The Little Kicks

"Girl" Single featured as part of Lauren Laverne's BBC 6 Music Show MPFree feature. - BBC 6 MUSIC

HAVE FUN. Those are the words of advice, writ large on a dozen TV screens, as Public Service Broadcasting kick a 75-minute set at a busy HMV Picturehouse.
A word or two, however, on openers The Little Kicks. Not the most obvious of supports for the conceptually electronic PSB, the Aberdeen quartet do however share the will to give and have a good time. Their set of beat-driven danceable tunes goes down well with the fast-assembling crowd, with the motorik beats of their closing numbers setting up the headliners nicely.

The grand command to enjoy ourselves is accompanied by a robotic voice crossed between Speak and Spell and a BBC announcer circa 1930 – the seemingly exaggerated received pronunciation is as English / British as the celluloid reels they use as source material.
Ah yes, the films. For the uninitiated, the band take their name from the monochrome information films common in those stiff upper lip days – the 1940s and just after – whether focusing on the Second World War as in ‘London Is Ready’, or (less frequently) the changing times as in ‘The Now Generation’, they meld good-old-fashioned values with 21st century rhythms.

This juxtaposition even informs the band’s persona – visually, at least. Main broadcaster J. Willgoose Esq. is clad in corduroy and bow tie, looking every inch a young fogey Oxford science professor, but when he swaps banjo for guitar and lets rip on ‘Signal 30' the mental image is of someone rather more ‘now’. But the geek personal also extends to his cohorts – in smart shirt and tie, Wrigglesworth’s drum patterns channel the barrage of the Blitz, while additional member Mr B seems intent on committing every move his bandmates make to an instant digital archive, projecting the resultant live video onto the twin screens that flank the stage, Well, when they’re not occupied by archive footage, of course – new single ‘Mail Train’ with its railway documentary sees the trio’s take on a steam-powered Kraftwerk, a Trans UK Express for a golden age.

As per their doctrine, the band follow their own advice and have are clearly enjoying themselves – though any banter with the audience is conducted via the medium of their voice synthesiser. “Who saw us at the Voodoo Rooms?” enquires the disembodied MC about a previous show. A smattering of diehard fans cheer. “Who saw us at the Edinburgh Fringe in 2010 playing to four people?” Silence. “Part-timers,” fires back the robot, apparently having developed a HAL-style mind of its own.

The question, long-term is where do they go next? The source material available to them is enormous – surely Donald Pleasance’s ‘Spirit of Dark And Lonely Water’ could get the synth-doom treatment? – but a band with one album and a couple of EPs worth of material they do manage to keep things bowling along nicely for the duration of the set with the novelty factor not wearing off quite yet. Musically the band – the duo, I guess – are tip-top, to keep the theme going, and pretty diverse. ‘If War Should Come’ has a touch of funk about it but ‘Spitfire’ is pure rock. There are two new tunes for the old hands present – both in Dutch, we’re informed (“It seemed like the natural way to go” says HAL, apropos of seemingly nothing).

However, for both hard–core and recent converts alike, it’s ‘Everest’ to finish, the film footage for this one a rare delve into a bygone era where the British Empire stood atop the world, but without the drone of sirens and boom of artillery. Whether it could persuade a venue filled with Scottish punters to stand tall and salute the flag is unclear, as the rhythms instead get everyone up and dancing.
The band’s mantra may well be “Teach the lessons of the past through the music of the future”, but who says learning can’t be fun?
- IS THIS MUSIC

HAVE FUN. Those are the words of advice, writ large on a dozen TV screens, as Public Service Broadcasting kick a 75-minute set at a busy HMV Picturehouse.
A word or two, however, on openers The Little Kicks. Not the most obvious of supports for the conceptually electronic PSB, the Aberdeen quartet do however share the will to give and have a good time. Their set of beat-driven danceable tunes goes down well with the fast-assembling crowd, with the motorik beats of their closing numbers setting up the headliners nicely.

The grand command to enjoy ourselves is accompanied by a robotic voice crossed between Speak and Spell and a BBC announcer circa 1930 – the seemingly exaggerated received pronunciation is as English / British as the celluloid reels they use as source material.
Ah yes, the films. For the uninitiated, the band take their name from the monochrome information films common in those stiff upper lip days – the 1940s and just after – whether focusing on the Second World War as in ‘London Is Ready’, or (less frequently) the changing times as in ‘The Now Generation’, they meld good-old-fashioned values with 21st century rhythms.

This juxtaposition even informs the band’s persona – visually, at least. Main broadcaster J. Willgoose Esq. is clad in corduroy and bow tie, looking every inch a young fogey Oxford science professor, but when he swaps banjo for guitar and lets rip on ‘Signal 30' the mental image is of someone rather more ‘now’. But the geek personal also extends to his cohorts – in smart shirt and tie, Wrigglesworth’s drum patterns channel the barrage of the Blitz, while additional member Mr B seems intent on committing every move his bandmates make to an instant digital archive, projecting the resultant live video onto the twin screens that flank the stage, Well, when they’re not occupied by archive footage, of course – new single ‘Mail Train’ with its railway documentary sees the trio’s take on a steam-powered Kraftwerk, a Trans UK Express for a golden age.

As per their doctrine, the band follow their own advice and have are clearly enjoying themselves – though any banter with the audience is conducted via the medium of their voice synthesiser. “Who saw us at the Voodoo Rooms?” enquires the disembodied MC about a previous show. A smattering of diehard fans cheer. “Who saw us at the Edinburgh Fringe in 2010 playing to four people?” Silence. “Part-timers,” fires back the robot, apparently having developed a HAL-style mind of its own.

The question, long-term is where do they go next? The source material available to them is enormous – surely Donald Pleasance’s ‘Spirit of Dark And Lonely Water’ could get the synth-doom treatment? – but a band with one album and a couple of EPs worth of material they do manage to keep things bowling along nicely for the duration of the set with the novelty factor not wearing off quite yet. Musically the band – the duo, I guess – are tip-top, to keep the theme going, and pretty diverse. ‘If War Should Come’ has a touch of funk about it but ‘Spitfire’ is pure rock. There are two new tunes for the old hands present – both in Dutch, we’re informed (“It seemed like the natural way to go” says HAL, apropos of seemingly nothing).

