I keep forgetting how nice Mono is. Curled up in an oversized armchair (admittedly more for the sake of trying to hide how short my skirt is than for any kind of comfort) while cute, scruffy boys play some of my favourite records on vinyl; surrounded by fairy lights and familiar faces, this could be my living room in some more interesting dimension where I am way cooler than I actually am.

Tonight sees the first collaboration between Icelandic musician Benni Hemm Hemm and perennial blog favourites the Second Hand Marching Band. They open with one of his and it’s the one I really like, the one that sounds like a fairground ride – a sedate one, like a carousel, by the sea in summer – when Peter plays the trumpet refrain. Their voices meld together better than you’d think, you know: his Scandinavian burr; his broad, childish enthusiasm; like the left and right sides of some cosmic musical brain.

And then Sophie kicks on the drum and it’s the cue for everyone for him or herself – strings and brass and the melodic cacophony which makes this merry band such an entertaining live proposition. The songs seem to write themselves every time, but it must take some crazed genius to make the pieces fit together. Perhaps a little too much emphasis on new material, and set closer “A Hurricane, A Thunderstorm” gets the most enthusiastic reception, but a damn good show nonetheless.

Through one epic soaring chorus I try not to think about what is missing; and I look around this room and these people – some of whom I’ve known now for almost a decade – and how so many things have changed, but all we can do is stick together and love each other in our own muddled, messy way, as best we can. And then Karmen nudges me and points out that the “ohhh, ohhh” we’re hearing from the stage is already sketched on the venue’s ceiling, and I knock myself out of my melancholy.

Which is probably for the best, because Aidan Moffat is about to climb onto the stage like the world’s most articulate town drunk and announce that he feels like shite before he starts singing a song about people talking about wife swapping on This Morning. It’s actually the first time I’ve seen him live since Arab Strap’s farewell show, although I’ve loved his spoken-word stuff and last year’s How To Get To Heaven From Scotland album with The Best-Ofs. It’s mainly tracks from those that he plays here tonight, stripped down on omnichord and accompanied by acerbic banter. There’s an Arab Strap song too, one he can barely remember the notes for – which is fair enough, because it’s one of the first ones they ever wrote. “And it’s fucking miserable!” he announces. And, probably, about really seedy sex.

Tonight, however, is all about the launch of Music and Maths, the new EP from Burnt Island. They’re a band who have been on my radar a bit recently after we featured them on, uh, Under the Radar – and I’ve been exchanging emails with frontman Rodge Glass, whose work I’d come across previously as part of Roddy Woomble’s incredible 2007 Ballads of the Book project featuring collaborations between writers and musicians. I spent much of the night hoping that he would turn out to be the interesting-looking chap in cowboy hat and tartan trews, but sadly it was not to be.

Glass is one of those disgustingly talented types who never planned to establish himself as a musician, yet has fallen into his role of frontman with remarkable ease. A published poet (his most notable performance credit pre-Burnt Island was performing one of his verses alongside Vashti Bunyan as part of Ballads of the Book) and award-winning novelist, it is unsurprising that his compositions are lyrically haunting – short stories rather than three-and-a-half minute pop songs – full of complex metaphors and gorgeous imagery. His soft, down-tempo voice, wrapped around flautist Amber Comerford’s honey backing vocals, and understated melodies provide the perfect setting.

But there’s still a little flash of the showman in there – a wry smirk, a glass of champagne held aloft onstage. Though I’m too tired to stay until the end of the set, it’s very clear that this launch show is only the beginning.

Music and Maths is released on 15th March, and you can catch Burnt Island live on the following dates:

19th March: King Tut’s, Glasgow (supporting Emma Pollock)
24th March: The Forest Café, Edinburgh
26th March: Roxy Art House, Edinburgh (with Alan Bissett, Adam Stafford and The Kays Lavelle)

DOWNLOAD: Burnt Island – Timeless Colour
PREORDER Music and Maths from Chaffinch Records

I think I’m built to appreciate music that bit more when it’s live, as opposed to on record. I’m sure I have an Astrid Williamson album, somewhere, but I don’t think I was ever really that moved. So when I heard that she would be supporting Kathryn Williams at King Tut’s I wasn’t sure what to expect.

Certainly not this. Put it down to the long blonde hair, the rolling Highlands in her voice or the way the night sky seems to sparkle from her blouse, but I think she could be an angel. She actually mentions that her latest album, 2009’s Here Come the Vikings, is rockier than the songs we are about to hear her performed stripped down on intimate piano or acoustic guitar. Some of them are simple love songs, like lullabies and gingerbread: the stars are beautiful, and you could be my superman. But then there is “Eve”, from the new album: whispery, wicked, sulty; the soles of her shoes like the skin of snakes. At the end of her short set, on audience request, she picks up her guitar and rocks out as much as she can on “This Is How It’s Done”.

“This is a song by The Velvet Underground,” says Kathryn Williams, introducing one of her favourite covers. “I may not be transgender, but I can relate.”

Have you ever seen an eight-month pregnant woman balance a guitar on her bump and go for it? It’s an impressive sight to behold.

