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The last track is arguably my fave on the record, I can’t get it out of my head, a mix of amazing soul samples keeping it old school hip hop with an updated oompth. Sage’s lines in this are flawless, and B bounces off him to reciprocate the high-level rapping skill with dexterity. Auris vermis level: 10
Which means the 21st last month marks my 6th year with the now-notorious Hellfire Club. And what a year it’s been, chiefly because we finally achieved our longtime goal of opening our own venue ‘The Ice Box’ which is sure to be a game-changer in Glasgow…
great art is a product of its time and that has to be taken into account, but also that doesn’t mean we shouldn’t discuss the problems with them.
‘Stay’ fades in slowly so you’re almost not sure if you heard those first few opening notes, but it builds and unfolds evenly as the song progresses. Again I have to note how impressed I am by the understate nature of these tracks, they just flow seamlessly from one to another throughout the EP and yet each track has its own little thing to say and do.
‘Don’t Miss What’s Right In Front Of You’ is very Parisian in terms of the sound, I think that might just be the choice of instruments, but I like it, it sounds inspired without sounding like the soundtrack to every french love story montage ever.
Adorned with poundland battery operated christmas lights, some tinsel, and a Santa hat that has SEXY embroidered around the white faux fur trim, they would be drunkenly shouting for SLADE or WIZZARD songs between trips to the toilet to take a drink from the bottle of vodka Sandra smuggled in.
You see, when we keep saying this isn't like any other place you've visited in Glasgow, we really mean it. It will take a wee while to fully set up, and no doubt we will change some stuff as we go on, but we don't just want you to visit us, we want you to stay a while, and bring the family.
Opener 2:32am introduces the theme of insomnia, referenced in the title. It begins with static, and the repeating tones and strange countdown of a numbers station, creating a feeling of paranoia, solitude and trepidation. The first beat blasts in over the samples with the assault of first-wave dubstep or lo-fi, underground trap, Meraki’s flow a devastating barrage of triplets, sometimes nasal and imperious, sometimes breathless and anxiety-ridden: “Welcome to the shit show, my life.”
I have been at it a long time now with various acts and the last Rats album was in fact the 13th I've released. I had the idea for Rats for a long time before I finally got the wheels in motion and formed the band.
The tone for the track is set from the get go. No need for messing around with turn arounds or fills, the piano and backing vocals are all that's needed. It's almost like Gordon needs his listener to be relaxed to enjoy this song. The piano is very mellow here, it does a great job of outlining the chords while a guitar is finger picked over it. The guitar isn't too sharp in the mix but you can hear it well enough, even in those magical moments when the keys and guitars line up to hit the chords on the same beats. Even the electronic drums contribute to how much of a relaxing experience listening to this track is. They're lower in the mix than a full kit might have been. In a way it's more important that the bass drum is felt rather than heard. It fits well considering the other instruments are being played around each other almost as much as they're being played with each other.