RANDOLPH’S LEAP-REAL ANYMORE.
RANDOLPH’S LEAP-REAL ANYMORE.
Randolph’s Leap who recently released their mini-album Real Anymore on Olive Grove Records, aren’t like any other band. Not all. After how many bands describe themselves as a “Glasgow-based figment of your imagination?” Well, Randolph’s Leap do. This adds an air of mystery to the Glasgow-octet. It also hints at a band who don’t take themselves to seriously. Another description of Randolph’s Leap are purveyors of pop perfection.
Ever since 2008, Randolph’s Leap have been winning friends and influencing people with their unique fusion of indie pop and folk. Spreading hooks and happiness in equal measure, Randolph’s Leap are part of this new generation of Scottish bands. Randolph’s Leap are just the latest keeper of Scottish pop’s flame. They’re no ordinary band though.
Don’t expect banal, bubblegum pop from Randolph’s Leap. No. Instead, their music is witty, acerbic, intelligent and articulate. That describes the music on Real Anymore, Randolph’s Leap’s debut mini-album. Real Anymore, features seven songs, which are the perfect introduction to Randolph’s Leap, whose five-year career I’ll tell you about.
It was back in 2008, that Randolph’s Leap formed. Based in Glasgow, Randolph’s Leap are no ordinary band. No. They incorporate strings and horns into their sound. This is perfect for their unique brand of pop and folk. The lineup features a rhythm section of drummer Iain Taylor, bassist Vicki Cole plus Adam Ross guitarist and lead vocalist. Strings come courtesy of violinist Heather Thikey and Andrew McLellan on cello and guitar, while Ali Hendry plays trumptet and Fraser Gibson trombone. That’s the lineup of Randolph’s Leap that’s spent the previous five years charming and winning over audiences all over Britain.
Having spent two years traveling all over the country honing their sound, Randolph’s Leap headed into the studio to record their debut E.P. Battleships and Kettle Chips. Released on Olive Grove Records in 2010, indie pop and folk met head on. Battleships and Kettle Chips was well received by critics, introducing Randolph’s Leap to a much wider audience. After the release of Battleships and Kettle Chips, Randolph’s Leap didn’t release any more music until 2012.
After not releasing any music for two years, 2012 saw a deluge of music from Randolph’s Leap. They released their debut album And The Curse Of The Haunted Headphones, in February 2012. Released on the Peeko label, And The Curse Of The Haunted Headphones featured seventeen tracks. Again, indie pop and folk melted into one. Critics loved And The Curse Of The Haunted Headphones. Randolph’s Lead were quickly won over, including a whole host of fans within the media.
As Randolph’s Leap headed out on the festival circuit, they released Introducing Randolph’s Leap in July 2012. This was perfect for those unfamiliar with the “Glasgow-based figment of your imagination.” Featuring twelve tracks, plus as a bonus, The Way Of The Mollusc E.P. Best described as a beginners guide to Randolph’s Leap, this was perfect for festival goers who hadn’t encountered the charismatic Glasgow band, who were quickly, gaining a reputation as prolific songwriters.
In September 2012, fans of Randolph’s Leap welcomed the release of their min-album As Fast As A Man Can Run. Featuring a handmade cover, the nine songs on As Fast As A Man Can Run were another tantalizing taste of what Randolph’s Leap were capable of. Having released an album and mini-album during 2012, Randolph’s Leap round 2012 off by releasing their Hermit E.P. on Anstruther-based Fence Records. 2012 had been a hugely important year for Randolph’s Leap.
Not only had Randolph’s Leap released an E.P, mini-album and album during 2012, but had continued to spread of the band’s unique fusion of pop and folk far and wide. They were playing at some of the biggest festivals in Scotland. Audiences at T In The Part, Wickerman and Celtic Connections all were introduced to the music of Randolph’s Lead. Gradually, this “Glasgow-based figment of your imagination” were making their presence felt.
Just like 2012, Randolph’s Leap have hardly stopped. In February 2013, Randolph’s Leap headlined a show at the Queen’s Hall, Edinburgh. Then Randolph’s Leap recorded two sessions for Marc Riley’s Radio 6 show. He’s been longterm supporter of Randolph’s Leap, and helps spread the Randolph’s Leap gospel. Then there’s the usual round of festivals and concerts, plus two recording sessions.
The first of these was for the Furtive Glances E.P. which Randolph’s Leap released in April 2013. This was a limited edition release, featuring six tracks. Released on the Peenko label, it seemed that with every release, Randolph’s Leap were improving as a band. They were maturing as songwriters and musicians. Effusive praise came Furtive Glance’s way, as they headed out for the summer festival season.
With the festival season but a distant memory, Randolph’s Leap headed back into the recording studios. They’d rereleased The Curse Of The Haunted Headphones and As Fast As A Man Can Run as a compilation. That would keep fans of Randolph’s Leap occupied until they recorded their next mini-album, Real Anymore.
Real Anymore features seven songs, which were written by guitarist and lead vocalist Adam Ross. Producing Real Anymore was Pete MacDonald. Once Real Anymore was recorded, it was released on Glasgow-based Olive Grove Records, who specialize on releasing music by unsigned artists. Maybe after Real Anymore, Randolph’s Leap won’t be an unsigned band. Will that be the case?
Opening Real Anymore is the understated Conversation, which features lyrics that are cerebral, articulate and melancholy. They’re also cutting and acerbic. The song’s the response to a relationship gone south. Just an acoustic guitar accompanies Adam Ross’ wistful vocal. If there’s one thing worse than a woman scorned, it’s a singer-songwriter scorned.
