in the OST of a film, which of your tracks would you choose and for which film? 

LI: I’ve been getting into Jim Jarmusch’s older stuff like Permanent Vacation and Stranger Than Paradise.  I could see our music happening in one of those films.  Or old Sophia Loren movies because I love her!

AB: Given how Love Inks members Sherry LeBlanc and Kevin Dehan are husband and wife, we are worried that if Love Inks will become too popular they will end up separating Oasis-style. How do things work with a wedded couple in a band? How are disputes resolved?

LI: (Sherry takes over again) As far as that goes, being in a band together has only brought us closer. It’s a shared experience and such a rad one. Neither of us has to sit at home and be the ‘tour wife’. The biggest dispute we’ve had is when the air conditioning broke in our van during a heat wave. We were en route to Washington DC and it got ugly. I think anyone would fight in that situation, but our fights usually end with one or the other laughing and pointing out how stupid the argument is. We fully appreciate that we get to be in such a rad situation together and that has been a strength.

AB: If you love ______, then you will love Love Inks.

LI: The night time.

AB: What music are you all listening to at the moment? 

LI: (Kevin jumps in again) I guess we all listened to Lady Gaga’s new album in the van, what else?  Dirty beaches, and really a lot of obscure 70s heavy blues, classic rock from Sherry’s uncle Art.  He gave us his records, stuff like Blue Cheer, Rory Gallagher, Epitaph, Johnny Winters, some really cool heavy shit.

AB: Any plans of touring the UK soon?

LI: Mega European tour coming in September and October, we hit about 10 places in the UK I think, maybe not that many but there are a bunch of UK dates.

AB: What’s the next thing we can expect from Love Inks? 

LI: We’re working on a new 7 inch from Hell Yes and then more songs to come!

Love Inks will be playing a few more gigs during the first half of July. If you happen to be in the area, be sure not to miss them!

• Wed, July 6 - New Orleans, LA @ One Eyed Jacks
• Fri, July 8 - Houston, TX @ Fitzgerald’s (9:30PM)
• Sat, July 9 - Austin, TX @ Emo’s
• Sun, July 10 - Dallas, TX @ Prophet Bar

If there is a man that doesn’t need an introduction, that’s Falkirk’s Adam Stafford. This talented Scot has recently moved on from being part of Y’All Is Fantasy Island to working solo, and so with eagerness and bucket-loads of talent Mr. Stafford is about to release his debut album as a solo artist.

That he is talented is a fact that appears crystal clear as soon as you hit play on Build a Harbour Immediately. This magnificent record works as a lecture on life as interpreted by music, waltzing from the delicate instrumental pieces to majestic folk-ish interpretations, it stuns, pleases and delights. The sweet taste left in your mouth upon hearing Fire & Theft is simply exquisite, a track that knows how to work its ways within seconds and has the power to make you feel good like unlike many.

As the record progresses to the second track, titled Police No Speech, you will be stunned by the utter delicacy and elegant atmosphere that is created with the aid of nothing much but the chords of an instrumental guitar, ambient noises and the comforting, if at times melancholic, vocals as they work their way through the track.

The record simply enjoys balancing itself between its two sides, at times cheerful, witty and fun, and then delicate, elegant and melancholic. The former can be tasted in such tracks Step Up, Raise Hands or the more “experimental” Shot-down You Summer Wannabes that lacks any instrument other than Adam’s voice providing both melody and vocals. The latter can be instead sampled in the three last offerings of the record, tracks that jump to different music genres as ambient elements are more and more evident here. However, what strikes the most is Adam’s voice, here transforming itself to become haunting yet soothing, as you will find in the title track and its unsettling lush soundscape. Again, with A Vast Crystal Skull things take a similar path by creating incredibly rich patterns and intricate textures that serve as a web for Adam’s vocal chords to build and play upon.

