Skip to main content

The Nectarine No 9

Rutherglen Town Hall
Five stars

By opting to reconvene after a decade to perform their 1995 Saint Jack
album in full, Davy Henderson's Edinburgh-sired guitar auteurs The
Nectarine No 9 proved themselves as maverick as the End Social
programme that hosted them to remind the kids where their new pop idols
learnt their chops. With the final Nectarines line-up having morphed
into the still utterly essential The Sexual Objects, it wasn't that
hard to round up the troops to recreate Saint Jack's poundingly dark
mix of skewed rock and roll eclectica. Ever the conceptualists,
however, Henderson and co don't do things by rote.

With the opening screening of silent movie, Death of the Kelly Family,
mutating into a Stan Brakhage style abstraction, Douglas MacIntyre
strikes up a garage-band bass-line before drummer Ian Holford comes on
sporting raincoat and boxer shorts. Holford remains standing to take
lead vocals on the magnificently named Couldn't Phone Potatoes as
Henderson and guitarists Simon Smeeton and Graham Wann wander on.

Unlike similar work-outs by more lauded acts, what follows accentuates
the album's multitude of subtleties or else reinvents the songs
entirely. Can't Scratch Out, an insistent jab of a song on record, is
helmed in by a complex and restrained arrangement and a whispered vocal
more resembling something by Sam Prekop. The emotional purging of
Unloaded For You becomes an appositely jaunty number recalling
swing-era Subway Sect.

Poet Jock Scott's contributions are heard from the ether, while the
instrumentals sound like twitchily inventive pre-cursors to what we now
know as post-rock in a thrilling reminder of why The Nectarine No 9
were and still are one of the most important bands alive.

The Herald, June 9th 2014


ends

Comments

Popular posts from this blog

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Billy Elliot The Musical

Edinburgh Playhouse Five stars A big National Coal Board sign looms large at the opening of Lee Hall and Elton John's decade-old musical stage version of Hall and director Stephen Daldry's hit turn of the century film. In a tale of one little boy's liberation as a dancer against the backdrop of the 1980s miners strike, however, the Durham Miners banner and the 'Save Our Community' sash held aloft matter more. It is this call to arms that forms the heart of Daldry's production, as Billy becomes a potty-mouthed beacon of hope in a situation where picket line, thin blue line and chorus line rub uneasily up against each other. Given such a context, there is bound to be some pretty grown-up stuff going on here, be it the institutionalised homophobia in Billy's village, the class war going on within it, or Billy's grieving for his dead mother that drives his every move. And, as so magnificently choreographed by Peter Darling, what moves they are. Watch...