The first time I saw Williams live, as part of Celtic Connections back in 2006 or something with just her long-term collaborator Neil MacColl by her side, I was blown away by her fragility and Northern charm. This time she’s brought a full band on the road, the same team who put together and played on new album The Quickening, and they just about fill the stage with an array of impressive-looking instruments including squeezebox, vibes and hurdy-gurdy. “Surrounding myself with talented people in an attempt to look better,” she says in the cutesy, whispery voice with a touch of the self-deprecation that is part of her charm. Hearing “Wanting and Waiting” from the new album, I realise there is more than a little about her that reminds me of the Jane Horrocks character in Little Voice. “Cream of the Crop” is, in that sense, a “sultry lounge singer” moment – lyrics that raise a smile and an incredible vocal performance while vibraphone acrobatics behind her do much to create a big-band type sound.

But again, this is a vocalist who is a much more entrancing proposition live. There are more covers, unsurprising given Williams’ repertoire with previous cover albums (Big Star’s “Thirteen” features, along with “Beautiful Cosmos” by Ivor Cutler); and older songs too, like the delicate “Sustain Pedal” which creates a three-minute window of stillness and tranquility for an encore in the middle of the city. But it is on the new songs that this band comes to life, right from the get-go of “50 White Lines”. The album opener sounds incredible in this sitting, MacColl’s monotone counting sounding like a litany of painted road markings zipping past the windshield on a night drive through Birmingham.

BUY: The Quickening at Amazon.co.uk
DOWNLOAD: Kathryn Williams – 50 White Lines

You may or may not remember, but a little before Christmas I wrote a bit about Matthew Ryan’s latest album, Dear Lover. It got a bit of attention – not least because, uhhh, Matthew actually tweeted it. And usually when I get attention, it means I get free music.

Of course, with it being just before Christmas – and my first Christmas in retail since 2004, at that – actually finding the time to write anything about that music proved difficult. But this is when a phenomenon I have mentioned before, but never actually named – let’s call it iTunes Shuffle Roulette – comes into play. And this song comes on that you’ve never heard before, but it almost feels as if you’ve known it your whole life. And that song makes you want to jump and dance and scream and fight and kiss. That song comes close to being everything you love about music in three minutes of simple chords.

In this case it was “Sooner/Later” by Kasey Anderson, and I couldn’t believe I’d left it so late.

Nowhere Nights, the third album from the Portland-native singer-songwriter, is what he describes as his coming-of-age record, leaving behind the small community in Bellingham, Washington where he spent eight years. “Bellingham Blues” sums up his frustration, with its repeated motif – this ain’t never been my home – setting the tone for the rest of the album.

Nowhere Nights is the sound of escape from the smalltown blues. When it’s up (“All Lit Up”, “Torn Apart”) it’s like a freedom drive down some distant highway, the windows down and Born To Run blaring from the tape deck. When it’s down (“Home”, “Leavin’ Kind”), um, that’s probably a good description of it too.

Kasey Anderson is, I believe, just off the back of a tour with Matthew Ryan himself and if you like the sort of stuff that I like you will love this album.

DOWNLOAD: Kasey Anderson – Sooner/Later
BUY: Nowhere Nights from Red River Records

Also worth mentioning is Jonathan Barnes, whose bluesy, five-song Treatable EP is a gorgeous, low key treat for a late night or a laid-back, rainy Sunday afternoon.

DOWNLOAD: Jonathan Barnes – Swiftly Now
BUY: The Treatable EP from CDBaby.

And I suppose, if I’m writing about music… remember my cynicism about the so-called Hole “reunion”?

Well… I might have tickets to see them, and be ridiculously excited.

I mean, she’s even using the same logo.

I can’t help it. I’m going to be in the same room as Courtney Love. Fairywings and babydoll dresses at the ready!

There’s been a lot of local blog love for The Boy Who Trapped The Sun recently, which probably means that a bunch of us got the same press release. Still, when the music is this good, who’s complaining?

The Boy, or Colin MacLeod to his friends, spends his time between London, Glasgow and his home on the Isle of Lewis. His first album is due this summer, but before that first EP Home will be out on Chess Club before the end of the month.

It’s a gorgeous listen, reminiscent in parts of the americana and indie The Boy listens to himself but the EP’s title track has a warm, bouncy feel all of its own. He also cites “surfing and home and traveling and stupid stories you hear in the pub” as influences, along with the usual John Martyn, Bob Dylan, Elliott Smith and Wilco – plus “blues stuff” like Robert Johnson and Leadbelly.

“Seems that the Scottish scene is quietly buzzing at the moment, at least in Glasgow where I spend most of my time,” says the Boy. “DotJR, The Moth and the Mirror, Strike the Colours, Kassidy, Brother Louis Collective, Ross Clark, Frightened Rabbit etc… all amazing bands. I don’t know what it is about Scottish bands continually outsmarting and outplaying other bands around the country, in my opinion – it makes it quite intimidating really.”

As for career highlights so far? “There’s been a few, but I think having a chat with Bruce Springsteen after I just played the biggest stage I ever played was up there,” he says. I knew there was something about this kid that I liked.