It’s as if that now Adam has gotten Conversation off his chest, Randolph’s Leap can kick loose on Real Anymore. Driven along by a pounding rhythm section, bursts of blazing horns and searing, screeching guitars, Randolph’s Leap get down to business. Adam’s vocal is questioning, probing and wondering. Singalong harmonies drift above the arrangement philosophizing what’s real anymore. Hook-laden, infectiously catchy and with philosophy thrown in free, what more can you ask from Randolph’s Leap?
Psychic is a like a kitchen sink drama put to music. It features some of Adam’s best lyrics. It’s a moral dilemma that’s a reflection of 21st Century society. After going to the bank; “to ask for a loan…they say will you leave us alone,”Adam’s ends up working as a telephone psychic. With just strummed guitars, rhythm section and harmonies for company, Adam tells us: “it’s not an exact seance.” As a bass prowls along the arrangement, a reflective Adam thinks about his actions. “I didn’t know what I was doing, the trouble that was brewing.” A kitchen sink drama Randolph’s Leap, it’s best described as variously witty, full of pathos and sadness.
Nature is an upbeat, jaunty track that breezes along. Drawing inspiration from the Teenage Fanclub and BMX Bandits, Randolph’s Leap are keepers of Glasgow’s pop flame. Joyous describes Adam’s vocal, while indie drums mark out a 4/4 beat. Along with jangling guitars and washes of keyboards, slick poppy hooks and poetic lyrics play their part in this delicious slice of pop perfection.
Winceworthy sees a return to the understated sound of Randolph’s Leap. This is no bad thing, as you listen intently to the lyrics. Just like the previous tracks, they paint pictures, pictures that unfold before your eyes. Here, it’s like a tragi-comedy. As Adam describes dancing in the disco, falling outside and “hitting the tarmac hard,”there’s a a sense of pathos. Adam’s tender, fragile, vocal, sounding not unlike Douglas T. Stewart, of the BMX Bandits. Mostly, it’s just an acoustic guitar that accompanies his wistful vocal, before melancholy horns add the finishing touches to this three-minute tragi-comedy where Douglas T. Stewart meets Tom Waits.
As Adam strums his guitar and deliberates, you realize what’s about to happen. Technology literally explodes into life. What follows is a fusion of rock ‘n’ roll, rockabilly, pop, pub rock and punk. Adam literally pogoes his way through the track. Driven along by the bass, drums pound and stabs of piano as Adam ensures the song swings. Bursts of braying horns and pizzicato strings join singalong, punk-style harmonies. When Adam’s charismatic vocal is added to the mix, the result is a joyous, rousing, anthemic track that’s sure to be a festival favorite.
Indie King which closes Real Anymore sees Randolph’s Leap unleash their acerbic wit. It’s one the highlights of Real Anymore. That’s down to the lyrics, which poke funs of the pretentiousness of indie music. A myriad of beeps and squeaks give way to an almost funky rhythm section and keyboards. Having set the scene, Adam with his tongue planted firmly in his cheek, sings of meeting the “Indie King…and kissing his feet.” Later, as he refers to indie vocalists with lisps and bands playing gigs in libraries, it’s obvious Adam is an astute people watcher with no time for pretentiousness. From there, they unleash a veritable cornucopia of hooks. Joyful, singsong harmonies and rasping horns. They join Adam as he firmly refutes the accusation that they’re twee. They certainly aren’t. That’s why I suggest Randolph’s Leap call their next album ‘You’ll Have Had Your Twee?”
Just seven songs and twenty-five minutes long, Real Anymore, the latest mini-album from Randolph’s Leap features a band more than ready to make the next step. Indeed, Randolph’s Leap are a band with a big future ahead of them. Randolph’s Leap are more than ready. They’ve spent five years honing their sound and have established a reputation as a tight, talented band. To do this, they’ve played concerts and festivals up and down the country. However, Randolph’s Leap don’t seem in a hurry to make the next step, which is signing to a much bigger label. Randolph’s Leap seem determined to do things their way. That’s no bad thing. Bands like Belle and Sebastian, The Blue Nile, Teenage Fanclub and The Pastels have done things their way, and enjoyed a successful career. These bands demonstrate that this is possible. No longer do bands have to head to London to make the next step. Far from it. Glasgow’s music scene is truly thriving. Randolph’s Leap are just the latest keeper of Scottish’s pop music’s flame.
No wonder. The Glasgow-based octet are purveyors of pop perfection. Their unique fusion of indie pop and folk has winning friends and influencing people for five years. For anyone that’s heard the latest offering from Randolph’s Leap, their mini-album Real Anymore, that’ll come as no surprise. The lyrics on Real Anymore are variously witty, acerbic, articulate, cutting and descriptive. Featuring a plentiful supply of slick, poppy, hooks, Real Anymore features Randolph’s Leap at their poppy best. With tales of telephone psychics, a paean to nature, the cutting Indie King, joyous Nature and rousing Technology, this is the perfect introduction to Randolph’s Leap, who are no ordinary band. No. Randolph’s Leap that “Glasgow-based figment of your imagination” strive and succeed, in their quest for hook-laden, pop perfection on Real Anymore. Standout Tracks: Psychic, Nature, Winceworthy and Indie King.
RANDOLPH’S LEAP-REAL ANYMORE.
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