However, for both hard–core and recent converts alike, it’s ‘Everest’ to finish, the film footage for this one a rare delve into a bygone era where the British Empire stood atop the world, but without the drone of sirens and boom of artillery. Whether it could persuade a venue filled with Scottish punters to stand tall and salute the flag is unclear, as the rhythms instead get everyone up and dancing.
The band’s mantra may well be “Teach the lessons of the past through the music of the future”, but who says learning can’t be fun?
- IS THIS MUSIC

HAVE FUN. Those are the words of advice, writ large on a dozen TV screens, as Public Service Broadcasting kick a 75-minute set at a busy HMV Picturehouse.
A word or two, however, on openers The Little Kicks. Not the most obvious of supports for the conceptually electronic PSB, the Aberdeen quartet do however share the will to give and have a good time. Their set of beat-driven danceable tunes goes down well with the fast-assembling crowd, with the motorik beats of their closing numbers setting up the headliners nicely.

The grand command to enjoy ourselves is accompanied by a robotic voice crossed between Speak and Spell and a BBC announcer circa 1930 – the seemingly exaggerated received pronunciation is as English / British as the celluloid reels they use as source material.
Ah yes, the films. For the uninitiated, the band take their name from the monochrome information films common in those stiff upper lip days – the 1940s and just after – whether focusing on the Second World War as in ‘London Is Ready’, or (less frequently) the changing times as in ‘The Now Generation’, they meld good-old-fashioned values with 21st century rhythms.

This juxtaposition even informs the band’s persona – visually, at least. Main broadcaster J. Willgoose Esq. is clad in corduroy and bow tie, looking every inch a young fogey Oxford science professor, but when he swaps banjo for guitar and lets rip on ‘Signal 30' the mental image is of someone rather more ‘now’. But the geek personal also extends to his cohorts – in smart shirt and tie, Wrigglesworth’s drum patterns channel the barrage of the Blitz, while additional member Mr B seems intent on committing every move his bandmates make to an instant digital archive, projecting the resultant live video onto the twin screens that flank the stage, Well, when they’re not occupied by archive footage, of course – new single ‘Mail Train’ with its railway documentary sees the trio’s take on a steam-powered Kraftwerk, a Trans UK Express for a golden age.

As per their doctrine, the band follow their own advice and have are clearly enjoying themselves – though any banter with the audience is conducted via the medium of their voice synthesiser. “Who saw us at the Voodoo Rooms?” enquires the disembodied MC about a previous show. A smattering of diehard fans cheer. “Who saw us at the Edinburgh Fringe in 2010 playing to four people?” Silence. “Part-timers,” fires back the robot, apparently having developed a HAL-style mind of its own.

The question, long-term is where do they go next? The source material available to them is enormous – surely Donald Pleasance’s ‘Spirit of Dark And Lonely Water’ could get the synth-doom treatment? – but a band with one album and a couple of EPs worth of material they do manage to keep things bowling along nicely for the duration of the set with the novelty factor not wearing off quite yet. Musically the band – the duo, I guess – are tip-top, to keep the theme going, and pretty diverse. ‘If War Should Come’ has a touch of funk about it but ‘Spitfire’ is pure rock. There are two new tunes for the old hands present – both in Dutch, we’re informed (“It seemed like the natural way to go” says HAL, apropos of seemingly nothing).

However, for both hard–core and recent converts alike, it’s ‘Everest’ to finish, the film footage for this one a rare delve into a bygone era where the British Empire stood atop the world, but without the drone of sirens and boom of artillery. Whether it could persuade a venue filled with Scottish punters to stand tall and salute the flag is unclear, as the rhythms instead get everyone up and dancing.
The band’s mantra may well be “Teach the lessons of the past through the music of the future”, but who says learning can’t be fun?
- IS THIS MUSIC

Vintage TV sets are stacked high on the little Oran Mor stage, they flicker between the old analogue snow screen and bright primary colours in anticipation of tonight’s performance.

The gig tonight is set to be as much an art installation as it is musical performance with Public Service Broadcasting touring their new album, Inform – Educate – Entertain.

The London based duo of guitarist, J. Willgoose, esq. and his percussive partner, Wrigglesworth, aim to “teach the lessons of the past through the music of the future” by sampling old public information films and audio clips editing them together with a score of modern instrumental dance music.

Up first and supporting for the Scottish leg of the tour is Aberdonian indie pop quartet The Little Kicks.

They have the major sound and melancholic lyrics inherent to create catchy pop tunes but when playing live fuse them with synth loops and drum beats more associated with the on trend disco of a James Murphy record.

Their set builds impressively from start to finish, moving from reflective harmonies to more strutting dance elements with a sense of momentum and fun.

Before Public Service Broadcasting take to the stage the room goes dark and messages are put out onto the seven old TV screens accompanied by an authoritative voice warning the audience how annoying amateur phone recording at gigs is.

A small brass section appear and play an intro for the band who enter dressed in tweed, bow ties and buddy holly glasses, then air raid sirens begin to blare out of the PA and they launch into ‘London Can Take It’ from 2012’s The War Room.

Willgoose, switches between distorted electric guitar and reverb heavy banjo throughout the set while Wrigglesworth plays drums and keys.



These instrumental loops, vocal samples and use of instruments, not always associated with dance music, give the band a similar live presence to acts like Lemon Jelly and as they continue with ‘Theme from Psb’, which has quite a cheery sound that wouldn’t feel out of place on Lost Horizons.

There is a darker sound that emerges slowly throughout the evening, tracks like ‘Night Mail’, build from more driving guitars and broken beats, while over the top there are stiff upper lipped, BBC English voices from the various points in the early 20th century, which overall form a slightly sinister composite like some kind of audio ransom note where each fragment ties in to create one monologue.

The visuals all tie into this collage and vary from old documentaries to infomercials, intermitted with stylised graphics of satellites and oscilloscopes moving in time to the beat.

Interestingly though for a band that has chosen not to use conventional vocals and has formed their entire sound around snippets of what could be considered propaganda clips there isn’t a hint of a social or political message about the performance.

In some ways this is a positive and allows the music and visuals to be free of having to carry any great weighted message though in other parts allows the samples to wear a bit thin, feeling more like a gimmick than a fully formed artistic concept.

Public Service Broadcasting instead creates a lively if not slightly nostalgic image of the Britain of yesteryear.

Without digging too deep they create songs about great public institutions, exploration and spitfires, exemplified as they are rejoined by the brass section for their encore and play us out with the romanticised electro pop of ‘Everest.’ - RAVE CHILD

The Scottish accent is prominent across The Little Kicks third album Put Your Love in Front of Me, which gives it the distinctive sound that makes this really easy listen to.

A mixture of influence are noticeable, especially on ‘Heartbreak Pt1’, which ranges from Franz Ferdinand and their hit ‘Take Me Out’ to Blondie’s ‘Heart of Glass’ and Depeche Mode’s ‘Enjoy The Silence’.

