Monday, December 15, 2008

Interview - Love.Stop.Repeat

Words: Chris Hynd
Photos: Morna West

Love.Stop.Repeat are a duo worth knowing. They create a beautiful, willowy, alt-folk sound, a beguiling mix of guitars, harmonium, accordion and the odd ukelele. Lindsay West provides the sweet vocals, Dave Millar the intricate instrumentation. They both took time out to answer the following questions.

To start off, can you give a brief history of Love.Stop.Repeat and what made you want to start the band together.

Lindsay: Dave and I have been playing music together for about a year and Dave started writing LSR songs this summer. He got me to sing these never ending lyrics and I expanded some of the melodies.

Dave: After Lindsay had helped me out with some Con Brio vocals I thought it'd be fun to try some proper songs with actual instruments away from the computer. The lyrics were adapted from scribbled poems and the vocal lines I had rough ideas for, but Lindsay took these and added strong harmonies, which ended up very much directing the structure of the songs. When Lindsay heard the first couple of demos she suggested we call ourselves a band and so Love.Stop.Repeat was born.

You both have your own projects (Dave as Con Brio and Lindsay's solo work), is it difficult to balance the two and find time for both or do you see L.S.R as your main focus for now?

Lindsay: I am finishing off an EP I’ve been working on for ages and I won’t rest until it is finished. It sounds dramatic but it’s been going on forever. LSR is getting most of the gig time at the moment, partly because Dave is super organized at booking gigs (and I’m not) but also because people dig the music! I’m happy to have both things going on right now.

Dave: I'm keen to carry on my own projects - whether it's Con Brio, the other band I'm in (Attention! All Shipping) or others, and although LSR mightn't always be the main focus for us, I'm sure we'll be able to strike a balance to make it work. It's been really rewarding so far.

Your EP was self-recorded, made and released - can you talk us through the process of putting a record out yourselves from start to finish and how difficult or easy that process was. Is it something you'd like to do again, or will we see future releases on other labels (e.g. Fence Records, who you have an association with)?

Dave: Truth be told, we hadn't actually anticipated playing these recordings to anyone. We were recording the songs as notes to remember them by really, so we could listen back later and see what we thought, but those very same recordings ended up on the EP we've been selling. We've used the Make Your Own Adventure label for the EP with a view to possibly releasing either ourselves or other artists with it in the future. I'm not sure if we'll get a chance to do that though. Running a label proper would take up too much time realistically. We're only selling CD's via Fence and our shows at the moment, so most of the work with it has been in the manufacturing. I think we might have got carried away with the design a little, but they've come out looking great so it's worth the hours we have to put in making them. It's nice to see people picking them up at shows and actually parting with their hard earned pennies for them.

Speaking of Fence, how helpful have they been with what you do? Recently, you played the Halloween weekender in Anstruther, how did you find the weekend and were you pleased with the reaction your set got?

Dave: Fence have been very supportive. Johnny Lynch was really positive about the tracks we put up on our MySpace page, offered to sell the EP in their shop and invited us up to play in Anstruther. We really weren't sure how it might work live and didn't know what sort of reaction we might get. Before the Halloween show we'd just played the one gig in Edinburgh a couple of days beforehand. We were really nervous for that show, but the reception we got was fantastic and really encouraging. It made the prospect of playing after the likes of the Pictish Trail, HMS Ginafore, James Yorkston and King Creosote that bit less scary. We went on and up stood Johnny (Pictish), Kenny (KC) and Gav (OnTheFly) in front of what seemed to be a wall of Fence fans, which I found completely daunting, but again we played and to my surprise there seemed a couple of people singing along. The reaction we got really couldn't have been better.

One thing I got from your EP was a sense of nostalgia for people and places in your songs, - is that a fair comment? Does the landscape around you shape your music or is it a simple case of you writing about what you know, e.g. your lives, travels around the country etc.

