It has since become a popular misconception that Aberfeldy is their home town, but despite this, the band’s return to Perth Theatre this Friday will still feel like a homecoming of sorts.

Lead singer Riley explains their Perthshire roots do exist, but their affiliation is lukewarm to say the least.

Riley concedes, “We’re really short on Aberfeldy anecdotes to be honest. We spent a few weekends at my grandfather’s caravan when we were toddlers but it’s pretty vague.”

Regardless of how tenuous the link may be, Perthshire does have a musical phenomenon to be proud of with the recent release of second album “Do Whatever Turns You On”.

Folk sounding at its foundations, it boasts delay pedals, wonky loops, infectious boy/girl harmonies, twinkling keyboards and atmospheric violin — all bursting with tunes and ideas focusing on love and social commentary.

It’s a departure from their debut album, as Riley explains, “Apart from maybe three or four songs, the first album was a batch of songs I wrote when I was in a certain frame of mind — classic sort of bedroom, dumped, depressed songwriter.

“But now I’ve got a band that’s doing alright and my life’s changed so I couldn’t really write any heartbroken, lonely songs.”

Instead Riley admits much of the content focuses on the travails of life on the road in support of their debut album.

“Every band’s second album is probably full of songs about being on the road and, of course, critics,” he concedes. “Turn Me Towards The Light ended up being about trying not to drink too much, which is very easy to do if you’re in a band. I’m not always good at saying no.”

With that in mind, gig-goers on Friday need not be afraid to ask for an encore.

He can count the likes of Marc Bolan, Billie Holiday, Syd Barrett, Nick Drake and John Fahey amongst a growing list of looming comparisons.

But those fortunate enough to see the mesmerising talent of Devendra within the intimate surroundings of Aberdeen Lemon Tree this Sunday might be best served going along with an open mind.

Existing as a free spirit in the old-fashioned peace loving ways of the 1970s, Banhart is very much an artistic pioneer, drawing much of his inspiration from Brazil’s great Tropicalismo scene with music consisting of fairly simple guitar melodies and minimal other instrumentation.

There’s no denying he’s a little bit of a space cowboy, but one who’s very successful at telling the same stories about the good, the bad and the poor but with new words.

Banhart’s music is an attempt to celebrate beauty, to escape the rigours of everyday life where the gas bill is followed by the electric bill and the everyday has no mystery.

Having emerged as one of the most fascinating, unpredictable and inspiring artists of his generation — with new material scheduled for release sometime next year — Devendra Banhart looks set to continue surprising and delighting an ever-increasing audience of fans and critics.

the organisers of T on the Fringe scored another coup this year by bringing two of the best voices in rock to the capital, writes Stefan Morkis.

The Twilight Singers, led by former Afghan Whigs frontman Greg Dulli, would be a pretty strong draw on their own, but adding Mark Lanegan into the mix only adds to the occasion.

Of course, the novelty factor of seeing two of rock’s most chemically-battered characters on stage would mean nothing without the music to back it up and fortunately they don’t disappoint.

Although they only share the stage for a handful of songs — this was mostly Twilight Singers show, and a very good one too with Teenage Wristband particularly good — it’s pretty devastating when it happens.

The Twilight Singers themselves are a phenomenal live proposition, with Dulli using all his showmanship to get the crowd on side and their soul influences beefed up for live performances.

Conversely, when Lanegan lumbers on stage for his first number, a cover of Leadbelly’s Where Did You Sleep Last Night? he doesn’t even acknowledge the crowd and in fact, barely opens his eyes.

He doesn’t need to, though — as soon as he opens his mouth all eyes and ears are fixed on the singer. To put it simply, he makes Tom Waits sound like a little girl.

Since leaving the Screaming Trees, he’s spent time with Queens of the Stone Age, recorded a Mercury Music Prize nominated album with Isobel Campbell and released a series of excellent solo albums, so he’s not exactly been hiding his light under a bushel, but neither he nor The Twilight Singers have become anything approaching household names.

Perhaps it’s because they’re both still tarred with the grunge brush, despite having long since left the Seattle scene behind them, but they’re both deserving of greater recognition. Of course, being a couple of contrary gents, maybe that’s exactly how they like it.