Support on the Pete Wylie show are a band from Scotland called The Filthy Tongues. Been trying to arrange a show for them since January. Took some getting sorted but they’re going to be here as support to Pete instead of the planned head line show but that one will happen next year now.
Martin Metcalfe, Fin Wilson and Derek Kelly were the core-members of Goodbye Mr Mackenzie, a stunning live band with Metcalfe resembling the MC of a debauched, vaguely gothic cabaret, which effortlessly churned out pop classics, sinister dark Blues and full-blown stadium-fitting anthems.
The core trio, along with the Mackenzies’ keyboardist and backing singer, Shirley Manson, evolved into Angelfish, ably aided and abetted by Talking Heads and Blondie manager Gary Kurfirst, and quickly established a hardcore following as the band appeared in both the UK national and US College charts. They recorded a well-received album in Connecticut with Chris Frantz and Tina Weymouth from the Talking Heads, and the video for the single Suffocate Me caught the attention of producer and musician, Steve Marker, who was actively sourcing possible lead singers for a new project he was working on with fellow musician/producers Butch Vig and Duke Erikson. The project was Garbage. Manson was lured from Angelfish to front the nascent Garbage and the rest, as they say, is history.
2016 and The Filthy Tongues are once more back to the original, ever-dependable trio, but working a revolving-door policy featuring various musical and literate contributors and collaborators. The new eight-track album finds The Filthy Tongues in familiar territory – highly literary musings on their hometown of Edinburgh, but also evocative of such celebrated US Deep South scribblers as William Faulkner and Flannery O’Connor, possibly why Nick Cave and The Bad Seed’s classic Delta-Blues First Born is Dead album comes to mind. But it’s definitely an ‘Edinburgh’ album, a journey through the dark, damp closes and stairwells of the Old Town and all that goes with it. It’s claustrophobic, and menacing with nary a glisten of sunlight, but it’s all the more compelling and captivating for that.
Martin offers this ‘The LP is pleasingly grotty and more than a bit gothic. All based around a dark neo-feudal Edinburgh’.