Dave: I suppose for my part, it's all of those things. For instance, "Secrets and Slumber" describes a meadow near where I work I've been known to slip away to for a quiet hour or two. Maybe it sounds a bit cheesey, but I want to be able to take people on a journey with the songs - let them in on a daydream perhaps. For "In the Shadow of the Moon" on the CD, I was in the loft space we rehearse and record in and hung a microphone out of the window to record the sounds we hear up there - just to let people in on the lazy summer's day that led to the song. Then there's songs like "Sunday Strolls..." which harks back to a couple of trips we'd made to Scotland, "The New York" song in which Lindsay describes her journey to the city alongside my own account of the Big Apple in "Pictures". I suppose the songs are a bit of an escape, both for us and the listener.

Related to that, you've been putting up video blogs on Youtube documenting what you're up to. What led you to start doing that and is it something you'll continue to do as the band goes on? It's interesting for us to see what things you've been doing, whether it's how you put your CDs together or which part of the country you've been visiting, do you want your listeners to get a better idea and sense of what goes on in L.S.R. and break down the barrier between audience and performer?

Dave: This was actually Lindsay's idea, but I've kinda of taken it by the horns and got a little carried away. It's nice to be able to document what we've been doing both for us to look back over, but mainly to share the whole experience with anyone who takes an interest. Thanks to sites like MySpace, Youtube and Facebook, not only can we say "Hey, we're playing in Fife", but we can take people along with us in the video blogs and show them what we did. It's nice to put it all out there.

How do you approach playing live with all the different instruments that are featured on your songs, specifically for Dave playing guitar/ukelele and kick drum at the same time?! Your cover of NMH's "In An Aeroplane Over The Sea" is a particular highlight of your set and your version of it fits in beautifully with your own songs, what led you to start playing that song and will there ever be a recorded version of it?

Lindsay: LSR basically began as a recording project until we were asked by the Fence guys to go up and play live. Then we sat down and tried to figure out how to play all those layers of vocals and instruments with only two people, instead of with the army Dave created on the CD.

Dave: I think we'd both envisioned the need to bring in other musicians to help play all the parts on the songs but, as the two of us sat down and worked through the songs in became apparent that it might just work as a duo which I'm really pleased about. Lindsay's a great guitar and piano player and very used to singing while she plays, but it took a little while before I decided I was happy playing percussion, guitar/uke and in particular singing all at once. Linds works out some good harmonies for me to tackle though.

Lindsay: Playing live is an experience. Both of us have had to get used to playing new instruments but it is a lot of fun.

Dave: Regarding the "Aeroplane..." song; this was my idea - I just thought we might need an extra song to play in the set and this one sounded lovely on the uke. Lindsay came up with the idea to transpose it up a couple of keys so we're able to slip into it from "The New York Song" almost like it's one long piece. When I don't mess up the transition that is. It's easily one of my favourite songs - a couple of people have said that to me since too, so it looks like it was a good choice. I can't see that we'll end up recording it, but it's grand to play and hear Linds singing.

Finally, what are your hopes and plans for the future in L.S.R.? Are you looking for L.S.R. to play a bigger role in your musical outputs as people become more aware of you or will you continue to pursue your own solo ventures at the same time?

Lindsay: I hope we can keep playing for a long while and experimenting around with the music.

Dave: Yeah, it's been lot of fun and people seem interested so I'm keen to keep it going alongside our own projects. We've got more shows coming up over the next few months and new songs are always being written. A few members of the Fence Collective have done remixes of our songs and two by OnTheFly and Art Pedro came out on De-Fence at the end of November, which is really exciting. The lovely thing about Love.Stop.Repeat is it's all come from Lindsay and I just messing around with a little idea. Fingers crossed we'll get to do it a while longer.

