Friday 19th July, 7:30pm, £7.50

Lisa Kowalski from Paisley has been performing and writing music for four years. In the early days of busking and Open Mics, Lisa asked for and took all the gigs she could get, put on her own multi artist Taylor Swift Tribute nights in Glasgow and Edinburgh and began to build up a reputation and support network. Performance highlights have included singing to 4000 fans at St Mirren FC games, owning the acoustic tent at Mugstock in 2016 and 2017.

“Kowalski has a lovely voice – soft and smooth, but capable of jumping up a gear and an octave at will”
“While the music is undoubtedly reminiscent of mellow tracks by Scottish songwriters such as KT Tunstall and Amy McDonald, there’s also small hints of country and Americana, and strong melodies throughout.”
– Rock and Roll Traffic

Russell Stewart draws on multiple soul influences and a singer-songwriter attention to lyricism to create his own brand of neo soul.

This ‘talented young Glasgow artist’ (Sunday Mail, March 2019) wows audiences whether solo or backed by full band. Intricate yet powerful vocals burst with emotion over high passion performances and stripped-back numbers.

Highlights of 2018 include performing at TRNSMT festival in June, supporting touring acts Wyvern Lingo at Stereo in March and Bakar at his sold out show in the Garage Attic in October, and recording and releasing a ‘Summer’s End Session’ video with full band. Russell rounded off the year with the release of his debut single Who Am I to You? and kicked off 2019 playing at King Tut’s New Year’s Revolution, supporting ST.MARTiiNS.

MALKA first made waves on the music scene as Tamara Schlesinger, the frontwoman of acclaimed alt-folk collective 6 Day Riot and also as a prolific songwriter. Her past work has been included in a host of high-profile syncs for TV series and Hollywood blockbusters – most notably Skins, Scream 4 and 127 Hours.
Now as MALKA – she weaves mesmeric percussive rhythms among a charge of irresistible call and response chants and instantaneous melodies. She explores a carnival of global sounds intertwined with an explorative affirming message.

“Each tune featured oozed plenty of pop goodness and at the same time they showcased Tamara’s sensational songwriting skills.”
– The music is my radar

Sat. June 29, 7:30 pm, £5 on the door

Josh Thorpe & his band + Dorothy Hale

Saturday 29th June, 2pm

Free entry

Tony Bevan – Saxophones, Flutes, Harmonicas

Alex South – Clarinet, Bass Clarinet

Daniel Padden – Percussion

Sway Wu – ‘Cello, Voice

Williwaw – Amped Uke

Saturday 6th July, 7.30pm

Tickets: £7 advance £10 on the door

OMA features members of Action Beat, Bad Body and helmed by the incomparable G.W. Sok, OMA is the second recording to be issued by Tombed Visions that is the product of experimentations generated at the legendary WORM Studios in Rotterdam. Moving from strafing, disquieting techno, impassioned spoken word and ghostly ambience, it is the brevity of OMA’s run time that marks its success as hallucinatory audial trip. LISTEN

Erasers are from Perth, Australia. The duo explore immersive, rhythmic and mood-driven music that sits between kosmische and post-punk in that sweet spot of mellow, vibe engulfed cool. Live, Erasers have honed and refined their sound, sharing the stage with like minded groups like Low, Grouper, Acid Mothers Temple, Prince Rama, High Wolf and The Soft Machine. LISTEN

STABLE has just released his 2nd album of 2019. The project ” is the result of my ongoing mental and emotional recovery found through sobriety and part of my process of coming to terms with my childhood sexual abuse and subsequent psychological upheaval. It’s presented without ego or any sense of elitism, fundamentally all that matters is that it’s a document exhibiting my love for a hideous noise and a filthy beat.” LISTEN

Otherworld is Kay Logan, a multi-disciplinary artist, instrumentalist and sound engineer from Airdrie, now living in Glasgow. Her guitar and bass work in sweaty, thrashing outfits like Herbert Powell and Anxiety are an inverse corollary to the curious tapestries in which Otherworld takes shape. The preternatural stylistic sensibility Logan exhibits in all of her work isn’t limited to sound, either – she’s a prodigious visual artist with the kind of signature sartorial sensibility that could launch a thousand ships, or lookalikes. Logan’s Otherworld project is a musique concrete excursion likely to appeal to fans of Zoviet France or Coil. LISTEN

Friday 12th July 8pm

Pandacar are celebrating their FIRST BIRTHDAY in July!
They’re throwing a PARTY in The Old Hairdresser’s AND YOU’RE INVITED!

