Sons & Daughters

    Love the Cup


    Lock up your mothers and fathers! Sons and Daughters is on the loose!

    For the past couple years, it’s been increasingly difficult for any band based out of the U.K. to be taken seriously. They’d be called the Next Big Thing, lumped in with a bunch of bands with a similar sound and then never heard from again. Glasgow-based Sons and Daughters could fall into that danger zone, but there’s something about them that seems to stray away from the pack, and it has to do with the way they sound so real, so raw, in the flesh.

    The moment opener "Fight" begins, it’s like you’re taken to a smoky Scottish pub, with these four relentless indie-folk rockers causing a ruckus on stage. The culprits (who aren’t blood-related, by the way) on this seven-track mini-album keep the energy rising throughout. Perhaps it’s the reason Love the Cup leaves you exhausted but aching to hear more. The album is a crossover between somber lyrics of the Anniversary with the fun poppiness of the New Pornographers. This album goes by quite fast, but its stealthy progression is on the money.


    David Gow and Adele Bethel from Arab Strap also play in Sons and Daughters, and some of the Sons and Daughters have performed on Arab Strap albums. Bethel’s voice echoes like a premature Chan Marshall. She can be both brooding and passionate at the same time, and the tracks where she’s joined by fellow tambourinist and bassist Dave Paterson can be cathartic.

    There’s not a single bad track on this record, and each carries a traditional folk-sound to it. "Broken Bones" is the mellowest of the bunch, but shows genius moments of angst. While "Johnny Cash" starts off with White Cowbell Oklahoma skid-rock chords, the sound bids no likeness to the country legend. Instead, the song is visibly inspired by Cash’s will to mold two separate genres — Nashville with rock ‘n’ roll — as well as his themes of god, murder and love.

    Besides, you gotta respect a band that puts which member is responsible for the "whoops" and "hollers" in their liner notes. Let’s just pray their hollers won’t make them invisible if they get lumped in with other Scottish garage bands.