Put Your Love in Front of Me has a very eighties retro pop feel to it, which seems to be making a comeback, but still managing to keep that indie side to it that The Little Kicks are known for.

Upbeat across the first half of the album with songs that would not only make people get up onto the dance floor, have people chanting along at a festival but also have people crying into their pillows reminiscing of the love they have lost.

A love story with all the turmoil’s that go along with it is written and played out through music and song in this album.

First single from the album, ‘Girl’, not only has catchy guitar riffs but the simple lyrics that go along with it are something that the listeners can really relate to.

The second half of the album takes shape with the haunting melody ‘Modern Romance’, a track that you would usually hear as a bonus at the end of an album, with the orchestra playing along with the shadowed lyrics makes this track memorable.

A remix of ‘Heartbreak Pt1’, only renaming it ‘Heartbreak Pt2’, seems slightly strange, a much better song could have taken its place but the band must really want to share the message that love hurts.

‘Hold on (Heartbreak Pt3)’ is by far the better of the three heartbreak songs: “hold on to my heart don’t break it”, is telling us that vocalist Steven Milne is still holding out for hope for the relationship, leaving us in limbo to what happened next.

A really good album all round and with the band taking Put Your Love in Front of Me on tour it would be great to hear live; maybe soon we can find out if it is ‘Heartbreak Pt4’ for the band or that true love has concurred all. - Rave Child

The Scottish accent is prominent across The Little Kicks third album Put Your Love in Front of Me, which gives it the distinctive sound that makes this really easy listen to.

A mixture of influence are noticeable, especially on ‘Heartbreak Pt1’, which ranges from Franz Ferdinand and their hit ‘Take Me Out’ to Blondie’s ‘Heart of Glass’ and Depeche Mode’s ‘Enjoy The Silence’.

Put Your Love in Front of Me has a very eighties retro pop feel to it, which seems to be making a comeback, but still managing to keep that indie side to it that The Little Kicks are known for.

Upbeat across the first half of the album with songs that would not only make people get up onto the dance floor, have people chanting along at a festival but also have people crying into their pillows reminiscing of the love they have lost.

A love story with all the turmoil’s that go along with it is written and played out through music and song in this album.

First single from the album, ‘Girl’, not only has catchy guitar riffs but the simple lyrics that go along with it are something that the listeners can really relate to.

The second half of the album takes shape with the haunting melody ‘Modern Romance’, a track that you would usually hear as a bonus at the end of an album, with the orchestra playing along with the shadowed lyrics makes this track memorable.

A remix of ‘Heartbreak Pt1’, only renaming it ‘Heartbreak Pt2’, seems slightly strange, a much better song could have taken its place but the band must really want to share the message that love hurts.

‘Hold on (Heartbreak Pt3)’ is by far the better of the three heartbreak songs: “hold on to my heart don’t break it”, is telling us that vocalist Steven Milne is still holding out for hope for the relationship, leaving us in limbo to what happened next.

A really good album all round and with the band taking Put Your Love in Front of Me on tour it would be great to hear live; maybe soon we can find out if it is ‘Heartbreak Pt4’ for the band or that true love has concurred all. - Rave Child

4/5 stars
LIVE REVIEW BY GEORGE SULLY.
PUBLISHED 05 SEPTEMBER 2013
Tonight, good things come in threes. No, not the £3 cocktails; the Circus is spoiling us with an adroitly curated trio. Julian Corrie opens confidently as Miaoux Miaoux, now with drummer and keyboardist in tow. Their matching turquoise t-shirts and a cohesive performance suggests they've already found a certain unity. There’s a technical virtuosity here, with live vocal looping, contagious synth melodies, and meticulously spliced samples; the analogue additions, particularly the percussion, puts more meat on the bones of Corrie's compositions, throwing down the gauntlet for the rest of the bill.

While perhaps not swanning on stage with the same charm as their predecessors, The Little Kicks dazzle from frontman Steven Milne’s first soulful vocal. Seemingly in the same smooth, indie-pop mould as many contemporaries (Two Door Cinema Club spring to mind), it soon becomes clear they’re as much in the mould as they are breaking it, which bodes well for their imminent third album. This accomplished Aberdeen four-piece’s silky basslines, classy guitar, and polished lead vocals do more to broadcast their attitude and charisma than their quiet entrance.

Picking the guantlet back up with aplomb, the night closes with Discopolis and their mighty array of synth-driven, numbers. There’s barely a trace of their early days as a Bloc Party cover band here; this set swerves from the urgent energy of Foals to the swooping, dreamy spaces of Local Natives, underpinned by a unique and gritty synth that bucks categorisation. And as if to tie up proceedings – or to simply share the gauntlet with warm camaraderie – our headliners drop live remixes of not only The Little Kicks (with Milne loudly welcomed back on vocals) but also Miaoux Miaoux, Corrie gleefully hopping back onto the mic. A fitting encore to a triumphant billing.
- THE SKINNY

TLS favourites The Little Kicks self-released their third album, Put Your Love In Front of Me, yesterday with the support of Creative Scotland. The Scottish four piece have compiled a set of songs that are as referential as they are catchy in Put Your Love In Front of Me, and it’s blatant that the art of a good pop song isn’t lost on the group.

Since hearing it a show earlier in the year, ‘Better Things’ has had us excited for the album. Put Your Love…‘s opening number has a smoky appeal that is wonderfully sustained. This quality, when mixed in with Steven Milne‘s falsetto “Since you’ve been gone…“, makes for one of the most determined songs we’ve lately had the pleasure of hearing. Put Your Love… is nothing if not driven and well-structured, something seen in ‘Better Things’ and also on tracks such as ‘Girl’ and ‘All I Need’, also favourites from the album. ‘All I Need’ shows some great vocal construction from The Little Kicks that goes against the grain just enough to produce a snap in the song’s mood.

In amongst Put Your Love…, it’s easy to spot the influence of other acts. An ‘I Feel Love’-esque moment makes an appearance on ‘Heartbreak I’, which we aren’t the first to notice, and it could be argued The Little Kicks tip their cap toJourney very briefly at the beginning of ‘Change’, a determined and nostalgic song. These borrowings aren’t by any means a bad thing and are executed in a precise way without being transparent that predominantly reminds us of a mixtape.

‘Modern Romance’ is a distinctive song of Put Your Love…‘s material which we’re still swooning over. The orchestral touches on it and ‘Heartbreak I’ are on point and give the album a mature dimension that adds variety to an already diverse set of songs.

Put Your Love In Front of Me is a record that has met and exceeded our expectations. The album works as well on first listen as it does on the fifth, showing that it has both an immediate and long term appeal that comes back to its variety of reference and The Little Kicks’ concise, well-developed approach to song-writing.