You can catch The Boy Who Trapped The Sun on Saturday night at Tut’s supporting former Last Year’s Rave Lisa Mitchell, and playing his first full-band headline show at the Captain’s Rest on 16th March. I’m aiming to get to both, so feel free to treat me to an icy glass of water from the bar!

DOWNLOAD: The Boy Who Trapped The Sun – Lying To Get On Your Good Side
BUY: Home EP from Rough Trade.

You know it’s been a busy week when the announcement of a new album from that favourite band of mine draws no comment on this blog. I did, however, squeal in the staffroom.

Heaven Is Whenever, the fifth studio album from The Hold Steady, is set for release on 4th May (my dad’s birthday!) on Vagrant Records in the US and the day before over here – once again on Rough Trade. The album was produced by Dean Baltulonis, known for his work on Almost Killed Me and the sublime Separation Sunday, with a little help from the band’s own Tad Kubler – and sees piano and keys take a backseat to guitar following the departure of Franz Nikolay last month.

Singer Craig Finn says the album is about “embracing suffering and finding reward in our everyday lives,” which might sound like a downer to you – but I can hardly wait.

Tracklisting as follows:

1. The Sweet Part of the City
2. Soft in the Center
3. The Weekenders
4. The Smidge
5. Rock Problems
6. We Can Get Together
7. Hurricane J
8. Barely Breathing
9. Our Whole Lives
10. A Slight Discomfort

Tourdates? Well yes, there are a few – but none in Glasgow, as yet. Figuring this one out is going to be… interesting. See The Hold Steady on 22nd June at London’s HMV Forum, or on the 26th of the same month at Manchester’s Academy 2.

I’ve got a list of half-finished blog posts as long as my arm, so let’s make this brief and get it up before the end of the month. There’s a whole lot of loveliness going on in this latest playlist – more loveliness than I expected to find, actually.

Because Four Chords Won’t Do: last month’s mix, February 2010
1. Andrew Vincent: “Fooled Again”
2. Sam Amaidon: “How Come That Blood”
3. The Tallest Man on Earth: “King of Spain”
4. Lowlands: “Lately”
5. The Kills: “Kissy Kissy”
6. Shearwater: “Black Eyes”
7. The Unwinding Hours: “Knut”
8. Tyler Massey: “Dirty Little Secret Love”
9. Galleries: “+Danger”
10. Brown Bird: “Severed Soul”
11. The Cave Singers: “Seeds of Night”
12. Pedro the Lion: “Nothing”
13. Mumford & Sons: “Little Lion Man”
14. Barn Owl: “When Noone Is Around”
15. The Little Hands of Asphalt: “Oslo”
16. Withered Hand: “No Cigarettes”
17. Frank Turner: “The Road”
18. Frightened Rabbit: “Fun Stuff”

[ZIPPED .MP3S, RIGHT CLICK AND SAVE]

Monthly Most Played after the jump.

Monthly Most Played as of February 2010:
1. Marah, “Walt Whitman Bridge” [=]
2. The Gaslight Anthem, “High Lonesome” [=]
3= The Gaslight Anthem, “The ‘59 Sound” [=]
3= The Hold Steady, “Banging Camp” [=]
3= The Hold Steady, “Lord, I’m Discouraged” [=]
3= The Hold Steady, “Sequestered in Memphis” [=]
7. The Gaslight Anthem, “We Came To Dance” [=]
8. The Hold Steady: “Magazines” [7]
9= Marah, “Songbirdz” [10]
9= Marah, “Body” [=]
9= Uncle Tupelo, “Still Around” [RE]

I love this photograph way too much given that it is a) of me; b) of me lying on the living room floor essentially pretending to be dead.

Hey, has anybody got their eye on anything at Aye Write!, Glasgow’s book festival, which is on next month? Because, as much as I adore live music, I’m trying to make an effort to expand my cultural horizons – even if I have only managed a book and a half since the start of the year.

Oh, and so far, my only must-attend event is The Herald Debate on the Future of the Media:

There is no question that all media – newspapers and television especially – are going through great change with more to come: declining sales of newspapers and concerns about local coverage; the value of user-generated content; potential digital content charging; the decision on state contracts for regional television news; potential consolidation in the Scottish media industry following the Ofcom proposed loosening of media ownership restrictions.

Chaired by Herald columnist Ruth Wishart, speakers at the debate include managing director of the Herald, Sunday Herald and Evening Times newspapers Tim Blott, Mark Wood, former chief executive of ITN and Ofcom content partner Stewart Purvis.

It’s at 7:30pm on Tuesday, 9th March and tickets are available from the link above. With Scotland’s first online-only newspaper, the Caledonian Mercury, launching recently the debate is more timely than ever.

Other distractions: today, my good friends at We Sink Ships launch the second online exhibition in their “Elements” series. “Elements: Fire” combines twelve photographic collaborations with a new piece of music from Neil Milton’s beneath us, the waves project along with a poem by Rhys Baker. It can be viewed until 11th April at wesinkships.co.uk.

PS Day 6… and I’m haunted by the smell of coffee.

PS Day 4… I’ve just had a Lemsip. It’s not cheating if it’s still within the spirit of the project, and it’s not as if I enjoyed it!