And I think we'll be crossing our fingers for that to happen too. Love.Stop.Repeat were probably my favourite musical discovery of the year and I hope they become yours too. You can find out more at -

Sunday, November 23, 2008

Live Review - Death Cab For Cutie

Death Cab For Cutie
Corn Exchange, Edinburgh
14/11/2008


Words: Chris Hynd

You know, what with people being people (and me being me I guess), there's certain bands that you just begrudge having any kind of success. And me being me, Death Cab just isn't one of those bands - from playing the likes of the (now sadly gone) Venue on the other side of town to selling out the Barrowlands on their last tour and now the Corn Exchange on this one after the release of their latest LP "Narrow Stairs" - this is a group who've worked at it and have earned the right to be where they are. Obviously, I wonder how many of the 400 or so souls from that Venue gig in 2004 (I think. Being an old man now means that the memory isn't as good as it used to be!) are in attendance tonight - I can say 2 for sure (myself and erstwhile colleague JC) but it looks like the somewhat youthful make up of the audience means that the figure probably isn't that great.

And that doesn't matter a great deal when you think about it - Death Cab have continued to be Death Cab, good guys playing the songs they want to play and a band who seem totally comfortable with where they find themselves right now. A roar greets them as they start with "Bixby Canyon Bridge" off "Narrow Stairs", Ben Gibbard, in his customary position stage left , seems to be in thrall of the occasion and adulation and feeds off it, while Chris Walla on the opposite side to Gibbard remains in the shadows and goes about his business with the minimum of fuss. And it works - from the killer segue of "The New Year" and "We Laugh Indoors", the light poppy groove of "No Sunlight" and "Soul Meets Body", Death Cab continue to knock out the great tunes. You can be a band at a certain level, but if you don't have the songs to back it up then it's going to be a struggle to remain there. It's always been about the songs, about the music and that really shows.

That's summed up perfectly by Gibbard playing "I Will Follow You Into The Dark" in the middle of the set, his acoustic paean to love and death has been taken to a new level in the live arena, somewhat like when you see Stipe introduce "Losing My Religion" from some Enormodome stage as "your song... we're only covering it". The obvious thing would be to save it for the encore but it works well half way through the evening. "We Looked Like Giants" is the biggest song of the night, the drums pound and the guitars roar and Gibbard's self-confessed "only dance song" "The Sound Of Settling" rattled along at a fair old lick, those insidious "ba-ba's" getting right into your head and never leaving.

The crowd, loud in their appreciation of the songs but respectful as a whole, seemed to enjoy what they saw and I have to say that I did too. This is a band I've been with a long time, part of me wished they'd just come out and do "The Photo Album" from start to finish but I always knew that wasn't going to happen - new records, new fans, new beginnings but, as I said above, a Death Cab that are totally comfortable with where they find themselves in 2008. A glorious "Tiny Vessels" / "Transatlanticism" mix closes proceedings and as Gibbard and company up the volume for the latter's crescendo-like finish, the noise and light seems to come together as one. It's a great way to finish.

Aye, they ken whit they're dae'in' thae boys...

Monday, November 17, 2008

Live - The New Year / Chris Brokaw

The New Year / Chris Brokaw
Nice & Sleazy, Glasgow
11/11/2008

Words and Photos: Chris Hynd

I had intended to review this gig a bit more fully, but sometimes it's good to go and watch a band and enjoy the show without having to worry about reviewing it. Both sets were great though, it was good to see Chris Brokaw in solo mode again (playing, as wryly noted later on by Matt Kadane, "acoustic death metal"!), his set was mostly instrumental, quite big and angular sounding and quite brilliant. The New Year were just tremendous, they're a band I've loved for a while now, obviously Matt and Bubba Kadane have the Bedhead credentials of yore but their sound (triple axe attack!) was perfectly formed, the 3 guitar set-up worked a treat, layering all the different parts to the song and making it come together beautifully. And they played "Gasoline", and that was OK by me.

Here's a few pics from the night to illustrate -










































































































Monday, November 10, 2008

Record Review - Love.Stop.Repeat















Love.Stop.Repeat
Love.Stop.Repeat
Make Your Own Adventure Records


Words: Chris Hynd

The first thing that strikes you about Love.Stop.Repeat is the care put in to the packaging of this, their first self-titled EP. Individually hand-made and bound, this is a record that is open, welcoming and warm right from the get-go. It's a package L.S.R. hope you will cherish and come to love over time. And they've made it easy for us, for the beauty of the music certainly matches the beauty of the CD.