Put Your Love In Front of Me is out now and can be bought from here. - THE LEFTOVER SESSIONS

8/10

Er komt de laatste tijd erg veel moois uit Schotland. Alleen al dit jaar verschenen er uitstekende platen van Frightened Rabbit, Chvrches, Franz Ferdinand, CS Buchan, Primal Scream en Biffy Clyro (om er maar een paar te noemen). Aan dit imposante lijstje kunnen we vanaf nu ook The Little Kicks toevoegen. Dit viertal uit Aberdeen is met Put Your Love In Front Of Me toe aan hun derde album (na Boxing Clever uit 2009, en The Little Kicks uit 2011), en heeft met deze derde de volwassenheid bereikt. De band toont aan ambitie te hebben, en steekt dat niet onder stoelen of banken.

Met openingstrack Better Things, de synthpop van This Mess We're In, maar vooral lead-single Girl hebben The Little Kicks hitpotentie in huis, en bovendien is de productie van het album (inclusief gastbijdragen van Craig Ross en Rory Sutherland van Broken Records) loepzuiver en uitgebalanceerd. Maar bovenal is Put Your Love In Front Of Me een album over liefde en vriendschap, dat de luisteraar behalve aan het denken, toch vooral aan het dansen zet. Want de indiepop van The Little Kicks neigt bij vlagen richting indie disco, waarbij het zelfs voor de meest verstokte danshater verdomd lastig is om stil te blijven staan. Zelfs als Heartbreak Pt 2 op een Coldplay-achtige manier begint, gaat het nummer halverwege over in een typisch Brits soort indie funk, met de hoekigheid die we kennen van bands als Bloc Party en The Jam.

Tekstueel heeft het album wel wat weg van een conceptalbum. Zowat alle nummers verhalen over vriendschap, uit de hand gelopen relaties, de hunkering naar liefde of de onbereikbaarheid daarvan, en dat maakt Put Your Love In Front Of Me, behalve een verdomd dansbare indie-plaat, toch vooral een ode aan de liefde in al haar facetten.

Kijk en luister hier naar de video van Girl

Lees hier het interview met The Little Kicks op Muzine.nl

- See more at: http://www.muzine.nl/recensie/albums/the-little-kicks-put-your-love-in-front-of-me#sthash.fe4VFyBq.dpuf - MUZINE NL

“The second album by Aberdeen’s The Little Kicks, who describe their work as “upbeat indie disco pop that makes people dance,” has a lot going for it. Flawless muscianship, with no lack of ambition in terms of structure and composition, is on display in tracks like opener Better Things. They have an engaging presence up front in the form of lead singer Steven Milne.

His voice has a nice range, and shows off an adventurous melodic approach – there are as many points in common with Sons & Daughters as there are with Hot Chip, but this is in part the problem. For every clever, minimal synth-pop flourish (The Mess We’re In) or delightfully shameless I Feel Love homage (Heartbreak Pt 1), there’s a too-obvious solo ballad (Modern Romance) or by-the-numbers indie workout (like single Girl). They’re undeniably infectious when they hit the peaks though.” [Omar J. Kudos] - THE SKINNY

SEE IMAGE - NE:MM

4/5
The new single from Scottish indie poppers Little Kicks, ‘Girl’, is a nice little teaser for their highly anticipated upcoming third album. A big sound, even broader scope of imagination and a musicianship to die for, this new track is just enough to wet the appetites of both established fans and a whole new audience.
Working hard to establish a grassroots fandom, Little Kicks have everything in the right place. Clean-cut image, crisp sound and a penchant for the wistful vocals that pay the bills in today’s music market, the band could be the best known group you don’t yet know about.

This new single offers an accessible jumping on point for a band already two albums to the good.’Girl’, albeit rather lazily titled, has the gravitas and sense of accomplishment of a band much longer in the tooth than these four lads. Something record labels are tripping over themselves to get at.

A thumping drumbeat is accompanied by bass so solid it would take a sledgehammer to break, completing a more than competent percussion section. The often overlooked and unsung heroes of indie pop, having a bass and drum combo that gel so well as The Little Kicks is an asset to be cherish. ‘Girl’ does more than that, however, it pushes them to the front and makes them the star of the show.

Lyricism and harmony are also big hitters and, with the advent of Mumford & Son’s meteoric rise to fame, it’s pleasant to see it displayed so well from another band. This new single doesn’t imitate, it adds the band’s own signature to an already established and popular form of music. And all for the better, the harmonics of the later third of the song cap a delightful three and a half minutes.

Accompanied by a B-Side cover of Fleetwood Mac’s misty eyed ‘Dreams’, ‘Girl’ makes a refreshing listen and something well worth checking out. For a group more known for their live performances, this new single, and upcoming album, could prove to be a landmark moment in their careers. - IS THIS MUSIC?

Scottish four piece The Little Kicks are preparing for the release of their third studio album, Put Your Love in Front of Me. The first single to be taken from the release is ‘Girl’. Released today, the song is a whirring, dynamic number that is piquing our expectations for Put Your Love… ‘Girl’ is backed with a cover of Fleetwood Mac’s ‘Dreams’.
Listen to ‘Girl’ below: - THE LEFTOVER SESSIONS

The Little Kicks have long been one of Aberdeen’s best loved bands, thanks to their ability to write the catchiest of indie-pop. Since releasing their self-titled second album they’ve played festivals and all across Europe and now they’re back, on the cusp of releasing their new album, with a corker of a single.

Girl is a natural progression for The Little Kicks. While their second album introduced synthesisers to their previously guitar-dominated sound, this new song takes it up another notch. Alluringly subtle guitar lines mingle with punchy synth chords over a steady disco drumbeat that builds up to a very danceable chorus. The song’s beauty is in its simplicity, and as always is enhanced by frontman Steven Milne’s superb vocal performance.

The single is backed with a cover of Fleetwood Mac’s Dreams. It’s nice to see the band acknowledging their musical inspirations, and they certainly do it justice with an acoustic cover that makes the song their own. Its calmness makes for a nice contrast against the upbeat lead song.

If the other tracks on The Little Kicks’ forthcoming third album are as strong as Girl, and all the indicators are there that they are, then we’re in for a treat. For now though, Girl serves as a tantalising teaser.


