HRH

Edinburgh’s incendiary HRH return to headline the final Limbo of the season on Friday 8th June, supported by Glasgow newcomers Muscles Of Joy (recently nominated for the new Scottish Album Of The Year award, alongside fellow Limbo alumni FOUND, Conquering Animal Sound and We Were Promised Jetpacks) and Edinburgh newcomers The Tide Inside (fronted by Limbo alumnus Mark Donnelly), launching debut single On My Way Back Down, with an album already finished and emerging later this summer.

‘Her Royal Highness, born in a back street somewhere between Tin Pan Alley and The Brill Building, a Frankenstein’s mistress rebuilt from the fallout of what happened after Giorgio Moroder met Donna Summer, A Certain Ratio backed Grace Jones, Saint Etienne dug Kylie and Xenomania and The Pet Shop Boys sprinkled stardust onto Girls Aloud… She stayed out late with her two little boys Leon and The Modulator, fell in with the wrong crowd and got lost in an impeccable record collection that mixed up Suzi Quatro’s Chinnichap era anthems with Suicide squelch by way of Dr Feelgood snarl.’ (Neil Cooper, The List)

Gentle, catchy pop, replete with hooks and harmonies. Sometimes bleak lyrics such as “There’ll be nothing left to hope for” are hidden inside jaunty melodies. It fits into the great Scottish indie mould of Belle and Sebastien, Aberfeldy or Camera Obscura.

Paring down from a five to four piece tonight, they shuffle bass player to cajon. Meanwhile, keyboards have become glockenspiel. Electric guitar adds to the setup, while our singer moves between guitar and mandolin. Of standout impact, however, are the harmonies. Despite the changes, they sound totally at ease.

They win the audience with easy, friendly banter. They confess that on their set lists, they’ve substituted in the word ‘beast’, so “Lost at Sea” becomes “Lost at Beast” I’ve no idea what “Beast in my Eyes” was originally, but I’d love to hear that one. It’s all very witty and endearing.

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Thank You So Nice

Straight-up 4-4 punk by a no-nonsense 3-piece. Continuing the punk anarchic bent, they describe their second song as being about the collapse of western civilisation. “You live with the animals.”

Guitar solos are not so much complex lyrical meanderings as an assault on the instrument. At other times, though, the heavy echo on the telecaster makes it sound vaguely Shadows-esque. In fact, in appearance they seem less like the Sex Pistols and more in keeping with their name – “Nice”. So it seems slightly incongruous when they announce “This next song’s about fighting.”

There is a great deal of head nodding, and the odd bit of jiving. Their final number is an instrumental epic that features a pounding three minute intro. It’s hard not to move to it. It has its chilled out Floyd moments, before growing louder and wilder.

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The Machine Room

Funky and loud. As the drums snap and crackle, falsetto chimes out over layered harmonies. Theirs is a sound built of sparse input from many sources – with no fewer than four guitars in use on one song. Only the Eagles would boast as many. Most other songs use a variety of synths and keyboards to flesh out the sound. Standard vocal delivery is interspersed with banshee-like wailing. It adds a sense of menace, and helps tie everything together.

If anything could be said for the performance, the lively music is not matched by the expressions on their faces. But we’ll put that down to concentration.

The drummer is very impressive, in the most understated way. He uses all sorts of inventive combinations of beats that subconsciously add interest to the song without drowning it. He’s also rock-steady.

It is a packed Voodoo Rooms that welcomes The Machine Room. Their following is notable, and hopefully growing.

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Jonnie Common - Limbo 2011 - (photo by Olga Tyukova)

It’s the massive return of three of Limbo favourite acts in one night!  Yes, Jonnie Common returns to headline with his new band, Gav Prentice from Over The Wall  brings his new OTW splinter outfit and Mitchell Museum, back in the live music saddle after a hiatus of some two years, return to Limbo for the first time since November 2009.  Boom!

Tickets

The Machine Room

It’s the return of The Machine Room, who recently released their Love From A Distance EP (the band’s third release) to broad critical acclaim, plus Edinburgh newcomers Thank You So Nice and young Airdrie singer-songwriter Reverieme, who was picked for last year’s T Break at TITP.

It’s common to use the term ‘troubadour’ to describe a singer-songwriter, but in Mike Nisbet’s case, it is a most apt title. His songs sound like they are plucked from a bygone era of campfires, the old West and heartbreak. They are replete with weariness – “I’m not long for this world”, he sings on one. His lyrical creations are often tragic, raw and all-too-real characters – “A voice that’s too rough from smoking.”

