Another goth show, another great multi-band presentation in
Scotland.
Frank from Flag Promotions called his eclectic four band line-up a goth mini-festival in his pre-publicity, and in reality this show was probably the closest there will be to a goth fest in Scotland this year. The Classic Grand’s main room is tucked away on the top floor of what was originally a Victorian warehouse in downtown Glasgow but for many Glaswegians the building is still best remembered as a 1970’s porno cinema, so a more than suitable venue for what The March Violets’ Rosie Garland would describe as a “celebration of weirdness” on their return to the establishment.
And who better to kick off the evening – or indeed any goth gig - than Scotland’s own Gothzilla, the “goth and proud” duo whose The Sisters of Mercy inspired songs like Cast No Shadow feature anthemic choruses over an industrial groove machine of a sound. As ever, frontman Tim’s pitch perfect vocals are matched by his infectious enthusiasm, and he again manages the impressive feat of cajoling the increasing crowd of po-faced goths (having taken to the stage not long after 6 p.m.) into engaging in some audience participation on traditional set-closer Temple of Sound.
Next up were Bristol three-piece Naut, who have established
themselves as one of the most exciting new bands on the goth/post-punk scene since
the 2016 release of their first EP Raise the Lights, thanks in part to the
success of last year’s wonderful 'grower' of a debut album, Hunt, which featured heavily in the setlist
for this, their debut Scottish gig. Bringing a distinct rock element to their drum-machine gothic post-punk, Naut both look the part and can deliver a powerful
live experience, although sadly on this occasion a poor sound mix affected the
overall impact of their performance by reducing the subtlety and complexity of
songs like Unity of Opposites and 8 in 3 to a mushy cacophony. However, there was fortunately
no doubting the dark, brooding intensity of songs like Dissent and Nightfall
which have the driving power of early Red Lorry Yellow Lorry or more recent
late-lamented acts like Terminal Gods. With a strong stage presence to match
the quality of their songwriting, Naut are probably the current British band
most likely to experience sustained success overseas, on the evidence of this gig, their
first sojourn north of the border.
Also making their first Scottish appearance a mere 45 years since forming were fellow English band 13th Chime. I must confess to my eternal shame that despite being an avid follower of the positive punk scene at the time, the Suffolk/Cambridge band completely passed me by during their first recording incarnation between 1981 and 1982, and like many goth fans around the globe I only discovered them thanks to the Sacred Bones re-releases fifteen years ago, which in turn prompted frontman Mick Hand to relaunch the project. During the Glasgow set Hand and the band showcased songs from their entire history, including Interviewing Time and Reality from their 1979/1980 phase as punk band The Antix, before the name and stylistic change of the 13th Chime era. By 1981, PIL, Killing Joke, UK Decay and others had shown that there was life beyond three chords and simple rebellion, and the genre-defying and much sought-after first two 13th Chime singles, Cuts of Love/Coffin Maker and Cursed/Dug Up are played in full tonight. With their spooky ambiance and lyrics, dubby krautrock groove and deadpan vocal delivery, the overall effect is not entirely dissimilar to the sound with which Alien Sex Fiend would later become major players on the scene. Hearing them live in 2024, with those tinny early studio versions magically metamorphosing into muscular grooves, 13th Chime are a powerful and highly enjoyable experience which will hopefully be returning to Scotland before another 45 years have elapsed!
13th Chime
By way of contrast, headliners The March Violets had played Glasgow as recently as last year (a gig with Vision Video at King Tut's, which was also reviewed on this blog), and although many features of that gig – the malfunctioning drum machine intro to opener Crow Baby, the joyous and well-deserved final encore of Snake Dance, Rosie’s imperious stage personality and strong vocals, and Tom’s alchemic guitar contribution - were once again present, there were a couple of major changes, with William Faith being replaced on bass/backing vocals by the returning Mat Thorpe, and a clutch of very well-received tracks (of which Headed For The Fire was the undoubted highlight) from the very impressive new studio album Crocodile Promises inserted into the setlist. The band rattled through a fast-paced set which understandably drew heavily on the classic early singles, although the title track from Made Glorious also made a welcome appearance.
Bandcamp links:
Original design March Violets t-shirts by Si Denbigh
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