Girl by The Little Kicks is out on the 29th of July via all the usual online outlets. A launch show will be held on the 3rd of August in Aberdeen’s Lemon Tree. - HERCULES MOMENTS

All acts put everything they’ve got into the evening, including Aberdeen’s The Little Kicks who offer a few good reasons why they’ve generated plenty of positive chatter and are one of the Granite City’s latest hopes for a breakthrough. Their guitar pop with a few lashings of synths isn’t anything desperately innovative, but the songs are there and the jarring beats of Loosen Up helps the second stage (tucked away in a decent sized ante-room) audience loosen those limbs just nicely.
- THE SKINNY

The Little Kicks play upbeat indie music. Packed full of guitars and, more recently, vintage synths, their recent second album was lauded by critics and fans alike. With a string of live appearances coming up over summer, The Little Kicks could well be one of the next big indie-pop bands.
- Q MAGAZINE

The year of 2011 was undoubtedly a great year for us, we have been really happy with the feedback and press for our new album. We capped off a great year by playing a show in our hometown at the AECC (Aberdeen Exhibition and Conference Centre) which was ace (more on that later) but in the days leading up to the show we found our album was listed in several best of 2011 lists on some of our favourite blogs.

We were chuffed to be included on blog sites When You Motor Away, Hercules Moments and Favourite Son’s respective lists. Read the full articles below.

When You Motor Away:

http://whenyoumotoraway.blogspot.com/2012/01/wyma-favorite-music-of-2011.html

Hercules Moments:

http://www.herculesmoments.co.uk/2011/12/2011-in-lists-eoin.html

Favourite Son:

http://favouriteson.wordpress.com/2011/12/28/albums-of-the-year/

Kowalskiy (#3 of 10)
http://www.kowalskiy.co.uk/2011/12/kowalskiys-top-10-albums-of-2011.html
#3. The Little Kicks – The Little Kicks

I was very fortunate to have the opportunity to post Steven Milne’s track-by-track commentary of The Little Kicks’ eponymous follow-up to 2009's debut Boxing Clever. Here’s some Kowalskiy soundbites… “funky… insanely-catchy… pure songwriting perfection… Bravo!”. I think they
sum it up just nicely, but don’t take my word for it. Go have a listen for yourself!
HIGHLIGHT: Far Too Honest
- BLOG SITES (SEE BELOW)

The year of 2011 was undoubtedly a great year for us, we have been really happy with the feedback and press for our new album. We capped off a great year by playing a show in our hometown at the AECC (Aberdeen Exhibition and Conference Centre) which was ace (more on that later) but in the days leading up to the show we found our album was listed in several best of 2011 lists on some of our favourite blogs.

We were chuffed to be included on blog sites When You Motor Away, Hercules Moments and Favourite Son’s respective lists. Read the full articles below.

When You Motor Away:

http://whenyoumotoraway.blogspot.com/2012/01/wyma-favorite-music-of-2011.html

Hercules Moments:

http://www.herculesmoments.co.uk/2011/12/2011-in-lists-eoin.html

Favourite Son:

http://favouriteson.wordpress.com/2011/12/28/albums-of-the-year/

Kowalskiy (#3 of 10)
http://www.kowalskiy.co.uk/2011/12/kowalskiys-top-10-albums-of-2011.html
#3. The Little Kicks – The Little Kicks

I was very fortunate to have the opportunity to post Steven Milne’s track-by-track commentary of The Little Kicks’ eponymous follow-up to 2009's debut Boxing Clever. Here’s some Kowalskiy soundbites… “funky… insanely-catchy… pure songwriting perfection… Bravo!”. I think they
sum it up just nicely, but don’t take my word for it. Go have a listen for yourself!
HIGHLIGHT: Far Too Honest
- BLOG SITES (SEE BELOW)

Shortly before Xmas we were contacted by the Sun newspaper who got in touch to say that they would like to include us among a selection of nine other bands as their choice of top tips for 2012!

We were delighted to be asked to be involved and went down to Glasgow to get our photo taken along with the other bands in a group shot and do a short interview with a picture afterward. The article was published on the 6th January and you can see it in all its Blue Steel pouting glory below!

Good to see Bwani Junction and Discopolis featured too – they are bands we really like and enjoyed playing shows with them in 2011- hopefully share a stage with them again in 2012!

- THE SUN NEWSPAPER

Our album and the band in general have been included in the top 5 for January in established magazine Music News magazine. Always worth a read you can read the full publication or paste the below link into your browser:

- MUSIC NEWS

In this episode of the Radar Podcast we present five tracks by a quintet of bands who our writers have tipped for success this year.

Glasgow grunge trio PAWS, Aberdonian indie-pop outfit The Little Kicks, west coast slowcore collective Happy Particles and melodic Edinburgh group The Machine Room offer a snapshot of the Scottish music scene in 2012.

We also have an excerpt from our recent interview with Discopolis, a fast-rising trio of synth slingers from Edinburgh, on their unlikely Japanese connection and their plans for the year ahead.

Running order...

02:40: PAWS - Jellyfish (introduced by Stuart Lewis)
06:15: The Little Kicks - Far Too Honest (introduced by Stevie Kearney)
10:10: Discopolis interview
14:55: Discopolis - Lofty Ambitions (introduced by Nick Mitchell)
18:22: Happy Particles - The Slowness (introduced by Elaine O'Connor)
22:55: The Machine Room - Camino de Soda (introduced by Stephen Donkin)

- THE SCOTSMAN RADAR (PODCAST)

LITTLE KICKS
THE LITTLE KICKS (SELF-RELEASED)
4/5

By Craig Harkness • Nov 28th, 2011 • Category: long players

With a self-released, acclaimed album already under their belt, the Aberdonian quintet have made great strides since the release of Boxing Clever in 09; particularly in terms of arrangements, instrumentation and production value, with their new album trailblazing a new direction for the band, without losing any of their original character.

The self-titled second album The Little Kicks, adds lush arrangements and keen attention to detail; consisting of new elements like the warm sounds of the prevalent organ sounds– flirtations with brass and even the occasional Errors type blips & glitches, which are all welcomed into the melting point; and all aid their staple syncopated indie riffage, without loosing sight of what kept them special in the first place – killer melodies, harmonies and excellent pop phrasing– no matter what’s added into the mix, these still shine through, underpinning the heart of Steven Milnes and co. compositions.

Opening the album with what seems too be a curve-ball of an intro, an extended psychedelic come 60s spy theme-esque sound before ‘Anti Work Song’ true-colours emerge with an insistent but vibrant drum beat and bubbling bass flow underneath, backing the multi-layered vocals, cascading sequenced synths, which seem to come out of nowhere, reinforcing the chorus of “I don’t want to be the one, who spend their time getting nothing done – “When it comes to working-time; it kills me, kills me, kills, me – Dead” a self-evident lament of the nagging feeling that time spent working saps you of your creative and personal life.

