Night Beats + Calvin Love | Stereo, Glasgow

PCL Presents
NIGHT BEATS
+ Calvin Love
Sunday 10 February
Stereo, Glasgow
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14+ ony (u16s must be accompanied by an adult)
DOORS 7PM
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Tickets are available 9am Friday 28th September from See Tickets or in store at Tickets Scotland
https://www.seetickets.com/event/night-beats/stereo/1268511
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Fronted by Texan native Danny Lee Backwell, Myth Of A Man is their fourth
studio album, and their second for Heavenly Recordings following the
release of Who Sold My Generation in 2016.

While Blackwell has always fed off the musical legacy of his Texas roots—Roky Erickson and
the 13th Floor Elevators, The Red Krayola, The Black Angels and more
paving the way for the the napalm-coated psych-rock headtrip of past
albums—Myth Of A Man has him pulling from the surrogate wellspring of
Nashville, Tennessee.

It was there that he worked with the
eminent Dan Auerbach, and a murderer’s row of battle-worn session
musicians—the combined weight of experience that comes from working with
every legend from Aretha Franklin to Elvis not lost on Blackwell. “I
was just humbled by being accepted,” he explains, “Big hearts all
around.”

In short, it’s an album that holds its own next to the
classics, less of the bloodshot acid trip of Sonic Bloom (2013) and Who
Sold My Generation (2016) here, Blackwell has recalibrated them, slowed
them down just enough and allowed them the space to breathe and exist as
something new. It’s the same book, just a different chapter. The moody
organ comps and slow stroll of the 12-string on “Her Cold Cold Heart”
evoke the noxious feeling and hypnotic state of toxic love, the spirit
of Bill Withers is flowing through the acoustic guitar and sun-soaked
shuffle of “I Wonder,” and string-trimmed ballads like “Footprints” and
“Too Young To Pray” evoke the imaginative, cowboy psychedelia of fellow
Texan, Lee Hazlewood. “Let Me Guess” with its searing riff and
Elevators-esque organ assures us that the scuzzy sound we know and love
is alive and well, while “One Thing,” a song about being used and
abused—or as Blackwell sharply puts it, “being rolled up and smoked”—has
plenty of fuzzed-out guitars to let us know he might just be happy
about it.