He complements this with an assured fingerpicking guitar technique, harmonica, and the requisite flannel shirt. Truly, he would not look out of place playing in a remote bar in New Mexico.

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Chris Bradley

Chris Bradley has built a substantial local reputation through an original sound. This is certainly reflected in his confident banter with the audience. His hollow-body electric guitar can growl with menace when required, or jangles as he threads jaunty countermelodies against chords. He taps on bass drum and tambourine with his feet to add a subtle driving beat.

‘The Man I Love’ is a poignant but uplifting tribute to his late father. “The time has come to use the strength he gave me. And I’ll do you proud.” He has the gift for a great hook, best epitomised on ‘To My Ears’. Once heard, it will be hummed for many days. The vocals and guitar play around each other in catchy syncopation. Chris Bradley plays music that would sound at home on the radio of a Dodge pickup driving through a desert night, while a spaniel sticks its head out the window. Elsewhere, he meanders through White-Album era Beatles to gospel. It’s all rather fine.

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Chris Helme

Following an initial greeting full of effortless banter, he wastes no time in playing Seahorses favourite ‘Hello’. The voice is clear, authoritative, emotive and capable of the occasional room-stopping roar – it takes no imagination to see how he has achieved his success. Likewise, the crowd are enthusiastic to sing along, particularly on such well known numbers as ‘You Can Talk To Me’. In fact, the crowd are so keen they are verging on radge, and to his credit, Chris shows an adeptness for dealing with it.

The songs, both old and new, are anthemic. He has a keen talent for matching vigorously strummed guitar with a soaring melody. The room is swept along with it. His cover of bluesy ‘Lorelei’ not only demonstrates a sparse yet assured fingerpicked guitar, but a roaring vocal that is as unexpected as it is jaw-dropping.

There’s something refreshing about someone who has achieved notable success embracing their rightfully lauded back catalogue. Far too often, older songs are treated with derision by their writers. There is no need for a canon to be reduced to only the most recent offerings for them to shine on their own merit. And when he kicks into ‘Blinded By The Sun’, there’s a lot of happy people here tonight.

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Edinburgh School For The Deaf live at Limbo (October 2011)

It’s the return of the awe-inspiring Edinburgh School For The Deaf, who blew Limbo away with an incredible set in October.

Support comes from riotous Glasgow newcomers Chris Devotion & The Expectations (‘Scotland’s most exciting new band’, The Daily Record) plus sizzling Edinburgh newcomers Blank Canvas, who return to Limbo for the second time in seven months, having recently supported The Twilight Sad and The Big Pink in Glasgow.  Should be good!

Tickets

To get obvious comparisons out of the way, there is growing precedent for brutal blues bands, especially ones involving only a drummer and guitarist – from The White Stripes, to The Black Keys, to local boys Bronto Skylift. In any case there’s no hiding behind a wall of sound. As luck would have it, The Gold Lions need not hide anywhere. Theirs is a raw and raucous sound, and it’s a joy to behold.

The guitar snarls and hums in between catchy headbanging riffs. And it’s no mean feat carrying vocals and lead guitar simultaneously, and keep both sounding funky. Of course, half the trick is having drums that embellish with gay abandon whilst maintaining a driving beat.

There’s a lot to be said for stripping a song to it’s bare essentials, and showing that it still rocks. In their early days, Aerosmith, Led Zep and ACDC were rough and ready blues bands that played in grimy basement clubs. In many ways, The Gold Lions sound like this kind of howl, which is brilliant. The things is, it’s hard to imagine where you would fit any more instruments into this racket. They are already loud enough. And you cannot pay a higher complement to a blues two-piece.

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Ste McCabe

Continuing the vein of unconventional band arrangements, Ste Mccabe is a solo act, layering crispy fuzz guitar over thumping electro pop. The songs themselves are tongue in cheek, acerbic takes on modern life – “Everybody hates a benefit cheat”, “Buy an iPhone, have a baby’” along with some more opaque observations – “When you’ve had your face smashed off a wall in a gay bar.”

Ste McCabe stretches the definitions of a live music act. Songs are interjected mid-flow with witty prose. He wears a gaudy rainbow tie with polo shirt. The line between caustic observation and outright joke are blurred.

