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Kenneth McMurtrie

Kenneth McMurtrie

Line-up Announced For Hidden Door 2019

 

Edinburgh's Hidden Door Festival has now announced the initial line-up for 2019.

Over four days & nights at the end of May/start of June you'll be able to experience the following in the iconic Leith Theatre:-

Thursday 30 May in partnership with The List, offers an eclectic opening night which makes a strong statement of intent to address the gender imbalance in UK music festival lineups, with a female-led roster of acts including Ray BLK, and universally acclaimed experimental pop duo Let’s Eat Grandma. Joining them will be rhyme-masters The Honey Farm, with Edinburgh’s underground, electronic duo Chuchoter and notorious Glasgow DJ Sarra Wild ending the celebratory bill.

Friday 31 May will see Hidden Door offer its first ever nine-hour show of seamless music from 6pm – 3am, bringing together some of the finest electronica currently being made in the UK with a live set from London-based George Fitzgerald fresh from his BBC Radio 1 residency, and Ninja Tune’s Nathan Fake taking us through til 3am alongside local duo Maranta and acclaimed producer and singer Kelly Lee Owens.

Saturday 1 June  - TBC but expected to be another nine-hour marathon of top quality tunes and Hidden Door surprises.

Sunday 2 June sees the hugely popular US phenomenon Cigarettes After Sex light up the main auditorium of Leith Theatre for one final night with their distinct brand of euphoric and atmospheric crafted songwriting.

We'll aim to keep you posted as further details are announced.

Physical Format-20190320

 

Flying Vinyl's October 2017 selection gets our attention this week. So far none of the discs I've decided to let go have had any attention on Discogs but lets see if they'll be gaining company in the inventory from this iteration of the column's inclusions. Or indeed whether I'm well behind the curve in not having played the best thing since sliced bread until now.

Black Honey receive the transparent pink (slightly bloodshot) treatment for their 7" of 'Bloodlust' and 'Ghost'. The A side's got a good bit of pace to it and so progresses at a good indie rock clip. The B side's an acoustic version of what is presumably an album track. As mentioned in a previous column the point of such versions escapes me and this is a bit dull on the whole. £18.70 seems to be the going rate on Discogs so will take a punt. The band's website show's they're set to tour the UK & Europe during spring 2019.

Horsey fetch up in transparent bottle-green vinyl. 'Park Outside Your Mother's House' starts off unpromisingly but after it initially blows up there's a bit more oomph to it. Gallon Drunk come to mind as it rolls to a close. 'Weeping' begins with a similar late-night, intimate jazz club vibe as the A side but again comes to life as it progresses before dribbling away at the end. Doubtful I'll be playing either side often in the future or getting owt else by the band but for now it's being listed for sale & kept. The group's Facebook page shows them to be active at the present time.
 
Brighton's brotherly duo Underwater Boys take up the third slot this time around. 'Everyone You Know' is earnest, yearning, synth-driven pop. Pleasant if a bit drippy. 'Bye & Bye' wasn't likely to be anything other than similar to the A side. No one seems to want it on Discogs though (last sale at time of writing was 50p in January) so it's into the flea market box with it. The pair's Facebook page shows they were active up until at least November last year.
 
No such fate for disc number four however. Given that she and her band are going from strength to strength it's almost redundant to write up Pip Blom's 'Babies Are A Lie'/'School' double A sider this far down the line. But here goes. Catchy, honest and jangly the first track has that quality of sounding effortless in it's composition & performance whilst 'School' deserves multiple repeat plays and is surely one of the best tracks of its kind produced in 2017. Debut album Boat is coming out in May and all the details of live shows etc. can be found here.
 
Last out of the box this time is Maddee from Toronto. Mention of R 'n' B in artist blurbs always makes me wary, given that my concept of it doesn't seem to tally with what's meant (i.e. I'm stuck in the sound of the '60s). 'Lost' though conforms to what I understand to be the current usage. It's a bit Lana Del Ray meets Sade. Wine bar background music - enough of a beat to provide pleasant noise but turn it one notch louder and the atmosphere's ruined. 'Weight' leans a bit more towards Sylvan Esso territory but on the whole there's no compelling reason for this to stay in my collection. Facebook shows Maddee is still active.
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