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Aereogramme
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Aereogramme was a Scottish alternative rock band from Glasgow, formed in 1998, consisting of Craig B. (vocals, guitar), Iain Cook (guitar, programming), Campbell McNeil (bass) and Martin Scott (drums). Prior to their split in 2007, the band released four studio albums.
Key Information
Biography
[edit]Formed in April 1998, the band released two 7" singles in 1999 before signing to Chemikal Underground in early 2000, at which point they recorded two EPs before releasing their first full-length, A Story in White, in 2001.[1] Sleep and Release followed in 2003 but the band moved to Undergroove Records soon after for their third official release, Seclusion. However, the group re-signed to Chemikal Underground in August 2006.
Their fourth album, My Heart Has a Wish That You Would Not Go, was released in Europe and the United States on 29 January 2007 and in Japan on 14 October 2006, taking its title from the novel The Exorcist. Vocalist Craig B. revealed the long delay between releases was partly due to losing his singing voice for six months: "We didn't know if it was going to continue so everybody went their separate ways waiting for my voice to come back. I went to see a throat doctor and he told me to eat yogurt which I did and it did absolutely nothing. The only thing that made any difference was time 'cause I'd spent the previous couple of years screaming every single night and whisky and smoking and that was just a horrible combination. I think my body just said stop".[2]
In May 2007, Aereogramme announced online that they were to disband:[3]
It is with heavy hearts that we tell you all that Aereogramme have decided to split up. Reasons are multiple and complex. It is however fair to say that the never ending financial struggle coupled with an almost superhuman ability to dodge the zeitgeist have taken their toll, ensuring that we just don't have any fight left in us.
We are immensely proud of the four albums that we made over the past seven years. We hope that they continue to grow in your hearts.
We plan to honour and celebrate the beautiful friendships we have made along the way with these final shows over the summer.
The band played their last show at the Connect Music Festival in Inverary, Scotland on 31 August 2007.
Post-Aereogramme
[edit]Iain Cook and Craig B. formed another band, The Unwinding Hours, and released an album on 15 February 2010. Craig B. has since released two solo albums under the name A Mote of Dust and an ambient album under the name Slovenly Hooks. In 2011 Cook formed Chvrches with Martin Doherty (who worked on Aereogramme's last album) and Lauren Mayberry. He previously recorded, mixed and mastered fellow Scottish indie rock band The Twilight Sad's 2008 mini-album Here, It Never Snowed. Afterwards It Did. Bassist Campbell McNeil played on that album's opening track, "And She Would Darken the Memory". Martin Scott is currently working with Scottish rock band Biffy Clyro as tour manager and Campbell McNeil is working in the same capacity with The Temper Trap and Chvrches.
Members
[edit]- Craig B. – vocals, guitar
- Iain Cook – guitar, programming
- Campbell McNeil – bass guitar
- Martin Scott – drums
Discography
[edit]Albums
[edit]- A Story in White (2001)
- Sleep and Release (2003)
- Seclusion (2004)
- My Heart Has a Wish That You Would Not Go (2007)
Singles and EPs
[edit]- Hatred (1999)
- Translations (1999)
- Fukd ID No. 1 – Glam Cripple (2000)
- White Paw (2001)
- Acoustic Tour CDR (2003)
- Acoustic Tour CDR 2 (2003)
- Livers & Lungs (2003)
- Acoustic Tour CDR 3 (2004)
- Acoustic Tour CDR 4 (2005)
- In the Fishtank 14 with Isis (2006)
- Acoustic Tour CDR 5 (2006)
See also
[edit]References
[edit]- ^ "CD REVIEWS: Rocket Science, Serial Joe, The Strokes and many more". Chart Attack, 9 October 2001.
- ^ "Aereogramme Return After A Four Year Hiatus". Music Towers. Retrieved 22 January 2007. [dead link]
- ^ "Aerogramme split up". NME. 15 May 2007.