‘Loosen Up’ makes great use of restrained syth drones, morphing into distorted electro riffage and funky bass and guitar with the dynamic and diverse percussion helping to underpin the shifting dynamics in the song, as Steven croons longing lyrics about relationship strife, which weaves amongst the twists and turns of sonic textures on offer.

‘First Place’ is the most plaintive and soulfully delivered songs on the album “As we go back to the first place, where the four of us ran to the pace of my frustrations…”- “I want to feel alive again, I need to be, alive again’, which is helped in no small way by the phenomenal brass arrangements, minimal electric-piano and guitar textures. It proves to be one of the album’s gems and seems to delineate a touching introspective look at bands relationship.

‘Call of Youth’ has the stomp, hooks and some cracking riffs that make it the most immediate of songs on the album, not to mention catchy lines such as “You think the Kinks are over rated and you’re not a fan of Bowie, and all this time your getting back to telling your life-story” it’s all really well paced number but with another twist as the outro takes hold with a heavy atmospheric hue, with strings, persevering piano and drums reinforcing the haunting reverb soaked group harmonies that bring it to a close.

Album closer ‘Far Too Honest’ is perhaps my stand-out track, with a drawn-out atmospheric organ setting the tone, sitting alongside sincere lyrical delivery ”…and you never want to listen, to anything I would say, but all I have, is what’s keeping you

round” – “and I love you more than you think; I’m far too honest” – the arpeggiated sixties style guitars and Latin inflected percussion give it a unique sound, while once again the understated but nicely blended bass holds all the disparate elements together without any flashy showings needed. ‘Far Too Honest’ provides a fitting finale for an album that has pushed the bands boundaries of experimentation.

If I have any reservation, it’s for all its sheen and expert arrangements, at times it lacks a lack a vital spark and zip; it feels like it’s arrangements and production are sometimes too clinical – losing an element where you feel they could have harnessed a more raw energy and kicked into a further gear – but that’s not to detract from the abundant quality’s that pervade the album: strong candid song-writing and lyrical delivery – impeccable melodies & harmony – not mention the twists and turns of juxtaposed styles and moods that blend together in every song – keeping things fresh, intriguing and interesting.

The Little Kicks is an accomplished and bold step forward from the band, and definitely heralds an intent to make their indelible mark on the fertile indie-rock scene that thrives throughout Scotland and beyond. - Is this Music?

LITTLE KICKS
THE LITTLE KICKS (SELF-RELEASED)
4/5

By Craig Harkness • Nov 28th, 2011 • Category: long players

With a self-released, acclaimed album already under their belt, the Aberdonian quintet have made great strides since the release of Boxing Clever in 09; particularly in terms of arrangements, instrumentation and production value, with their new album trailblazing a new direction for the band, without losing any of their original character.

The self-titled second album The Little Kicks, adds lush arrangements and keen attention to detail; consisting of new elements like the warm sounds of the prevalent organ sounds– flirtations with brass and even the occasional Errors type blips & glitches, which are all welcomed into the melting point; and all aid their staple syncopated indie riffage, without loosing sight of what kept them special in the first place – killer melodies, harmonies and excellent pop phrasing– no matter what’s added into the mix, these still shine through, underpinning the heart of Steven Milnes and co. compositions.

Opening the album with what seems too be a curve-ball of an intro, an extended psychedelic come 60s spy theme-esque sound before ‘Anti Work Song’ true-colours emerge with an insistent but vibrant drum beat and bubbling bass flow underneath, backing the multi-layered vocals, cascading sequenced synths, which seem to come out of nowhere, reinforcing the chorus of “I don’t want to be the one, who spend their time getting nothing done – “When it comes to working-time; it kills me, kills me, kills, me – Dead” a self-evident lament of the nagging feeling that time spent working saps you of your creative and personal life.

‘Loosen Up’ makes great use of restrained syth drones, morphing into distorted electro riffage and funky bass and guitar with the dynamic and diverse percussion helping to underpin the shifting dynamics in the song, as Steven croons longing lyrics about relationship strife, which weaves amongst the twists and turns of sonic textures on offer.

‘First Place’ is the most plaintive and soulfully delivered songs on the album “As we go back to the first place, where the four of us ran to the pace of my frustrations…”- “I want to feel alive again, I need to be, alive again’, which is helped in no small way by the phenomenal brass arrangements, minimal electric-piano and guitar textures. It proves to be one of the album’s gems and seems to delineate a touching introspective look at bands relationship.

‘Call of Youth’ has the stomp, hooks and some cracking riffs that make it the most immediate of songs on the album, not to mention catchy lines such as “You think the Kinks are over rated and you’re not a fan of Bowie, and all this time your getting back to telling your life-story” it’s all really well paced number but with another twist as the outro takes hold with a heavy atmospheric hue, with strings, persevering piano and drums reinforcing the haunting reverb soaked group harmonies that bring it to a close.

Album closer ‘Far Too Honest’ is perhaps my stand-out track, with a drawn-out atmospheric organ setting the tone, sitting alongside sincere lyrical delivery ”…and you never want to listen, to anything I would say, but all I have, is what’s keeping you

round” – “and I love you more than you think; I’m far too honest” – the arpeggiated sixties style guitars and Latin inflected percussion give it a unique sound, while once again the understated but nicely blended bass holds all the disparate elements together without any flashy showings needed. ‘Far Too Honest’ provides a fitting finale for an album that has pushed the bands boundaries of experimentation.

If I have any reservation, it’s for all its sheen and expert arrangements, at times it lacks a lack a vital spark and zip; it feels like it’s arrangements and production are sometimes too clinical – losing an element where you feel they could have harnessed a more raw energy and kicked into a further gear – but that’s not to detract from the abundant quality’s that pervade the album: strong candid song-writing and lyrical delivery – impeccable melodies & harmony – not mention the twists and turns of juxtaposed styles and moods that blend together in every song – keeping things fresh, intriguing and interesting.

The Little Kicks is an accomplished and bold step forward from the band, and definitely heralds an intent to make their indelible mark on the fertile indie-rock scene that thrives throughout Scotland and beyond. - Is this Music?

Album Review: The Little Kicks - 'The Little Kicks' There’s quite a lot to like
More The Little Kicks news, reviews, videos and tour dates
Buy The Little Kicks music from AmazonThe Little Kicks news RSS Feed

Album InfoRelease Date: November 28, 2011Label: The Little KicksFact: The band treated the album like a vinyl LP with two sides - five songs on each one.

