Roman Nose

Coming only six months after their debut you wouldn’t expect a significant shift in direction, and we don’t find one here, to nobody’s chagrin. Bass-driven, fast paced and with a dash of techno the EP has a number of discernible elements, sewn together with energy and verve.The structure is highly listenable, and it makes for an EP with real stand-alone value.
‘Coming For You’ opens with a quiet synth staccato, joined eventually by a plethora of bass and high-paced sampling.
‘The Bombers’ starts in similarly reflective fashion before building to a quicker, but still mellow, pace.
Finally ‘Bra-i-an-iak’ is much slower, showcasing an ethereal side, which the band haven’t expanded on much so far but hopefully we’ll see more of in the future.
The band hail from various places, including Turkey and Israel, and the diversity of styles is evident in the EP, it seems more likely to have come from Berlin or Beirut than Glasgow.
Here’s to more exploration, more energy, more bass.
It’s an enjoyable selection, but it leaves you wanting more, hopefully there can be a longer release in the future, they’re too good to peter out, surely - Ravechild

To round things off musically the Solus tent is the place to be and headlining the tent is the most innovative act to perform there, Roman Nose. Merging bass music, electro, house, hip-hop and driving percussion the Glasgow act seem to offer a very contemporary sound.
The visual show in combination with the music is truly striking with the drummer hidden in a triangular cage upon which the crowd can see the changing visual projections on the fabric walls of the cage along with the drummer locked within.
With faces covered in distinctive masks the band highlight a keen eye for aesthetics as well a keen ear for heavy rampant beats and sounds.
High energy expression from the start draws crowds in from a wide circle of the surrounding area and at first they give time for the spoken word in electronic tracks to have the prominence it requires, building and building behind this rather than bludgeoning immediately with synths.
The intensity of the Roman Nose sound is compelling and this is shown by the immediate dancing taken up by everyone who enters the tent.
There is a competent understanding of the bridge between drum-led tunes and out and out electronica and this creates a balance, which extends the energy from start to finish allowing for calm interludes that melodically offer breathing space.
Good drops, well built up and cycling into darker, dirtier sounds make the experience one that carries the highly-energised crowd, identifying some of the power of music to take over.
The ramping up of some dirty bass, which crunches and wallows, as the set progresses is a welcome addition and the big breaks have the crowd in a euphoric state.
Ending with ‘Man’s Gotta Eat’ is a real highlight, a great, unique track that stands within its influences and time and provides a perfect end to the two days of sonic expression; music, which across genre, has brought all manner of sounds to Dundrennan.
It is with contentment that I walk off into the night to bear witness to the ceremonial ritual.
The Wickerman, totemic symbol of the festival, and a nod to shared moments of paganism, burns to the ground to mark the end of another year.
Words: Joe Leightley - Ravechild

Roman Nose - Youthclubbed (Badly Built) ●●●●

Jesus, this is horrifying. Sickening. And quite, quite brilliant. The debut release from Glasgow dirge-electro dervishes Roman Nose successfully lives up to the tech-hysteria and shock of their camouflaged live assaults. From the deceptively sublime intro of the synth-grinding title track, to stunning dread-pop epic ‘Satan Pump’, this is the stuff of nightmares, deviance and the best nights you have (n)ever had. (The List) - The List