I Biffy Clyro Barrowland. Glasgow. 19 Oct. Angular and spiky Ayrshire trio continue their ascent to the rock heights.
I Sarah McLachlan Usher Hall. Edinburgh, 18 Oct; Royal Concert Hall. Glasgow. 19 Oct. SOLD OUT (19 only). Grown-up. atmospheric folk-pop from Canadian chanteuse wrth a great track record.
I The Zutons Barrowland. Glasgow. 21 Oct. Mercury- norninated, sax-Wielding scooser loons do their ramshackle thing.
I DON’T MISS
I Dizzee Rascal Carling Academy, Glasgow. 22 Oct. Crown prince of UK garage back with brilliant second album.
I Kate Rusby Usher Hall. Edinburgh, 23 Oct. Finest of English tolk from the ringlet-trussed siren. I HIM Corn Exchange. Edinburgh. 23 Oct. Slick but miserable goth metal all the way from Finland.
I Scissor Sisters Corn Exchange Edinburgh. 24 Oct: Barrowland. Glasgow. 25 Oct. SOLD OUT.
I The Darkness SECC. Glasgow. 26 & 27 Nov. SOLD OUT (26 only). Cheesy. camp and hugely enjoyable. the new Queen hit town again.
I Rufus Wainwright Usher Hall. Edinburgh, 27 Oct. Lush and opulent singer songwriter pop from downbeat solo dude.
I The Rasmus Corn Exchange. Edinburgh, 27 Oct. Chart-topping Finnish goth-pop. all eye shadow and teathers-in-the-hair.
I The Black Keys Garage. Glasgow. 29 Oct. Oddball lo-ti duo of college drop-outs from Ohio.
I Hoobastank QMU. Glasgow.
31 Oct. GIOSSy alternative rock from well-groomed American outfit.
20 THE LIST Set“ ' O “. '
He may have effortlesst filled the dancefloors all this year but his ambitions lie way beyond Clubland. Johnny Regan uncovers the MYLO master plan.
_\lo‘s ‘l)rop the Pressure is the detining dance track ol' the _\ear. l'nderstated. tank} and \er)‘ much ol its time. it does something that all great records do: it reminds us that musical \ltlc\\’tt_\s steps are more exhilarating. it less rare. than progressive ones. l'ntil recentl). it had seemed de rigueur to expect cultural upheat'al with escry albtnn release. The ‘10” Best' frame of mind. l'ostered mainl} by those pesky hacks at Q maga/ine. had instilled an titer-expectant iitteriness in the listening public. and the manilestation ol this was the emergence ot' a number of bands taking llk‘lttsc‘ch‘s
just a little hit too seriotisl}; Thank
goodness l‘ot‘ .\l)lti (AKA .\l_\'lcs Machines). then. an artist and producer with his tongue jammed tirmly in his cheek. and one in the ascendanc). with his respected [his/mt Rock 'n 'Rul/ album. Anyone who has checked .\l_\'|o otit live over the last year will attest to the tact that his lL‘L‘ltllU and electro sotllltl has come ot' age. This month he takes his show on the road. and it‘s a small tour surrounded b} big anticipation. :\ll signs point to huge success tor the inner llebridean.
l-‘or Mylo. the current progression from club to concert Venue coincides with the 'l)rop the Pressure" graduation from specialist to mainstream pla} on most ot' the big radio stations. It‘s a progression that isn't lost on the Sky-born production genius. When asked it‘ the .lo While)" effect has impacted on his career. he's characteristicall} honest: ‘I ITC\ er noticed how signit'ieant a step it was to get daytime pla} instead of specialist pla}. It's an uphill struggle it
‘THE RADIO EDIT IS PRETTY DIFFERENT; THERE'S NO BREAKDOWN OR SWEARING'
_\ou‘re doing an underground dance thing. so it‘s great to get that kind ot' airpla}. l'\e been top 20 in Belgium and Holland. which has been great. btit it seems to be coming together here now.'
\Villl success colllcs sacl'il‘icc. or. compromise. 'l‘he at‘orementioned single. with its unretnitting retrain ol' ‘.\lothert'uckers gonna drop the pressure'. has had to be toned down tor the genteel British bublic. :\lso. the tracks killer breakdown has been edited almost to nothingness. presumabl} in an attempt to make the track more immediate. Ansone who‘s heard the original or album \ersion can judge tor lltc‘lllsclVCs which is superior. but to sa_\ that the original track lacked iminediac} is disingenuous. .‘\l_\lo gi\es his \iew on the alteration. and
at the least.
on the success ()l. [llc single in general: 'lt went top 21) in other liuropean countries with the ‘mothert'uckei” thing in it. People were encouraging me to do the whole thing again with dilterent words. but that would ha\e been sill). The radio edit is prett} dit'lerent: there's no breakdown or swearing. l personall} think that the breakdown is central to wh) the song works. bill I still think it sounds good. I suppose the most important thing is it has been recei\ ed well so i'ar.‘
As he mmes t‘urther into the untorgiting light ol widespread appreciation. .'\l_\lo emerges from the cocoon-like club scene and prepares to make the hill transition into gig-plat) ing music artist.
King Tut’s, Glasgow, 26 Sep; the Venue, Edinburgh, 24 Sep.