External links
[edit]| International | |
|---|---|
| National | |
| Artists | |
Aereogramme
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History
Formation and early career (1998–2000)
Aereogramme was formed in April 1998 in Glasgow, Scotland, by guitarist and vocalist Craig B., formerly of the local band Ganger, alongside drummer Martin Scott. Guitarist and programmer Iain Cook and bassist Campbell McNeil joined shortly after, completing the core lineup that would define the band's sound.[2][3][4] The band commenced rehearsals in makeshift spaces around Glasgow, focusing on crafting emotionally charged songs that blended introspective lyrics with dynamic arrangements. They soon began performing at local venues in the city's thriving alternative rock scene, including clubs like King Tut's Wah Wah Hut and The Garage, where they shared bills with emerging acts from the post-rock and indie communities. These early gigs, often in front of small crowds, allowed Aereogramme to refine their live presence and build a grassroots following amid Glasgow's interconnected music network.[2][5] In 1999, after recording demos at low-cost studios in Glasgow, Aereogramme self-released their debut singles on their own imprint, Babi Yaga Records: the 7-inch "Translations" (tracks: "Translations" / "Salvation") and "Hatred" (tracks: "Hatred" / "The Long Walk Home"), both limited to 500 copies each. These vinyl-only releases captured the band's raw energy and received initial praise from UK music publications for their atmospheric intensity and Craig B.'s vulnerable vocals, generating buzz within indie circles and securing more regional shows.[6][7][2][8] The positive reception to these singles prompted Aereogramme to shop demos to labels, culminating in their signing to Chemikal Underground Records in early 2000. As part of the label's innovative Fukd I.D. singles series, they released the "Glam Cripple" EP in October 2000, recorded at Cava Sound Studios in Glasgow with producer Andy Miller. The four-track EP (tracks: "Fuel to Burn," "The Ocean Red," "Fireworks," "Fireworks (Gabriel's 13th Dream Remix)") highlighted their evolving style—merging post-rock expanses with alternative rock drive—and sold out its 2,000-copy pressing within a week, earning acclaim for its emotional depth and sonic ambition from outlets like Drowned in Sound.[9][10][11][12] Throughout this period, the band navigated typical indie hurdles, including financial strains from self-funding recordings and tours via day jobs, as well as the challenge of honing a distinctive sound that fused shoegaze textures, post-hardcore urgency, and melodic introspection amid a competitive Glasgow scene. These experiences solidified their commitment to artistic independence before transitioning to full-length album production.[3][2][13]Breakthrough and peak years (2001–2004)
Aereogramme's breakthrough arrived with the release of their debut full-length album, A Story in White, on September 24, 2001, via the Scottish label Chemikal Underground Records. The album was recorded over September and October 2000 at Chem19 Studios in Hamilton and CaVa Studios in Glasgow, with production handled by the band alongside engineers Geoff Allan and Paul Savage. Featuring 10 tracks that showcased a dynamic range from intimate acoustic passages to intense, distortion-heavy outbursts, standout songs included "Post-Tour, Pre-Judgement," "Egypt," and "Zionist Timing," which highlighted the band's ability to blend emotional vulnerability with aggressive post-rock elements. The record was later reissued in the United States by Matador Records later that year, expanding their reach beyond the UK indie scene.[14][15][16] Building on this momentum, the band issued the Livers & Lungs EP in 2003 through Chemikal Underground, featuring four tracks such as "Indiscretion #243" and a cover of Michael Jackson's "Thriller," recorded at CaVa Sound Workshop in Glasgow. This release experimented further with atmospheric textures and rhythmic complexity, bridging the gap between their debut and sophomore efforts. Later that year, Aereogramme delivered their second album, Sleep and Release, also on Chemikal Underground (and Matador in the US), which deepened their exploration of contrasting sonic intensities—pairing fragile, piano-driven ballads like "Older" with propulsive, guitar-led anthems such as "A Simple Process of Elimination." The album's production emphasized layered arrangements and emotional depth, reflecting the band's evolving studio approach during intensive sessions. In 2004, they participated in the Konkurrent label's In the Fishtank series, collaborating with American post-metal band Isis on a split EP recorded in Amsterdam, where the groups reinterpreted each other's material in a shared studio environment over two days, resulting in hybrid tracks that fused their respective styles.[17][18][19][20][21][22] During this period, Aereogramme toured extensively to promote their releases, including headlining shows across the UK and Europe, such as dates in Germany during the A Story in White tour in 2002 and the Sleep and Release tour in 2003. They also ventured to the United States for multiple runs, including a 2002 tour documented in footage for the "Indiscretion #243" video, which captured their live energy amid transatlantic travel. Festival appearances bolstered their profile, with a performance at Glasgow's Gig on the Green in August 2002 alongside local acts. Internally, the band pushed creative boundaries, incorporating heavier, metal-influenced riffs alongside acoustic introspection, as evident in their shift toward more varied dynamics on Sleep and Release and live sets that alternated between raw aggression and subdued vulnerability. This experimentation helped solidify their reputation in the alternative rock underground.