He revels in the lo-fi. A more conventional setup would dilute the complete package, and it is a distinctive sound, but so much so that it is in danger of sounding contrived. But like every aspect of his act, this could be a knowing wink.

It’s fair to say that Ste is not for everyone. But he knowingly embraces this – it’s part of the act – and those who do enjoy it are likely to do so with rabid devotion. The true definition of a fan. And what more could an act want?

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Bleech

Chunky guitar, thunderous but tight drumming, beautifully timed harmonies. Dressed like punks, female-led Bleech continue the lineage of where grunge left off, except with more balls than Air or Feeder. In fact, at times they sound more like early, angry Metallica, or new American heavy rock. But, again, with more balls. That’s not to say the songs are full of bile – many are ultimately uplifting – it’s just that all are delivered with intensity and vigour and impact. ‘Adrenaline Junkie’, for example, is charged with positive energy. Of course, this hasn’t stopped them being called ‘the most cynical band on the planet’ in Glasgow. But they are more 30 Seconds To Mars than Stain’d.

And good lord, they are a tight unit. They have clearly spent hundreds of hours on stage, and it shows in spades. What a noise. The guitar and bass sound like they’re using a jet engine rather than an amp. Meanwhile, the drums sound like cannons going off. With immaculate timing, that is. They are so tight that on one number they give the bass guitar to a member of the audience.

This is music to dance/mosh to. They would be perfect for puncturing the eardrums of countless teenagers at various summer festivals, or providing the soundtrack to skating videos. You too should punish your ears like this as soon as you can. Spectacular.

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They open with a thumping Rolling Stones tom drum and Beach Boys harmonies, matched with what sounded like Eagles lyrics – “lines on the mirrors, lines on their faces…” They filter California sunshine through the drizzle of Britain, epitomised by ‘Eternal Optimist’, warning that despite a cheery outlook, “You might find yourself on the shelf.”

Along with a standard two-guitar/bass/drums set-up, they complete the instrumentation with a Hammond organ, which they use sparingly. Or maybe it’s just not turned up enough. In any case, they sound good – like homemade Houmous for your ears.

The singer wears black jeans and polo neck. Very 60s chic, which is slightly odd when you match it with 90s indie, much like a heavier Belle and Sebastien or Aberfeldy. The Kooks, effectively. Nonetheless, they are superb at the job of being musicians – faultlessly polite with the soundman, and good at promoting their Bandcamp – download some songs there.

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Run/Lucky/Free

Another singer dressed in black – this time in a t-shirt/dress and leggings, finishing off the look with a crucifix necklace. She has a stunning voice – enough bite to cut through the other instruments, but enough body to back it up.

Meanwhile, the band confound what at first sounds like standard 4-4 driving balladry with interesting instrumentation and occasional unusual time signatures. The drums are constantly in motion with snare paradiddles. Meanwhile the guitar produces beautiful, swirling tones. It sounds like Incubus at times, complete with all the inventiveness.

They present a compelling show – stunning female vocals and a rock solid backing. Look out for these.

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Mervin Gersh

A joyous, riotous racket. They look spectacular, mixing novelty porkpie hats, waistcoats, and what may have been intended to be a pirate headband, but instead looks positively Python-esque. The man who cannot be bettered is the trumpet player, resplendent in dinner suit, tartan bow tie and matching hankercheif. The dress is telling of their approach – they are a joy to watch as well as hear. They have clearly done their time in Liverpool pubs, and bring with them not only significant experience, but a sizeable following as well. The Scouser bonhomie is complemented with excellent promo work – look up ‘Home Again’ on Youtube.

Their sound is somewhere around ‘Smooth’ era Santana, but with more gay abandon. Even their tuning-up is more entertaining than most bands will ever be – the drummer and bassist have a jam, while the trumpet player tells a joke. You can’t help but warm to a band that would clearly be fantastic drinking buddies. On ‘Same Old Saturday’ they reveal their hometown roots – it sounds like ‘Love Me Do’ vs ‘Rocky Racoon’. If only The Beatles were this much fun.

To sum up, here’s some testimony from devoted fan Megan:

“A fuckin riot, tell it like it is la these guys know it f to the u to the n know it la and getting it on yeh lid like tell me ma omegad like its friction amazon go an buy their tunes like now or ill deck ya ma”

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White Heath

Suited and booted with intent. Their’s is a glorious menagerie of sound comprising super-fuzz guitar, violin, keyboards, trombone and our singer pounding the living hell out of a floor-tom. But, what gives effectiveness is the ability to drop the intensity in an instant – it makes the the loud bits louder and adds importance to vocal delivery. Indeed, the singer is replete with Mark E Smith gurning and intensity.