Build a Harbour Immediately is a delicate record of sober beauty that may not scream and boast of its talents but will reward the most careful of listeners, as repeat listens will reveal small details that you may have missed before. If you give it the attention it deserves, it will cling to you and never let go. A real gem of an album.

There are times when music can evoke images and memories, provoking the mind to work as it’s tickled by the sound penetrating your ears. It’s in cases like this one that the strength of the lyrics combined with a certain spirituality in the music function as a work of literature or a motion picture might. It is definitely the case with this EP that despite its limited length, it explores different landscapes and styles while never deviating too much.

Aussies Sherlock’s Daughter are now based in New York and after having supported The Temper Trap during their live performances in Australia, they now prepare themselves to get their own sound known.

The four track EP is a work of fiction almost. Its pop-beat is here met by dream landscapes that often collide with edgier guitar walls, dancing from calm dreampop-esque sounds with elements of ambient to earfuls of guitar riffs. What binds it all together is Tanya’s vocals which locate themselves somewhere between mellow and elf-like, adding several layers to each track by creating a perfect flow.

Perhaps it’s due to the music that sounds at times influenced by older times or Middle Ages folk, or maybe it has to do with the magical vocals that work so well - whatever it is, Sherlock’s Daughter carry a rich sound that never falls onto a single territory and yet never feels lost. This EP is definitely a good start and if they are to continue their path, once they release their debut album we might find ourselves rather pleasantly surprised.

• Bandcamp

If you’re a reader of this blog, chances are you already know who Black International are. If you don’t, then you’re in for a treat. This Edinburgh trio almost came out of nowhere this year and released In Debt, a debut album that sounds much more than that, a debut.

Their pop-infused grunge rock is loud, dirty and stripped bare. Full of meaning and essence, In Debt proved quickly to be an excellent record from start to finish and is slowly starting to make its presence noted around the UK and across Europe.

Frontman Stewart Allan managed to find some time to answer a few questions for Argos Barks, giving us an insight into the mind and inspirations behind Black International.

Argos Barks: Hello! First of all, could you introduce yourselves for us?
 
Black International: Collectively we are Black International; I’m Stewart and I get made to do most of the talking.
 
AB: What kind of music would you say you make?
 
BI: At the moment we make rough edged pop songs with a cold heart. We try to create short, sharp, adrenalised bursts of noise and melody and rhythm.
 
AB: How did it all begin?
 
BI: It started in 2006 when Craig and I decided to get together and perform some songs I’d written. We’ve known each other for years and were in a rather monstrous six-piece group when we were in our late teens, which disintegrated when everyone hit university. We were both at ECA and bumped into each other now and again, and he was my first choice for a drummer when I thought about putting a group together. We’ve had a couple of different bassists along the way, and finally found some low-end stability with Gavin, who joined at the tail end of 2009.
 
AB: What’s the philosophy or way of thinking behind Black International?
 
BI: The initial idea was to have something that was stripped back to the bare essentials musically, no instrumental passages, no ornament, just really simple, primitive music coupled with lyrics that were a bit different from the norm. Whether that’s what actually came out in the end remains to be seen, I suppose it’s for others to judge. We exist in our own little bubble and do whatever we like doing. It’s a bit of a cliché of course, but we really don’t give two hoots what’s fashionable or popular; it doesn’t affect our music one bit.
 
AB: What inspired you to craft and build In Debt?
 
BI: Originally we were just going to compile some existing recordings and add a couple of new ones to make available as a download, but we thought about it and decided to use three tracks we’d done at the end of 2009 and build a better album around those. There’s usually a set path for bands, they put out an EP to test the waters and get some support then they start work on a full length recording, but we fancied being a bit contrary and thought “fuck it, let’s drop an album as our first release.” Musically there wasn’t a planned concept as such, it was more just a case of recording the set we had at the time, kind of like a journal entry.
 
AB: Which bands have inspired you?
 