[23][24][2][21] The band's rising visibility drew attention from influential media and broadcasters. They recorded three sessions for BBC Radio 1's John Peel program between 2001 and 2003, performing tracks like "Post-Tour, Pre-Judgement" in 2001 and "Indiscretion #243" in 2003, which aired to Peel's dedicated audience and underscored their growing cult following. Reviews in outlets like Pitchfork praised their debut for its "snarling tension-filled guitar fury" juxtaposed with melodic beauty, while Sleep and Release earned acclaim for its passionate, genre-blending intensity. Features in UK music press, including positive coverage in NME for their innovative sound, further cemented their place in the post-rock and alternative scenes during these years.[8][25][16][21]Final album and disbandment (2005–2007)
Following the release of their third studio album, Seclusion, on 20 September 2004 via Undergroove Recordings, Aereogramme continued promoting the record through extensive live performances into 2005, including a notable full concert at Paradiso in Amsterdam on June 8, 2005.[26][27] The mini-album marked a transitional phase, blending their established noisy dynamics with emerging quieter elements, though the band faced ongoing challenges in gaining broader recognition despite consistent European touring.[4] In early 2007, Aereogramme released their fourth and final studio album, My Heart Has a Wish That You Would Not Go, on 5 February 2007 via Chemikal Underground, shifting toward a more introspective production characterized by prominent strings, piano, and clean guitars that emphasized emotional depth over prior aggression.[28][29] The album's recording process, handled primarily by the band with assistance from Martin Doherty, reflected a deliberate evolution toward subtlety and maturity, drawing acclaim for its pulsating beauty and heartfelt soundscapes.[30][31] To support the album, the band undertook rigorous touring in 2006 and 2007, encompassing multiple European legs—such as dates across the UK and continent—and a rare North American run, their first in four years, which highlighted their dedication amid financial strains.[32][4] These performances, including festival appearances like Hurricane Festival in Germany in June 2007, showcased the band's live intensity but also underscored the exhaustion from years of relentless roadwork without mainstream breakthrough.[23] On May 15, 2007, Aereogramme announced their disbandment via an online statement, attributing the decision to "multiple and complex" factors, including persistent financial difficulties, an inability to achieve wider commercial success, and creative burnout after nearly a decade of operation.[33] The group committed to fulfilling tour obligations, culminating in their final show on August 31, 2007, at the Connect Music Festival in Inveraray Castle, Scotland, where they delivered an emotional set marked by raw energy and audience connection.[34][35] In the immediate aftermath, band members, particularly frontman Craig B, shared reflections in interviews expressing no personal regrets over the split but voicing frustration with industry pressures and the unsustainable economics of independent music.[36] The dissolution closed a chapter defined by artistic integrity, though it left fans mourning the end of a band that had carved a niche in alternative rock without compromising its vision.[37]Musical style and influences
Genre and sonic characteristics
Aereogramme's music is primarily rooted in alternative rock and post-rock, incorporating elements of math rock through angular, rhythmic guitar patterns, shoegaze via layered, atmospheric guitar textures, and occasional metalcore influences in their heavier passages.[16][13] Their sound blends these genres into a cohesive yet eclectic style, characterized by ambitious arrangements that evoke both introspective beauty and chaotic intensity.[38] A signature trait of Aereogramme's sonic palette is the dramatic dynamic shifts, transitioning from quiet, atmospheric introductions built on gentle melodies and subtle electronics to explosive crescendos featuring snarling guitar fury and primal energy.[16][39] Frontman Craig B.'s vocals are emotive and versatile, ranging from whispered introspection and soothing hums to raw, screamed outbursts that convey visceral emotional depth, often serving as a cathartic release amid the band's tension-building structures.[16][13] These elements create a multi-textured wash of sound, where quiet-loud contrasts drive the music's emotional arc, from lo-fi experimentation in early works to more polished, symphonic productions later on.[13] The band's instrumentation is guitar-driven, with dual layers from Craig B. and Iain Cook providing both melodic leads and walls of distortion, underpinned by Campbell McNeil's pulsing, droning bass lines that ground the rhythms and add a sense of propulsion.[38] Martin Scott's drumming contributes to the propulsive drive, incorporating solemn, martial beats that escalate during peaks, while Cook's heavy use of programming and effects introduces electronic textures, dub-like echoes, and industrial edges, enhancing the overall atmospheric density.[16][13] Lyrically, Aereogramme explores themes of personal introspection, strained relationships, and existential struggles, delivered with raw intensity that mirrors the music's emotional volatility—often reflecting nostalgia, inner conflict, and a search for meaning through vulnerable, narrative-driven words.[16][40] For instance, tracks like those on A Story in White illustrate this through admissions of fleeting nostalgia and relational turmoil.[16]Key influences and evolution