With support from Quotes of the Dead and Peplo

Here’s the Facebook event page 
Here’s the ticket link 

Friday 26th July, 7.30pm

Tickets £6 advance or £8 on the door

Bursting forth in a riot of colour, Hairband are a new five piece group from Glasgow who, on their debut recordings, have distilled the joy and bittersweet trials of youth into 5 songs that bend to no rules but the ones they make up as they go along. Deeply immersed in their local DIY scene and featuring members of groups Spinning Coin, Breakfast Muff, Lush Purr and Kaputt, Hairband’s take on pop music is their own, so natural yet odd-shaped, carefree but meticulously constructed that it feels like no one has quite made music quite like this before, celebratory and joyful. Recorded in Glasgow’s famed Green Door Studios, and played in the moment, Hairband are life-giving. LISTEN

Joanne Robertson  has become known for the lyrical drifting beauty of her music. The two solo albums she’s released, The Lighter (Textile) and Black Moon Days (Feeding Tube), both been hailed as brilliant extensions of the avant-garde wing of the femme-folk tradition. But she is also a form-disrupter of the highest order, as she demonstrated early on with the Blood ‘n Feather collective, amongst other noise brigands. For these new shows, Robertson is playing in trio format with Jasper Baydala “KOOL MUSIC” on guitar and Paddy (from Manchester’s garage-space monsters, GNOD) on drums. The music incorporates some samples provided by Joanne’s sometimes-collusionist, Dean Blunt, which lend themselves to zoned improvs of a very high and sludgy order. The band will be presenting new compositions as well as new arrangements of older things, and about all you can expect, really, is the unexpected. LISTEN

2PLY are Mark Briggs (bass/vocals) and Eothen Stearn (drums/vocals). Looking to write songs with a mixture of optimism and sarcasm, on subject matters (such as Artificial Intelligence, the phenomena that is Hot Desking), that simultaneously interrogate and celebrate contemporary life.

Alfred Bellman is the solo project of original winning sperm and smack wizard, Waldo.

Saturday 3rd August, 8pm

Tickets £7 advance or £10 on the door

Spinning Coin Over the space of three years, two singles and countless gigs, including tour supports with Teenage Fanclub and Real Estate, Glasgow’s Spinning Coin have determinedly, and with single-minded purpose, made their music heard: beautifully rough-hewn guitar pop that takes in frustration, escapism, but also gracefulness and splendour, in equal measure. The five-piece now announce that their debut album Permo will be released on November 10th via The Pastels’ Domino imprint, Geographic Music. The fourteen songs on Permo trace all kinds of terrain, though the overarching story might be that of a group looking for escapism, somehow and anyhow, in the midst of a social and cultural climate that’s closing down possibilities for difference and community. LISTEN

Snout Excellent glam tinged folk from Cumbernauld, whose sound sits somewhere between Kevin Ayres, Supergrass and Animal Collective. LISTEN

Tarantula Total mayhem riffing and rhythms that discombobulate and undulate your appreciation mechanisms, with shrieking and zigzag acid song. LISTEN

Wednesday 24th July, 7.30pm

Tickets available from: comar.co.uk
£8 (full price)/£6 (concession)
Advised age restriction: 14+
Content Warning: Strong language, Graphic Violence, Sexual Assault, Mental Health &
Childbirth.

Andrea keeps getting asked if she’s ashamed. Is she ashamed of what she did to the soldier?
Is she ashamed of what she did to the baby? But Andrea’s not ashamed at all. And she
wants to tell you why…
A beautiful and breathtaking drama about one girl’s craving for family and home…and the
lengths she will go to achieve them. “She says I’m part of the family now.”
“Blessed are you, Lord our God, Ruler of the universe who has not made me a woman.”
ArtScroll Siddur, page 12.

•••

Performed by Flora Thomasson, in her debut professional performance.
Directed by Kate Stevens.
Produced by Comar.

Saturday 31st August 7pm

Thursday 20th June, 7:30pm

Suggested donation: 3£

Thursday 8th August 7.30pm

Get tickets HERE

Songs you’ve heard before but not like this. From Massive Attack to Lyle Lovett via
the Kinks and Talking Heads spiced up with haunting and exotic fiddle tunes, the
Riverman Collective is a three-piece from rural Perthshire mixing electric and
acoustic sounds to produce something unique.

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. 

—

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. 

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.