It's a record that evokes nostalgia for things and events past, for the landscape that we travel through and become part of and "Secrets And Slumber" immediately showcases this, Lindsay West's sweet, sweet voice and Dave Millar's instrumentation, a wistful accordion battling over a jarring beat, "I still remember the feeling of solitude" sings West and you are immediately transported to back to the place she sings about, it's wonderfully done. "Pictures" and "Sunday Strolls And Miracles" continue the theme, the latter subsequently discovered at a recent show in Edinburgh to be a song about a trip to Cramond Island and as West sings "feel the weight of a heavy heart, as we pass along the coast, suddenly I realise, it's you I miss the most" and as the accordion and harmonium wheeze and a guitar is plaintively played you can't help but be caught up in West and Millar's trip.

"A Busy Heart Beating Strong" adds some piano to the mix, West's sultry vocal and Millar's glorious, textured drum sound sweep you away and "Melt Away" is built around a lovely little ukelele riff. The EP closes with "The New York Song", the simplest song on the record, West tells the story of a trip to New York with her sister as Millar plucks out a line on the ukelele, voice and simple instrumentation, nothing more is needed. It's at this point that I wish the last song went into the killer segue with Neutral Milk Hotel's "In An Aeroplane Over The Sea" as it does in their live shows as it's the perfect way to finish. But alas not, you'll have to go to one of their shows to experience that.

It's been said before but it really is the only word for it, this truly is a lovely, lovely record. 2 people, no fuss, no clutter, a beautiful voice and a beautiful sound. More of the same please Love.Stop.Repeat folks.

Wednesday, October 08, 2008

Record Review - Rozi Plain




















Rozi Plain
Inside Over Here
Fence Records

Words: Chris Hynd

Less is more...
Less is more...
Less is more...


It's always a little mantra I tell myself from time to time. There's no need for any extraneous things to be added to the mix, if you can do what you have to do and say what you have to say without any extra clutter then you're on the right track, for me at least. Bristol's Rozi Plain seems to be following that path. Her debut LP on Fence Records screams "less is more" and is all the more effective for it, especially when you consider the different instrumentation on show. "Let's Go" opens with a wheeze and a hiss, a single guitar and accordion play out a plaintive few notes and Rozi's voice says all it needs said. A statement of intent if you will, "let's go, let's go, let's go", this is how it's going to be and I'm pretty comfortable with it.

The record continues in a similar vein. "Stolen Shark" sees some lovely harmony vocals over a nice fuzz guitar groove, "Foot Out's" smoky clarinet and sax, while downbeat and mournful, complements Rozi's clipped vocal delivery while "Knives And Forks" mixes some neat little Sufjan-esque banjo into a poppy and melodic arrangement. Rozi and her companions on the record have certainly created a warm and welcoming sound and there's little touches here and there that add to the mix and lift it all out of the ordinary, the unexpected beats that kick in during "Barbs And Velcros", the brass and woodwind in the lolling "Roof Rook Crook Crow". And the little things matter, showing us that this is someone who cares about the details, who cares about what we are listening to. Not that others don't of course, but Rozi just seems to ensure it all matters.

And nothing matters more than "360ยบ", the extraordinary centrepiece of "Inside Over Here". A solitary guitar plucks away, Rozi's voice emotive and full of longing, an economic and sparse delivery but all the more powerful for it. Voice and guitar, that's all you need.

Less is more...
Less is more...
Less is more...


A remarkable song at the heart of a remarkable album, three minutes that would bring a tear to the proverbial gless 'e, I could listen to it on repeat for a long, long time (and believe me I have!). The record closes with "Fruit", and another simple yet effective arrangement, the layered vocals and beautiful guitar line and clarinet. Every note on the record is there because it should be there, everything is allowed to breathe and be natural and it all sounds wonderful. Elsewhere in this blog you can read yer man from Fence Records wax lyrical about it and I listened to him as he passionately extoled its virtues. I didn't know it then but he was absolutely right. This is a stunning listen, a stunning 40 minutes or so of music and hopefully Rozi Plain can continue to beguile and charm us in future.