Saturday 31st August 7pm

Friday 6th September

Tickets £12 advance or £15 on the door

ARMAND HAMMER are a New York-based duo, consisting of MC/producer ELUCID and enigmatic rapper Billy Woods, who explore the limits of experimental, abstract and fwd-thinking hip-hop.

The duo’s debut, Race Music, was released in 2013, garnering immediate and widespread praise. That album was quickly followed with an EP, Furtive Movements, in 2014, which brilliantly elaborated upon the duo’s sound and mission.

Despite burgeoning solo careers, both artists continued to collaborate over the following years by making appearances on each other’s work and performing together; but fans would have to wait four years for a new full-length: Rome. Released in November of 2017, Rome was met with effusive praise from both fans and critics alike. The duo doubled down, in 2018, with their next album: Paraffin. Like opposite sides of a coin, the two albums are connected, yet radically different in their design.

Rome and Paraffin have, since their release, given rise to a wave of critical acclaim that has cemented ELUCID and woods’s place as two of the most vital voices in the genre, and in music, today.

Listen / Watch

“…both woods and Elucid find themselves with few peers in rap today, each in the midst of a five-plus year hot streak that shows no signs of cooling down” – Pitchfork

“Armand Hammer’s Parrafin is a disorienting rap masterpiece.” – Stereogum

“Essentially pages ripped from the memoir of societies bleakest moments, told in the most abrasive way possible.” Sputnik Music, review of Race Music

Saturday 7th September, 8pm

Tickets £12 Advance or £15 on the door

Rhys Chatham is a composer, guitarist, trumpet player and flutist from Manhattan, currently living in Paris, who altered the DNA of rock and created a new type of urban music by fusing the overtone-drenched minimalism of the early 60s with the relentless, elemental fury of the Ramones — the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock.

Starting with Guitar Trio in the 1970s and culminating with A Crimson Grail for 200 electric guitars in 2009, Chatham has been working for over 30 years to make use of armies of electric guitars in special tunings to merge the extended-time music of the sixties and seventies with serious hard rock.

Parallel with his rock-influenced pieces, Chatham has been working with various brass configurations since 1982, and recently has developed a completely new approach to collaborations, improvised and compositional pieces involving trumpet through performances and recordings that started in 2009. Chatham’s trumpet work deploys extended playing techniques inherited from the glory days the early New York minimalist and 70s loft jazz period. Starting in 2014, Rhys has been touring a solo program featuring an electric guitar in a Pythagorean tuning, Bb trumpet, and bass, alto and C flutes.

Rhys was introduced to electronic music and composition by Morton Subotnick in the late 60s, and in the early seventies he studied composition with La Monte Young and played in Tony Conrad’s early group. These composers are, along with Terry Riley, the founders of American minimalism and were a profound influence on Chatham’s work.

Chatham’s instrumentation ranges from the seminal composition composed in 1977 entitled Guitar Trio for 3 electric guitars, electric bass and drums, to the epoch evening-length work for 100 electric guitars, An Angel Moves Too Fast to See, composed in 1989… all the way to Chatham’s recent composition for 200 electric guitars, Crimson Grail, which was commissioned by the City of Paris for La Nuit Blanche Festival in 2005.  A completely new version of the piece was commissioned by the Lincoln Center Outdoor Summer Festival in 2009. Watch a recent video of a 100-Guitar orchestra here

What does a composer do after mounting many performances with forces of 100-200 electric guitars? The composer gets back to basics, at least that’s what Rhys does! Chatham will be performing a solo program, an evening length work with the composer performing himself on electric guitar, trumpets and bass alto and C flutes. 

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We are excited that Cucina Povera will be performing this evening as well.

Listen to the new release HERE.

