Some news, our gig bookings are now going to be handled by a mangement company, giving us more time to write and record

If you wish to book The Goodnights for a show or have any quieries contact -

FOR ALL BOOKINGS/ENQUIRIES
Ian Mackin - Caledonia Music Management Limited
www.iancaledonia@btinternet.com
www.myspace.com/iancaledonia

THE GOODNIGHTS- Coming Back CD-EP

Wasting no time, The Goodnights have returned to the studio and laid down three further tracks to follow-up the trio of excellence that made up the previous EP - and they do not disappoint!!
First off is"Coming Back" which firmly stamps their mark of quality on the proceedings with a strong yet heartfelt vari-paced anthem to match some of the best indfie-rock ballads around by many a more famous band. Opening with lightly strummed acoustic guitar and echoey lead vocals, there's an immediate warmth, which is given strength as the band comes in with some tasty drumming, ripling piano and deep bass undercurrents. Above what is now a quite exotic backing, the vocals soar forwards in gorgeous fashion, the brief harmonies adding the icing on the cake as the tracks twists and turns. A delightful electric guitar lead rings out above the solid piano backdrop as the track lifts off, that addictive chorus swirls around your head and the whole thing becomes inexorably part of you, as you're sitting there subconsciously singing along at the top of your voice. Yet its arrangement manages to put so much variation into its three or so minutes without sacrificing any of the wondrous emotion that makes it such a strong and well delivered song, by anyone's standards.

"Cold Outside" opens with lilting piano and right from the start you just know this is going to be a ballad with more emotion in it than a Barbara Cartland novel. You'd be right too. The vocal has an aching sense of yearning to it as the lyrically thoughtful song emerges, the band providing a slow river of dreams with delicate drum work, deep bass, a river of electronic sounding undercurrents and almost glissando-like backdrops. The song gradually strengthens as the vocal becomes ever more optimistic, sung to perfection and played superbly. Slowly it climbs, gathering intensity as the instrumental density is piled on and th guitars, piano, drums and bass just drive into view and take to the skies, the vocal soaring high above it all and truly spellbinding. Then it starts the slow drop back down to earth on chiming notes of electric guitar, those wondrously lurching slow rhythms and eventually ending with its feet firmly but lightly on the ground. Quite gorgeous and absolutely sublime.

To show that they also possess what it takes to be a good-time band, they end with "Nothing To Hide", the strident march of the rhythm section proving a welcome contrast to the preceding pace, while the guitar rings out and comes to life as the track drives forward and another excellently sung vocal soars out, the piano sounding like its being played with lead-lined gloves, solid yet still delicate, while the band really crunch. Mid-way, it drops down to a brief rest, before takinjg off once again as the guitar work sizzles and the vocalrise and fall, conveying the trademark emotion of before but with an aded strength that shines through. The band riff and roll their brief way to the final bars and then it's over - another gem of a song from a band who clearly know how to play and compose quality tracks with a capital "Q"

To a sizeable Doghouse crowd - and one of the largest audiences that I've seen present to hear the band, so far - The Goodnights amply illustrated why, in such a wide-ranging hotbed of talent that is the Dundee music Scene, they are totally unique, but in a way that is seriously surprising, in that it not only works so well, but that it's gathering legions of new fans to it by the month.

For The Goodnights are proud performers of some of the most mid-paced songs that any Dundee band has to offer. That they make this work throughout the set, and have a large audience absolutely captivated by what they are playing, is a testament to the writing, arranging, playing and singing talents that the whole band possesses.

For a quintet who feature a guy (Ross Kirk) on electric piano and organ as a prominent lead, as well as extra musical coloration, they have a depth of sound that is truly exquisite. That they can open the set with a song such as "save Me" and have the audience in the palms of their hands, is the sign of the writing skill. You start with this expansive anthem of a song as ringing guitars from lead guitarist John Mill and rhythm guitarist Paul Wyllie, and flowing organ sound above militaristic rhythms courtesy of Dave McDermott on bass and Jamie Corstorphine on drums, the song rolling along as guitarist and lead vocalist Paul Wyllie's voice just soars on a song that has this smouldering passion to its anthemic outpourings, the audience swaying along, only for the song to decelerate then, in a swift uprising of rhythm, erupt into a hail of guitars and electric piano as the vocal rises up to deliver the memorable chorus, before it all drops down to a sea of lilting piano, choppy slow rhythms and back into the mesmerising verses once more. All of this lapped up by an audience wrapped up in the song and its delivery.

What really become surprising as the set progresses is that the band don't really rock out - "Jane" coming as close as it gets - but provide a solid, flowing and extraordinarily well played set of songs that's like listening to an album only in a live setting, for this is the stuff of which long-lasting album pleasure is most surely made.

A song such as "Holding On" is played as a bona-fide indie anthem but with a maturity that puts it in an altogether different league, again its pace matched by its intense passion and delicious sounding arrangements as the band inject it with beef and intricacy, dynamics and fluidity, to make it sound so good. That the band are fired up by the fact that their songs are now beginning to get the recognition that they deserve, is merely leading to much more commanding performances, of which tonight was surely evidence, as the band played as one, and, for the pace but sheer quality and appeal of the songs and the singing, held a Doghouse spellbound, something no other band of this ilk - if there is one - could do.