Aereogramme's sound drew heavily from post-rock pioneers such as Mogwai, with whom they shared the influential Chemikal Underground label, fostering atmospheric builds and dynamic crescendos characteristic of the Scottish scene.[33][41] Alternative rock influences from Radiohead contributed to their emotional intensity and textural shifts, while Biffy Clyro's raw energy informed their aggressive live dynamics, amplified by extensive joint tours.[37][42] Progressive and industrial elements were evident in nods to Tool's intricate rhythms and Nine Inch Nails' abrasive electronics, blending with heavier metal roots from Metallica, Megadeth, Neurosis, Converge, and Meshuggah to create layered aggression.[43][13][44] These external sources positioned Aereogramme within a "death metal indie" niche, as critics noted for fusing visceral heaviness with vulnerable introspection amid the Glasgow post-rock context. The band's evolution began in their formative years (1998–2001) with an acoustic-leaning indie approach infused with electronic textures, reflecting initial experiments in subtlety and mood.[44] By their mid-period (2001–2004), they incorporated heavier metal-infused riffs and post-rock expanses, yielding ambitious genre fusions of prog-rock, death-metal, and industrial emo-core for a more volatile, "quiet-to-loud" intensity.[13] In their later phase (2005–2007), Aereogramme emphasized melodic accessibility and electronica, shifting toward warmer dream-pop and song-oriented structures that softened earlier neurotic edges while retaining emotional depth.[13] Extensive live performances, including tours with acts like Isis and Thursday, refined this progression through exposure to varied styles and improvisational freedoms, honing their ability to blend aggression with vulnerability on stage.[44]Band members
Core lineup and roles
Aereogramme's core lineup remained unchanged from the band's formation in 1998 until its disbandment in 2007, consisting of four Glasgow-based musicians who formed the group's stable foundation.[44] Craig Beaton, professionally known as Craig B., handled lead vocals and guitar duties throughout Aereogramme's tenure. As the primary songwriter and lyricist, he shaped the band's emotional and introspective songwriting, building on his prior experience as guitarist and vocalist in the 1990s Scottish band Ganger, with whom he released three albums on Domino Records between 1995 and 1999.[45][46] Iain Cook contributed guitar, programming, and keyboards, incorporating electronic elements and assisting with production to expand the band's sonic palette. He joined the group shortly after its inception, enhancing the arrangements during the recording of early albums.[44][47] Campbell McNeil played bass guitar, providing the rhythmic backbone that grounded the band's dynamic compositions. He maintained a low public profile during Aereogramme's active years, focusing primarily on his instrumental role within the ensemble.[3] Martin Scott served as the drummer, delivering the propulsive and shifting rhythms that propelled the group's intense performances. A founding member alongside Beaton and McNeil, Scott's consistent presence helped maintain the band's cohesion from its earliest days.[44]Contributions to the band's sound
Craig B.'s lyrical contributions centered on themes of emotional turmoil, frailty, and internal conflict, often drawing from personal introspection to convey vulnerability and confusion about one's place in the world. His high, soft, almost child-like vocal delivery, occasionally escalating to shouts or screams, infused the band's music with a signature intensity that contrasted sharply with the instrumentation, enhancing the emotional depth of tracks like "Post-tour, Pre-Judgement." This approach not only shaped the introspective core of Aereogramme's songwriting but also amplified the post-rock elements through his quaver-like singing style, which reflected a sense of internal bruising and raw honesty.[48][49] Iain Cook's integration of programming and ambient textures added layers of post-rock experimentation to the band's sound, drawing from his background in film and television soundtracks to introduce electronic elements that expanded the sonic palette beyond traditional guitar-driven rock. His contributions included subtle programming that synced with the rhythm section to create thick, spaced-out atmospheres, allowing for fragile and moody dynamics in extended pieces, as evident in the atmospheric builds of Seclusion. As a co-producer on several albums, Cook influenced the band's electronic experimentation by incorporating wall-of-sound techniques reminiscent of Phil Spector, blending them with angular assaults to heighten the cinematic quality of arrangements.