Zoom is a verité collection of situational recordings made by Cucina Povera – aka Finnish-born, Glasgow-based sound artist Maria Rossi – in intimate spaces full of acoustic or ideological intrigue, primarily using a capella voice. It is a document of different locations and moods that interested the recorder, a postcard look into the stream-of-consciousness processes of an artist developing her own language. Using little else other than a Tascam Zoom recorder and loop pedal these are highly personal recordings originally intended as notes for future compositions that ended up becoming the purest rendition of this first phase of Cucina Povera’s music to date. Originally presented as WAV files named simply ZOOM—, these on-the-fly compositions are a perfect distillation of Rossi’s practice. With no augmentation, not even a song-title, these bare, beautiful tracks become a materialist document of the wonder of the every-day. While Rossi’s previous album, Hilja, was a sculpted whole that at times used post-production techniques and electronic instruments, Zoom presents acoustic sound as a source of joy and discovery largely without artifice. Rossi’s voice is used a searchlight, shining into the crevices of a room’s dark corners, or as on ZOOM0005, projected into a Coke bottle aperature, for an almost Shakuhachi texture. Voice dissapates into texture, with rhythms created by simple hissing sounds and the interweaving of loops. ZOOM0001 interlocks 4 different a capella melodies to create a chorus, an improvised solo hymn that seems to rise and rise. ZOOM0010 uses staccato vocal bursts, like Meridith Monk huffing out Steve Reich rhythms, while the soloing Rossi expertly ducks in and out of the frame. Like the most celestial moments of her debut Hilja it is a religious experience but rendered more powerful in its naked, secular form. Indeed, there are shades of Hilja in the sounds, with some strains resurfacing from that album, insinuating that Rossi’s practise is a continuing form, a series of sentences in the artists’ personal language that mutate over time, bending into new shapes. On Zoom, Rossi’s minimalism is fully stark, a process fully transparent and all the more celestially powerful because of it. 

Tuesday 10th September, 7.30pm

Handle are back! High energy danceable rhythms from Manchester. Members of DUDS playing compelling riffs that are full of the things that made ESG so great; stripped down punk funk amazingness! Watch their The Artsy Vice Show session HERE.

Kurws are from Poland and play impossible post punk. They form, lose and cover their tracks. “Can you dance to this material? Of course you can, but it is not going to be either the well-remembered Tanz mit Kommune 1 or a clumsy dance with Colossus on clay legs. This time it is a dance on a volcano.”
Listen to their bandcamp HERE.

Always so great to have Vital Idles playing at the Old Hairdresser’s. Heavy doses of Flying Nun inspire this Good Press/Golden Grrrls conglomerate of art outsiders and aesthetes are primitive, whimsically brutal. Sculpting a skeleton from a body already lean, there’s a thrilling minimalism that runs through every beat and strum, a sparseness that feeds Jessica Higgins’s surreal, oblique vocal delivery all the nourishment it needs. Latest EP out now on Upset The Rhythm have a LISTEN.

Thursday 12th September, 7.30pm

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Super lovely Thursday show at The Old Hairdressers! We have…

Sparklehorse vibes from mi mye, popping up to see us from Wakefield.  WATCH

Folktronic fluffy man Granfalloon, riding the Pendolino from Manchester. WATCH

Opening for us will be aortarota, self-described “music project of a devil woman”. WATCH

Friday 20th September, 7:30pm

Alistair Griffin returns to Scotland for another intimate show with support from Glasgow singer Ross McGuire.

Back at the Old Hairdressers and sporting a particularly fine head of hair Alistair will mix banter with belters as he seeks out more stories on the road in what has become a famously interactive show. His songs have become the soundtrack to many a sporting summer most famously his hit Just Drive is the F1 theme on Sky Sports and last year he scored global recognition when the BBC used his version of ‘Only You’ to soundtrack the Royal Wedding.

Grab a ticket for a great night of music and entertainment.

Tickets >> alistairgriffin.eventbrite.co.uk

Facebook >> facebook.com/alistairgriffin

Twitter >> twitter.com/alistairgriffin

Instagram >> instagram.com/alistair.griffin

Saturday September 21st, £6 OTD

SWEET WILLIAMS (Brighton/Spain)
Sweet Williams is a band from Europe. They formed in 2010. Where Does The Time Come From is the band’s third album, their second with Gringo Records.

Sweet Williams are a deep and emotionally crushing vehicle. They have fat cyclical dirty bass. They have looping relaxed yet hefty drums. The bass and drums tie each other together. They sound like the backbone of an early ’70s gnarly road warrior band, recorded at Muscle Shoals, dashing through to the next show. The two guitars are played with a ‘3am, final drinks, get the hell outta here, the bell rung long ago’ touch. The two guitar’s strings are dragging the rhythm around like a worldly wise and weary puppet master might haul his charges around a seafront theatre. They pull the drums and bass apart, making them dance, they are playing in the spaces. This is a heavy record. In the same way a death in the family is heavy. In the same way a job redundancy is heavy. If you listen carefully it sounds like all the instruments were played by hand, no drum sticks, no plectrums. Like the sound is being channelled rather than pummelled.

