Another one of GoldMold’s Bloc gigs, this free mid-week matinee hosts yet another set of truly talented and eclectic Glaswegian acts.
First to grace the stage – for the very first time, since this is their first gig – is Sean Garrett’s Forehead.
Live, Garrett makes use of Cameron Orr on bass and Iain Stott on drums and what comes across is the musicianship, all three performers are talented and in sync.
For an act formed around the frontman, by the frontman, Garrett is not afraid to rely on the bass and drums, using his impressive guitar skills sparingly.
The opener is composed primarily of the rhythmic elements, with only occasional whips of psychedelic guitar lapping over the music.
Garrett’s diverse vocals go places they rarely go in the other act he fronts – Lovely Ladies, there is a more diverse and experimental approach in this band.
When Garrett does bring the guitar in fully, he delivers some profoundly technical and expertly effected noise – making use of his many pedals.
They blow the opening of their second track, but no one pulls the plug, starting again immediately and moving the punters with some funky, psychedelic rock wonder.
Throughout, the trio repeatedly impress with their way of doing things; although this band is in essence a session affair, it is evident that the band makes up more than the sum of their parts.
It will be interesting to see how future Forehead releases differ from, recent debut EP, Bedroom Tapes on account of the formation of this live band.
Headlining four-piece Yolo Manolo take to the stage, exhibiting a wide range of powerful sounds throughout their set – making wonderful use of every element at their disposal.
Their music is deep and moving, their three vocalists bringing about fantastic harmonies, which wallow lightly amidst the music.
Yolo Manolo is adept at harmonising, being sparing and utilising silence to their advantage, giving a very gentle and well-considered set; this is a tight band with a self-assured sound.
Much to the surprise of the audience, a fast and wild instrumental track makes flagrant use of the many pedals on stage, wowing whilst retaining the gentle, folky vibe of earlier tracks.
The band repeatedly delivers on a catchy musical hook before bringing the crowd into their last song, which is as lovable, elegant and original as the rest.
These two acts are perfectly well suited to each other, each is experimental, intelligent and talented; they are indicative of the softer rock germinating in the city at the moment – the only way is up from here.
Words: Paul Aitken
Photos: Gary Taylor
Rave Child 