BI: Our tastes are all over the place, and to be perfectly honest, we don’t really discuss music that often. I’d say we’re generally influenced more by ideas and attitudes than specific bands or records. Personally I find myself inspired more by good music writing than by listening to something and wanting to replicate it, that’s never really held any appeal… but I understand how evasive that answer will seem if you’re just looking for a list of names, so I’ll give you a few that we usually mention when pressed: the Fall, McCarthy, Josef K, Sonic Youth, Nirvana, Fire Engines, the Birthday Party…
 
AB: And who would you like to inspire?
 
BI: The idea’s never occurred to me, I’m not sure being inspired by us would be a good thing for an impressionable mind!
 
AB: What was your best live experience so far?
 
BI: We’ve had some really good ones, it’s hard to pick a specific occasion as they all have different baggage attached to them. Playing the Solus stage at Wickerman last year was a really big deal for us and was great fun, but also our first London gig a couple of months later stands out. Gigging away from home and getting a good reaction drives us more than preaching to the converted here (not that we have all that many converts, but they’re growing!) and we seemed to make quite an impact on a few people at that particular show. Also, my overriding memory is of Gavin standing in an alleyway outside the venue devouring a cold microwave hotdog like a starving tramp as a shocked-looking family walked past, so for that reason it sticks keenly in my mind. 
 
AB: Tell us the name of a tune, a film and a book that you recently loved.

Craig: Good Morning by Kid Canaveral, Mesrine- Killer Instinct and Factory: The Story of the Record Label by Mick Middles. 
 
Stewart: Boyfriend by Best Coast, Carry On Screaming and Just My Type- A Book About Fonts by Simon Garfield.
 
Gavin: Never Get Ahead (Giving Head To The Man) by Bobby Conn, Black Swan and The Presentation of Self in Everyday Life by Erving Goffman.
 
AB: What can we expect next from Black International?
 
BI: We’re working up songs for our next release, most likely an EP that will hopefully be out towards the end of the year or in early 2012. In Debt was essentially just our live set from that time, but I’m keen to play around with different textures and transitions and make the next one more of a considered piece, or maybe feature some stuff that wouldn’t typically be associated with us. We’ll be touring again in September, which should give us plenty of opportunity to try out the new material and see what works best. Onwards and upwards!

Many thanks to Black International!

• Official website
• SoundCloud

A few days ago I was lucky enough to attend Detour’s Wee Jaunt here in Edinburgh, an event that took a bunch of us on a tour of the capital making surprise stops here and there to watch perform live a hand-picked selection of local bands and artists.

As the day was nearing its end, we started walking towards the final destination of the night. The last performance took slightly longer than expected, and so a bunch of us were trailing at the end and it took us a wee bit longer to reach the next stop. When we were approaching our destination, we could hear that the band had already started and so we rushed to see who it was to surprise us.

It was Lady North. Who? Oh, no one, just your favourite new band. It was the very first time that I heard these lads play and suffice to say, I was more than sold after the very first few seconds.

Lady North is an Edinburgh band formed by Scott Bullen, Jamie Steel and Paul Bannon. Their music can be described as math-rock but only if you were in a rush, as there’s a lot more to it than just that. What stands out the most here is the ability and skill of this trio to push the cores of math-rock to whole new grounds while mixing and blending it with other genres and styles. 

They create intricate guitar riffs with powerful drums and an always beating soul that lets it all flow together. It’s as if they built a web of patterns and texture that integrate seamlessly with the always effective drumming, making for some incredibly infectious tunes that will install themselves into your head whether you want it or not.

At the beginning of the year they supported Maps & Atlases and ever since they hopped onto the fast lane and have been awarded every possible thing a new, unsigned band could ever ask for. They have set the blogosphere ablaze and anyone who gives them a quick listen will be asking for more in no time. It’s not that often that we see a young new band like this one rocketing itself into the spotlight in such a short time, and it’s particularly pleasing when you know they deserve it. And they are from Edinburgh. Oh yes.