Thomas House is the driving force behind Sweet Williams. He now lives in Zaragoza, Spain. He did live in Hastings, UK. He works behind the bars, he puts out records, he puts on shows. His bands have toured through Europe; Sweet Williams now, Charlottefield (Fat Cat Records) before. It’s Tom’s voice that you hear. Lyrical themes: Love, sex, dread, betrayal, injustice, death, the end of the world. Vocal style: Deep as hell feeling, dark as heaven vibe, the richest melody. This is music from the heart. It’s Tom on bass. It’s Tom on drums. It’s Tom on guitar. Sweet Williams had fallen apart due to life and the many rocks it throws. But lifers don’t stop, he recorded the whole thing himself. Ask him about it. Ask him about the new line up based in his new home town. They’re primed and ready to tour through to the end of the year. They’ve recorded the follow up to this record already, it’s called God Will Love You Now. Ask him about that. Ask him why everything almost sounds broken, from instruments to voice.

Where Does The Time Come From is out in September. Gideon Coe (BBC 6Music) has already played Ride A Gold Snail, three months upfront. And it’s no wonder. The tune is enormous. All ten tracks on this record melt you. Go walk your dog. When you get in, and while the satisfied hound sleeps at your feet, put this through your headphones. Decide to do more with yourself, do more with your close people. Decide to improve. Some records make you think, some make you act.

IRMA VEP BAND (Glasgow/Llanfairfechan/Manchester)
Rare full SIX PIECE performance for this special event. Class acts include Moema Meade on the bass, Andrew Cheetham on the pots, DBH on guitar and violin and Ruari Maclean on the axe shredding like fuck. Plus special guest appearence lets see shall we. Performing a smorgasbord of hits from the back catalogue plus newer stuff from the new album thats coming just you wait!

PEFKIN (Ayr)
Pefkin is the alter ego of Gayle Brogan, Ayrshire-based creator of slowly-unfolding, ritualistic psychedelic hymnals that draw heavily on the landscape and natural world. She uses layers of vocals, violin, analogue synth and zither, has received comparisons to Coil, Popul Vuh and Nico, and has performed at GI Festival, a symposium on alchemy in sound, on a remote Orkney island in a kelp-drying shed, Terrascopian Woolf festival and on Radio 3’s Exposure strand. She is also a member of Barrett’s Dottled Beauty, Electroscope, Burd Ellen and a sometime United Bible Student.

Spooked-out twilight listening that is both unsettling and compelling, drawing you into a private world. (Ed Pinsent / Sound Projector)
Something akin to what it must have been like hearing Nico’s ‘Marble Index’ when it was released; alien yet curiously familiar, beautiful yet stark, hypnotic yet troubling. (Grey Malkin / Active Listener)

Thursday 26th September, 

Doors 7.00pm Performance 7.30pm.

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A rare chance to join Scottish fiddler Adam Sutherland for a rollercoaster evening of charismatic storytelling and tunesmithery.   

‘A top class (and very, very funny) night out. Thank you!’

A compelling and engaging performer and storyteller, Adam will entertain you with a 50/50 mix of tunes and tales with a selection of his own music and engaging stories of his life and work with insights into his childhood home, his myriad influences and the intriguing people who have inspired him along the way.

Adam is one of Scotland’s most innovative and exciting fiddlers, tunesmiths and teachers, widely known for his high octane, captivating performances fronting his own band and with festival favourites Treacherous Orchestra, Session A9, Peatbog Faeries and Croft No Five as well as with daredevil duo ‘Nae Plans’ alongside Hamish Napier. Never afraid to wear his influences on his sleeve, his unique arrangements combine energy, inventiveness and craft to deliver frenetic Scottish reels, early 20th century jazz shapes and subtly Balkan diversions.  A prolific and talented composer, named Scots Trad Music Awards ‘Composer of the Year’ 2017, Adam’s tunes are played in sessions and on stages worldwide. 

