El Rancho begins a new monthly residency at BLOC POP UP in the trendy ‘Finneston strip’ in Glasgow’s west end this week. This Friday 1st Novemberand on the first Friday of the month head honcho Jnr Crawford AKA Skinny Maradona playing dusty records from his collection and freshly ripped, future classics!
9pm- till 1am. Bloc Pop Up, 10 Claremont Street, Glasgow.
The Roves kick off the first leg of their European tour with Nick Waterhouse tomorrow night in Antwerp, Belgium. They roll onto Tourcoing, Paris, La Rochelle and into Santander, Madrid and Barcelona! God bless you Europe, we hope this isn’t the last time we move freely within you.
Tomorrow Syndicate send outer limit vibes throughout Edinburgh’s Voodoo Rooms tonight 24/11/19 before they play their first show in Glasgow since early February. Get ready to see the roof raised from Mono Cafe Bar on Friday 25th November.
Still to catch the band live? Don’t miss out, this will be epic!
We’re dropping another future pop classic on you this month with the release of The Lawnmower‘s new single ‘The Pleasures of the Table’. Out as a postcard single and download this week on 18/10/19 available from elranchorecords.bandcamp.com.
The Lawnmower is the songwriting duo of Conor Coogan and Thom Querns. Formed between them,
the project sprung from a mutual interest in lyricism and song craft – with more than a nod to the works of
Prefab Sprout, Steely Dan, The Blue Nile, Wally Badarou and Peter Gabriel in their writing and performing
Lawnmower’s second single release ‘The Pleasures of the Table’ recounts a tale of desire and disap-
pointment. Exciting planning for the most lavish and complex meal in the world leads ultimately to re-
gret, ambition falling short of delivering a longed for human connection. A meditation on gastronomy
where, in the end, the most lacklustre pleasure is the people gathered for the meal.
Lawnmower’s songs explore themes of human frailty – pride, ego, epiphany, disappointment – weaving
sophisticated vignettes and crafting them within carefully constructed conceptual pop. They possess a
thoughtful grasp of the pitfalls of pride and ego and a snazzy line in gloriously catchy pop-hooks. The
live performances, led by the clear, rich vocals of Coogan and underpinned by some impressive guitar
playing by Querns, are packed with musical souvenirs that reverberate with empathy and humour.
Precocious and cerebral, the elaborate writing and aesthetic ambitions of The Lawnmower demonstrate
the emergence of a distinctive new voice in the Glasgow’s always fertile unground scene.