The real strength is the bits they don’t play – quite typically, only two of the many instruments on stage will be playing together. The space shows real confidence in the songs, and lets them breathe. It turns a standard delivery into a performance.

Also effective is the unpredictability of the songs – they seem positively schizophrenic at times. We waltz between lullaby and danse macabre, but they are underpinned by strong melodic themes, and this ties everything together.

An assured performance from a band that simply grows with every outing. You’ll be seeing them on Jools.

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To end the night, a final word from our sponsor….

Amazing Yorkshire lass, Laura: “This is my first experience of the Voodoo Rooms and being a true Yorkshire lassie, I am very impressed. Tonight I have discovered that Irn-Bru is the national drink and outsells coca-cola, it also is a delight with vodka. As I write this I am on m 5th and the E numbers are controlling my brains (yes that is plural, I am a clever girl!). Now I am enjoying the tunes and it is time to do some more spotty dogs on the stage! If you need me, I will be the nutter in the middle of the dance floor! Over and out from the Yorkshire girl! Big up the Yorkshire MASSIF!!!! “

A piercing vocal floats above dangerous sounding strums. These haunting, stalking almost-ballads are effortlessly evocative, calling to mind the desolate badlands of the Midwest. American Gothic, if you will.

A sharp dress code of sombre shirts completes the effect, and demonstrates the band making a real effort. None more so than in the front-woman, sporting thigh-high boots, spray on jeans and a tasselled jacket. She completes the look with a lazily hung Gibson SG. The SG was designed specifically to look great on female guitarists. On this evidence, they got it right.

It may sound odd to talk about appearance, but what the audience get is a complete experience. A scene is set, and characters are brought to life. Playing against this, the between-song beater shows real personality and ensures the audience warms to the players, and not just the characters.

As a final note, it turns out this was their first performance as a four-piece. You’d never have known. Ones to watch.

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Homework

A solo snare drum intro is joined by squelchy bass, and later vocal harmonies. The two synths centre stage give the impression of an electro act. But this is a rock band. If any proof were needed, our frontman grabs a tambourine and does Jagger proud. There is a great interplay on stage, as the band show they are clearly enjoying themselves.

Guitars and synths are used sparingly to build the sound. It moves from electro tinges to tub-thumping indie. And it’s all funky as hell. Words are spat out with intent. The drummer is spectacular – reminiscent of Friendly Fires, but arguably better. It drives everything forward.

Having played at the goNorth showcases and a Belgian festival amongst others, this four-piece is starting to create a stir. If their performance tonight is anything to go by, that stir is justified.

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Dead Boy Robotics

Beefy. Drums and vocals are in abundance. The three players face each other in a triangle, and batter the hell out of their various floor toms, keyboards and synths. There is a good measure of jumping around and posturing, and occasionally vocals are delivered with a petulant abandon that calls to mind Dananananackroyd. There’s no lack of commitment, which is obvious when they let rip.

Whilst the music is at times doom laden, almost like a dance requiem, the character of the band is betrayed by the tongue in cheek visuals backing them, featuring grainy, distorted clips from 80s action movies. Who’s have thought that Predator would go so well with grim, pulsing electro?

If anything, they could mix in more eccentric elements, and shoehorn in more hooks. But this is an assured performance from a band that continue to grow in stature in Edinburgh and beyond. Solid.

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Chris Helme

UK indie legend CHRIS HELME (THE SEAHORSES) headlines.  He’s the guy John Squire from The Stone Roses discovered and made frontman of The Seahorses in the late Nineties. He’s been doing his own thing since then and is a bit of an indie legend really!

Edinburgh songwriter CHRIS BRADLEY is the main support. He’s been identified as one to watch by The Sunday Times (‘a big talent in the making’), having toured across eastern Europe and also been an integral part of Edinburgh legends Aberfeldy. Chris will be performing material from his upcoming third album and some old favourites.

And Oban troubadour MIKE NISBET (‘incredibly graceful… Rufus Wainwright-esque’, Curious Joe blog) is on first, having blown Limbo away with the beauty and poise of his demo. He’s hardly gigged in Edinburgh yet but seems destined for much bigger things in the future…