On Glaikit Bams Paradin Doon Closes Aw The Nicht, Sleeper Service layer foond soonds oan tap o multiple guitars, tae creaut an intricate an at times dense album. Relentless motorik-hintin beats eik oot the cuirious rhythms o hoosehaud objects in a jubous dance, threitenin tae unleash unlikely mauments o funk. Metal riffs try tae find thair place amang sclices o skimmerin ethereal beauty. 

In Bremner’s ain wirds: “In the lang, lang nichts at the beginin o the year ah realeesed ah haed tae mak music again. Ah wantit tae mak metal – ma auldest musical luve – leavent wi hints o Krautrock. 

A few weeks in, ah noticed the hum o the extractor fan in the bathroom wis in the same key as the song ah wis workin oan. The song haed tae hae it. Things took aff frae there. 

I re-discovered ma love o findin the music in ivery dey objects, o playin a semple tuin oan metal lamp shades or diggin the squeak o a door hinge. The whine o a faur awa aircraft landin, the plip o a drap o watter, camera shutters an railwey bowts aw foond their wey intae the recordin. An, o coorse, there wis the endless permutations o gettin juist the richt guitar soond. 

For weeks oan end ah walkit the shores o the Firth of Forth listenin tae the sangs, afore returnin tae the studio tae tweak, refine an repeat. As the nichts reakit their shortest, wi the simmer sun settin ower Fife, inspiration frae the Scots leid gied me sang titles an completit an album ah niver expectit.” 


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English: 

1. Who’s Like Us? 
2. The Legend Of The Bear And The Pen 
3. Go On Yourself, Big Man 
4. Turning To Worry 
5. Below The Church Of the Fathom 
6. The Walk Of The Pale 
7. Be All The Things You Would Be Called 
8. In The Kitchen 

On Glaikit Bams Paradin Doon Closes Aw The Nicht, Sleeper Service layer found sounds on top of multiple guitars, to create an intricate and at times dense album. Relentless motorik-hinting beats augment the curious rhythms of household objects in a dubious dance, threatening to unleash unlikely moments of funk. Metal riffs try to find their place among slices of shimmering ethereal beauty. 

In Bremner’s own words: “In the long, long nights at the beginning of the year I realised I had to make music again. I wanted to make metal – my oldest musical love – leavened with hints of Krautrock. 

A few weeks in, I noticed the hum of the extractor fan in the bathroom was in the same key as the song I was working on. The song had to have it. Things took off from there. 

I re-discovered my love of finding the music in every day objects, of playing a simple tune on metal lamp shades or digging the squeak of a door hinge. The whine of a distant aircraft landing, the plip of a drop of water, camera shutters and railway bolts all found their way into the recording. And, of course, there were the endless permutations of getting just the right guitar sound. 

For weeks on end I walked the shores of the Firth of Forth listening to the songs, before returning to the studio to tweak, refine and repeat. As the nights reached their shortest, with the summer sun setting over Fife, inspiration from the Scots language gave me song titles and completed an album I never expected.” 
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