[2][38][50] Campbell McNeil's bass lines provided a pulsing and droning foundation that anchored the band's heavier sections, grounding the mood and enabling complex rhythmic structures akin to math rock's intricate grooves. His playing offered stability amid the sonic wanderings of guitars and programming, contributing to the live energy through dynamic swings that supported the band's transitions between intensity and restraint. This role was crucial in maintaining cohesion during expansive tracks, where his bass work set the atmospheric tone without overpowering the ensemble.[38][51] Martin Scott's drumming patterns were instrumental in facilitating seamless shifts from soft, introspective passages to explosive crescendos, driving the band's bipolar dynamics with blown-out, intense rhythms that built symphonic movements within songs. His approach emphasized layered intensity, syncing with programming and bass to augment the overall atmosphere while allowing for wild, abusive energy in live performances that amplified the post-rock swells. This technical precision enabled the group's trademark quiet-loud contrasts, making transitions feel organic and emotionally charged.[48][38][52] Aereogramme's songwriting was inherently collaborative, with group input shaping arrangements through iterative refinement during live rehearsals, resulting in a cinematic interplay of elements that balanced emotional picking patterns, programming, and rhythmic foundations. This collective process, honed over years among core members like Craig B. and Iain Cook who had partnered since their late teens, emphasized mood and structure to create cohesive, dynamic compositions.[53][38]Discography
Studio albums
Aereogramme released four studio albums during their career, all originally issued in CD and vinyl formats where applicable, with no official compilations or live recordings classified as studio works. These albums were primarily distributed through independent labels, reflecting the band's niche status in the alternative rock scene. The band's debut studio album, A Story in White, was released on 24 September 2001 by Chemikal Underground in the UK and Matador Records in the US.[1][54] It features 10 tracks with a total duration of approximately 45 minutes. The album was recorded and produced by the band alongside engineers Geoff Allan and Paul Savage at Chem19 Studios in Hamilton, UK, and CaVa Sound Studios in Glasgow, UK, during September and October 2000.[15] Multiple editions were produced, including limited vinyl pressings, though specific initial run numbers are not documented in available records.[54] Their second album, Sleep and Release, followed on 3 March 2003, again via Chemikal Underground in the UK and Matador in the US.[1][55] Comprising 10 tracks, it runs for about 49 minutes. Production details indicate self-handling by the band, with releases in various international editions including CD, promo CDr, and digital formats.[19][56] The artwork features a simple, evocative design consistent with the label's aesthetic, though no specific artist credits are noted.[55] Seclusion, the third studio album, came out on 20 September 2004 through Undergroove Recordings in the UK, with a North American release in 2006 on Sonic Unyon.[26] It contains 6 tracks totaling around 32 minutes. The band produced and recorded the album themselves, emphasizing a concise structure.[26] The cover artwork, created by Aaron Turner of Isis, adopts a minimalist style with stark imagery.[57] Editions include enhanced CD versions with additional multimedia elements.[58] The final studio album, My Heart Has a Wish That You Would Not Go, was issued on 5 February 2007 by Chemikal Underground in the UK, following a Japanese release in 2006 on Octave Records.[1][59] It includes 10 tracks spanning approximately 47 minutes, produced by the band without noted guest musicians.[60] Available in CD, promo, and later digital remastered formats, it marked their return to the Chemikal Underground label after a brief departure.[59] Worldwide sales remained modest, aligning with the band's underground profile.[1]Singles and EPs
Aereogramme released a series of singles and EPs primarily on 7-inch vinyl and CD formats through independent labels, with many issues limited in quantity to emphasize their underground ethos. These non-album releases often served as precursors to full-length albums, showcasing the band's evolving post-rock and alternative sound through raw production and introspective lyrics. The band's earliest output consisted of two 7-inch singles on their self-founded Babi Yaga Records imprint in 1999. "Translations," a limited edition of 500 numbered copies, featured the title track on the A-side and "Salvation" on the B-side, both recorded with a lo-fi intensity that highlighted Craig B.'s emotive vocals and the group's nascent dynamic range.[6] Later that year, "Hatred" followed as another limited 7-inch pressing, with the aggressive title track backed by "The Art of Belief," demonstrating early influences of grunge-tinged indie rock.[7] In early 2000, Aereogramme issued the "Glam Cripple" EP as a 12-inch vinyl through the Fukd ID label's inaugural series, marking their first multi-track outing and a shift toward more structured post-rock experimentation. The EP's tracklist included:| No. | Title |
|---|---|
| 1 | Fuel to Burn |
| 2 | The Ocean Red |
| 3 | Fireworks |
| No. | Title |
|---|---|
| 1 | Zionist Timing |
| 2 | Motion |
| 3 | Messenger |
| 4 | The Art of Belief |
| No. | Title |
|---|---|
| 1 | Indiscretion #243 |
| 2 | Asthma Comes Home for Christmas |
| 3 | Inhalation Blues |
| 4 | Thriller |
| No. | Title | Duration |
|---|---|---|
| 1 | Low Tide | 9:29 |
| 2 | Delial | 3:54 |
| 3 | Stolen | 10:40 |