7/10 Aberdeen’s The Little Kicks describe the material on their self-released second album as “catchy indie pop”. Compared to far bigger bands talking about every new release as if it’s ‘Kid A’, this is modest. Yeah OK, they don’t shy away from writing a nice chorus, and ‘Making Big Decisions’ is custom-tooled for an Inbetweeners montage, but ‘Anti Work Song’ and ‘Loosen Up’ both showcase a nice line in brittle funk, while ‘The First Place’ and ‘Call Of Youth’ are pocket epics to be proud of. It’s all tap-on-the-shoulder rather than slap-in-the-face music, but there’s a lot to like.

Hamish MacBain - NME

Album Review: The Little Kicks - 'The Little Kicks' There’s quite a lot to like
More The Little Kicks news, reviews, videos and tour dates
Buy The Little Kicks music from AmazonThe Little Kicks news RSS Feed

Album InfoRelease Date: November 28, 2011Label: The Little KicksFact: The band treated the album like a vinyl LP with two sides - five songs on each one.

7/10 Aberdeen’s The Little Kicks describe the material on their self-released second album as “catchy indie pop”. Compared to far bigger bands talking about every new release as if it’s ‘Kid A’, this is modest. Yeah OK, they don’t shy away from writing a nice chorus, and ‘Making Big Decisions’ is custom-tooled for an Inbetweeners montage, but ‘Anti Work Song’ and ‘Loosen Up’ both showcase a nice line in brittle funk, while ‘The First Place’ and ‘Call Of Youth’ are pocket epics to be proud of. It’s all tap-on-the-shoulder rather than slap-in-the-face music, but there’s a lot to like.

Hamish MacBain - NME

PRESS QUOTES
“The Little Kicks (****)…inject some energy into the night by upping the pace…keeping their focus on classic pop hooks. Their radio-friendly style sounds like a more innocent take on The Strokes on One More Time, or a more pensive Franz Ferdinand on We Came Alive, proving that old fashioned guitar pop is alive and well.”
THE SKINNY

“Despite claiming to be influenced by Radiohead, The Little Kicks still manage to make upbeat disco-rock. Lead singers Steven’s voice does encompass Thom Yorke’s drawl, but he’s got a bit of Richard Ashcroft to him too. Mixed with Smiths-like melodies it’s pretty fresh-sounding stuff.”
NME

“If anyone has the songs and ability to be a breakout act from this night then the most likely are The Little Kicks. They have a song writing maturity that belies their years, and their set is over all too quickly. Push old ladies on Zimmer frames out of the way to get to see this lot next time they’re in your town.”
ARTROCKER MAGAZINE

“Armed with a set of memorable tunes and from the moment they ring out the delicate introduction of opener Let Me Down, they have the crowd firmly on their side. Faves tonight are the Beatles-y Don’t Give Up So Easily and a belting Chances We’ve Had. On the strength of this, it won’t be long before Little Kicks are getting big licks from the music industry headhunters.”
NEWS OF THE WORLD

“Their set is another winner; the jangly guitars and pounding rhythms, reminiscent at times of a less electronic New Order, if there is any justice then The Little Kicks shall be massive.”
THE FLY

“…..What would probably destroy a lot of indie bands proves rather fruitful for this duo. Stripped bare, Milne’s gripping voice is given the attention it deserves. Strong and believable and accompanied by gently picked melodies and clever interchanging rhythms, his lonesome vocal is perfectly understated.”
IS THIS MUSIC?

“The final group tonight are The Little Kicks, a group from Aberdeen who have already been lauded by many critics and they do not disappoint. Despite appearing reticent, Steven Milne is a real talent who walks around the stage with a confidence that belies his bashful manner when speaking to the audience. The group deserve the adulation they have been receiving; straight to the point and bursting with attitude; a perfect way to close the night.”
THE SKINNY

“The album “Boxing Clever” is a masterpiece of its style and those who appreciate it will do so wholeheartedly.”
****4/5 GLASGOW MUSIC.CO.UK

“They generate effortless waves of breezy and witty indie pop, that is instantly accessible and has hooks, melodies and genuine warmth in abundance….they stride forward armed with a strong catalogue of songs laced with upbeat hooks that are stamped with their own personality….Milne’s harmonious voices glides through the jangly, occasionally angular riffs, alongside prominent funky bass…These guys should be happily rubbing shoulders with FM radio stalwarts Elbow etc, gracing daytime radio playlists up and down the country…with a wealth of catchy songs at their disposal and some savvy self promotion, they might just be able to take things to the next level without the aid of a label.”
**** 4/5 IS THIS MUSIC?
- MEDIA

“Despite claiming to be influenced by Radiohead, The Little Kicks still manage to make upbeat disco-rock. Lead singers Steven’s voice does encompass Thom Yorke’s drawl, but he’s got a bit of Richard Ashcroft and Luke Pritchard to him too. Mixed with Smiths-like melodies it’s pretty fresh-sounding stuff. And their talents don’t end there; the Aberdeen boys even found time to run their own club night, the Dirty Hearts Club, which runs in Aberdeen, every Thursday from 10pm.” NME - NME

“The Little Kicks (****), an Aberdeen quartet who inject some energy into the night by upping the pace while keeping their focus on classic pop hooks. Their radio-friendly style sounds like a more innocent take on The Strokes on One More Time, or a more pensive Franz Ferdinand on We Came Alive, proving that old fashioned guitar pop is alive and well." - (4/5 stars) THE SKINNY

- THE SKINNY

“If anyone has the songs and ability to be a breakout act from this night then the most likely are The Little Kicks. They have a songwriting maturity that belies their years, and their set is over all too quickly. Push old ladies on Zimmer frames out of the way to get to see this lot next time they’re in your town.” -
(4/5 stars) ARTROCKER MAGAZINE - ARTROCKER MAGAZINE

"...Smiths-influenced, Franz-style art-pop which is certainly eminently danceable. ‘Who Do You Love?’ provides the emotional highpoint, but from the first chords of ‘Don’t Give Up So Easily’ it’s clear that this band are here to stay. This four-piece are sounding bright, bouncy and well-polished. - (4/5 stars) IS THIS MUSIC? MAGAZINE - IS THIS MUSIC?

"ARMED with a set of memorable tunes and from the moment they ring out the delicate introduction of opener Let Me Down, they have the crowd firmly on their side. Faves tonight are the Beatles-y Don’t Give Up So Easily and a belting Chances We’ve Had. On the strength of this, it won’t be long before Little Kicks are getting big licks from the music industry headhunters." - (5/5 stars) NEWS OF THE WORLD - NEWS OF THE WORLD

".....What would probably destroy a lot of indie bands proves rather fruitful for this duo. Stripped bare, Milne’s gripping voice is given the attention it deserves. Strong and believable and accompanied by gently picked melodies and clever interchanging rhythms, his lonesome vocal is perfectly understated. The inability to hide behind heavy beats and whining electrics reveals that these boys do play nicely with a set as warm as their aforementioned cardies. Their well-crafted pop songs and pretty laments can clearly be dressed up or down. Hopefully it won’t be long before someone takes a chance on this unsigned gem."
(4/5 stars) - IS THIS MUSIC?