“Sutherland performs with such warm, impish personality that it was no great task to soften the rather formal edges of the New Auditorium with his trademark melodic touch, fluid transitions between tempos, gift for groove and love of 7/8 time signature” – The Scotsman

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Friday 27th September, 7.30pm

Get TICKETS £12 Advance or £15 on the door

If there is any artist who could be considered as having followed a tangential path from Hendrix to Big Star to Spacemen 3, that would be The Bevis Frond…and that’s not hyperbole, the evidence is to be found in countless albums over 30 years of thrilling musical innovation that few have matched. Filtered through The Groundhogs, The Who, Neil Young, Captain Beefheart and Kevin Ayers, this is an iconoclastic collision of distinctly British psychedelia, space-rock, grunge, slow-burning soulful laments, even grizzled folk and more than occasional moments of sublime pop genius. Yet, he remains the best kept secret in Rock ‘n’ Roll – isn’t it about time you discovered one of England’s finest songwriters and insightful lyricists.

Listen HERE

The Bevis Frond is guitarist and songwriter extraordinaire Nick Saloman who’s prolific output has seen him hailed as “a Hendrix devotee ever bit as tough and contemporary as the serrated guitar chorales of Sonic Youth and Pixies” by Rolling Stone’s David Fricke and become a cult figure in his own right.
A labour of love and fiercely independent with an uncompromising vision under his own label Woronzow, Saloman is also ex-co-publisher of respected ‘Ptolemaic Terrascope’ psych magazine and owner of Sussex-based second-hand record shop. Revered by his contemporaries he has remained firmly on the periphery whilst being hugely influential.

Saloman has released no less than twenty-two albums under The Bevis Frond name with many collaborations and releases under various pseudonyms. Sounding as bracing today as he did then, he constantly writes with his musical journey beginning as The Bevis Frond Museum and later The Von Trap Family.

Following a motorbike accident that almost left him unable to play, he revived The Bevis Frond name using his compensation to set up a basic home recording studio. Armed with a four-track portastudio he began recording his completely self-made stunning debut ‘Miasma’.

The Bevis Frond have ultimately become the UK’s leading underground psychedelic rock band with supporters such as comedian Stewart Lee requesting them for his self-curated All Tomorrow’s Parties. Live, the line-up today includes: Paul Simmons (guitar), Adrian Shaw (bass, vocals), Dave Pearce (drums) and Nick Saloman (vocals, guitar and sitar).

Support comes from a rare Glasgow show for Smack Wizards and Disc Jockey Gerry Love!

Saturday 5th October, 7.30pm

Tickets

Regular Music presents…

So who is Ralph Pelleymounter? Who is the Dead Debutant whose Ball we’ve spent time within, travailing the multitude of aural textures; rock and pop, waltzes and jigs, blues and punk? Well, he’s the singer of To Kill A King. A worthy solo artist in his own right. A purveyor of magic. Sometime lobster fancier and the most underrated songwriter within British music today.

Support from Charlotte Carpenter

Tuesday 8th October 2019, Doors 7.30pm

Regular Music presents

Jesse Terry, Emma Stevens and Martha Healy

Tickets £12.50 (stbf)

Over 18’s Only. General Admission

Tuesday 15th October, 7:30pm

Cleo is a strange girl.

Happy at home. Happy at school.

So what’s her beef? And why the graffiti?

A new piece of writing by Hags Ahoy theatre company, concerned with class, education and social mobility.

hagsahoy.com

Saturday 23^rd November

Doors 7.30pm – Start 8.15pm

Join us for our double-set, headline show.

THE SUBSTITUTES are a Glasgow based “sound-a-like” tribute to the classic UK rock band THE WHO, aiming to replicate their instantly recognisable and iconic live sound, bringing to life the legendary “Tommy” and “Quadrophenia” albums and the usual live favourites you’d expect…as well as few other classic Odds and Sods…

SET 1: The Substitutes will be debuting our Quadrophenia set, featuring the albums most iconic tracks, including “The Real Me”, “Cut My Hair”, “The Punk & The Godfather”, “I’m One”, “I’ve Had Enough”, “5.15”, “Sea & Sand” and “Love Reign O’er Me”.

SET 2- A full hour (at least!) of classic hits from The Who, including “I Can’t Explain”, “Substitute”, “Who Are You?”, “Baba O’Riley”, “Won’t Get Fooled Again” and “My Generation”