In August we will be able to get our dirty hands on the new release by Edinburgh indie label Gerry Loves Records which will feature Lady North and PAWS. What you really shouldn’t miss, though, is catching these folks live, as that’s when their sound truly comes alive. It’s great when you can record some quality tracks, but when you can deliver the magic that Lady North produces when playing live, then you know you’ve got something.

Lady North will be playing at The Electric Circus here in Edinburgh on 25 June. If you’re smart enough, you will be there.

• SoundCloud
• Facebook

If you’re still not aware of who Campbell Miller might be, well, it probably won’t be long until you will stumble upon some of his work. This talented Glaswegian doesn’t cease to work for a minute and is quickly becoming part of a new tribe of promising young Scottish folk musicians who have impressed many with their latest efforts.

Earlier this year, under the moniker of Shambles Miller, the man released his second EP, Shambles Sails The Clockwork Sea, a great presentation of his skills in the form of instrumental folk with quirky and smart lyrics.

Recently he shared the spotlight with Andrew Lindsay in his latest project, Andrew Lindsay & the Coat Hooks, as well as other talented young fellows of the Scottish folky arts. As you can see then, if you were not were familiar with his work before, you surely will sooner or later, as Mr. Miller continues in his quest across the music scene.

It is then our pleasure to listen to a fantastic mixtape created by the man himself for Argos Barks, fifteen tracks of the best of folk from around the world. Perhaps you love the genre or maybe you need a crash course on folk music to appear knowledgeable. Whatever your case may be, Miller’s mixtape is only meant to please.

These are the tracks included in the mixtape and at the end of the post you will find the player to stream it. Enjoy!

• Andrew Lindsay - The Boat Outside
• Reverie - Weans
• Beans on Toast - Coke
• Where We Lay Our Heads - Wondering About the Fall
• Daniel Versus the World - One Night Hug
• Kitty the Lion - Split Ends
• Laura Marling - My Manic and I
• Loch Awe - The Ocean in Me
• Second Hand Marching Band - A Dance to Half Death
• Shambles Miller - Things That Make Me Angry
• Loudon Wainwright III - Motel Blues
• Emily Barker - Fields of June
• Julia and the Doogans - Borderline
• Billy Bragg - Waiting for the Great Leap Forward
• Bruce Springsteen - Thunder Road

Tiny giants Song, By Toad have once again released a precious little record that shall not escape the attention of the most attentive music listeners. Slightly straying away from the genres of previous releases, this record flies into a much more approachable territory, aiding itself with its many, many qualities.

We’re talking about Glasgow-based King Post Kitsch, a name that you may not be familiar with but could easily be fooled into believing that it’s only a legendary band from the late 60’s or early 70’s, causing you to agree with strong and decisive nods only to look knowledgeable.

This record, however, is yet to be released, so this is a good time to get acquainted with it. The Party’s Over offers ten exquisite tracks that will convince anyone of its quality on the very first listen. It’s late 60’s infused rock-pop that hops from Kinks to Lou Reed comparisons as the record boasts variety and consistency, pleasing and surprising in equal measures.

Lush, vintage, angry, elegant… the record comfortably carries many adjectives and qualities and is not afraid to show either one of them. You will love The Werewolf Hop with its grungy sound, compelling and catchy from the very first second, its aged yet modern sound blending in perfect measures.

It’s also very hard to resist to the charming simplicity of Portland Street Pt. 2 or Walking On Eggshells, its effectiveness striking the bull’s eye without a hint of shyness, they are tracks meant to be played on vinyl again and again, serving as the perfect soundtrack to Friday evenings soaked in booze.

The way the records ends, though, is simply breathtaking. Changing lanes, the King lowers the gear and almost whispers his way through Closing Time. Minimalistic, simple, elegant and with that touch of melancholy, it’s a stunning if short track that cries for the needle to be put on again from the very first track and start again from the top.

The Party’s Over by King Post Kitsch will be released tomorrow, 13 June via Song, By Toad Records.

King Post Kitsch - Walking on Eggshells by Song, by Toad