"Even stripped down to an acoustic guitar and Steven’s voice, Little Kicks songs like Don’t Give Up So Easily and One More Time sound powerful and like the hits they should be. The set comes to a close with a cover of New Order’s Temptation which works wonderfully acoustically and we are reminded why we can’t wait for The Little Kicks to return to the live stage next month."
IS THIS MUSIC?
- Is this music?

"....Tonight's set brings, amongst others, a song that sounds like Echo and the Bunnymen on sherbet and a fantastic closer based around a warming synth that pits early Pulp against even earlier Marc Bolan. It's surely only a matter of time before someone takes a chance and signs them." (5/5 stars) CULTURE DELUXE -


"The final group tonight are The Little Kicks, a group from Aberdeen who have already been lauded by many critics and they do not disappoint. Despite appearing reticent, Steven Milne is a real talent who walks around the stage with a confidence that belies his bashful manner when speaking to the audience. The group deserve the adulation they have been receiving; straight to the point and bursting with attitude; a perfect way to close the night." - T-BREAK REVIEW

"Their set is another winner; the jangly guitars and pounding rhythms, reminiscent at times of a less electronic New Order, if there is any justice then The Little Kicks shall be massive." - THE FLY

"...ratcheting up the energy levels and exhibiting the kind of style that's instantly accessible to an audience...sufficient to convince even the hardiest cynic that they’ve got what it takes to be just as successful in their own right... it wouldn’t be too big a surprise if The Little Kicks all become rock stars in the not too distant." - (4/5 stars) LIMBO EDINBURGH
- Culture Deluxe / The Fly / T-Break/

http://www.isthismusic.com/little-kicks

The Little Kicks hail from Scotland’s very own Granite City, and as if to belie their crude industrial backdrop, with its intensely stormy temperament; beset by onslaughts of icy northern winds, they generate effortless waves of breezy and witty indie pop, that is instantly accessible and has hooks, melodies and genuine warmth in abundance.

Taking their cue from the likes of The Smiths, The Associates, Aztec Camera early Coldplay, not too mention owing a fair debt to Orange Juice’s stylish quirky pop comps, The Little Kicks stride forward armed with a strong catalogue of songs laced with upbeat hooks that are stamped with their own personally, whilst including the fine elements of all of the above.

Steve Milnes harmonious voice glides through the jangly, occasionally angular riffs, alongside prominent funky bass (again nod to O.J.), with all the instruments receiving equal attention in the mix, none take prominence, rather complimenting ear other in fine style.

‘Don’t Give Up So Easily’ and ‘Small Talk’ stand out amongst the pack in term of quality, with the later a touching torch song and ‘Don’t’ give…’ being a fair distillation of their overall sound. Amongst all the fine arrangements and sprinklings of pop genius, it can at times feel subdued, lacking the vital spark that kicks things into another gear, ‘Time To Take Over’ hints at the lively energy that they could harness though, it zips along with a range of dynamics and styles, even flirting with 60’s psychedelic whimsy. I think in a live setting with a fervent set of fans, these songs will come alive, lifting them to another plane, in a way the record can’t quite convey. Essential the element that shines through most is great melodies on offer, and anyone with an ear for great hooks and harmony won’t fail to follow in love with them.

By rights theses guys should be happily rubbing shoulders with FM radio stalwarts Elbow, Travis and Snow Patrol, gracing daytime radio playlists up and down the country (If only such an egalitarian-level playing field existed for talented unsigned bands). For an unsigned band to make such leaps, it might be tall order, but with support from an overgrowing national fan base, a wealth of catchy songs at their disposal and some savvy self-promotion, they might just he able to take things to the next level without the aid of a label. - Is this Music?

http://www2.jpscotland.co.uk/musicblog/2009/06/on-radar-little-kicks.html

The internet may have changed the way people listen to music, but when Aberdeen band The Little Kicks were devising their debut album, they looked to the past for a template.

"We're treating it like an old vinyl LP with two sides - five songs on each side, no longer than 50 minutes and every song to be a winner," says singer Steven Milne.

"People's attention span is small now - iPod culture - so I guess our thinking isn't going with the trend, but we all feel there's nothing better than finding a great album with good songs that flow as an album should, and not just the singles with shitloads of filler in between."

The tight-knit quartet have steadily built a reputation as ones to watch over the past few years, and said debut album, Boxing Clever, has been delayed by near incessant gigging.

"We've been concentrating on writing and recording for the last, well ages," Steven admits. "Last year we said we'd just record and not gig but then we did a heap of gigs and festivals and a wee tour or two. It seems whenever we're meant to be on a break to work on material we always get offered really good gigs so we come out of hiding then retreat again - constantly."

But between October last year and April they finally managed to find the time for their long-awaited LP, and it was worth it: Boxing Clever is an accomplished, melodic collection of high-end, upbeat guitar-pop songs; a record that dips its toe in both carefree joie-de-vivre and heartfelt expressiveness.

Steven is keen to get out and tour it: "I certainly feel like we are playing our best material now and its just up to us to put the work in, gig our asses off and convert the masses if possible. It certainly sounds more productive than waiting for something to happen - I think bands can achieve a lot themselves now."

But is it more difficult for an Aberdeen band to achieve as much as their less remote contemporaries? "It probably is but you can work around it," Steven says. "I mean, there are no industry people up here to speak of so you really have to play out of town if you're going to get noticed. But Glasgow and Edinburgh aren't that far away, we happily drive down and back the same night to do shows and keep work commitments too. It's a stress and you're tired but if you want the benefit you have to do it."

Intrigued? Watch The Little Kicks live at the following dates:

23 Jun @ Bar 99, Aberdeen (acoustic)
2 Jul @ Sneaky Pete's, Edinburgh (full band acoustic set)
4 Jul @ Bangers and Mash @ 93 Feet East, London

Boxing Clever is available now from One Up and HMV (Aberdeen) and Avalanche (Edinburgh/Glasgow), and can be ordered online here
- SCOTSMAN/UNDER THE RADAR

"Having trekked all the way from Aberdeen to Glasgow on a drizzly Tuesday, only to play to a largely empty venue, The Little Kicks might have been wondering why they bothered. To their credit, it didn't stop them putting in a fine turn, their fragrant indie vignettes revealing them to be steeped in alluring melodies and worthy of bigger crowds." The Scotsman - Oran Mor Glasgow Show ****4/5
- THE SCOTSMAN