Saint Etienne @ ABC 16/12/10

It was 20 years ago the Saint Etienne first gave us their brand alternative dance pop, 1991’s Foxbase Alpha may not have been their most successful on release but now there is no doubt about its status as their best, a fact this is clear from tonight’s setlist.

However, there is time for Swedish trio The Radio Dept. to woo an, at the time, sparse audience with some chilled out dream pop. TRD have been going nearly as long as tonight’s headliners and despite not gaining as much commercial coverage they have received much critical acclaim perhaps no more so than with latest album Clinging to a Scheme.

Tracks like ‘Heaven’s on Fire’ and ‘Never Follow Suit’ form highlights of a beautiful yet short set, and as the band leave a fuzz filled stage one by one you can’t help but hope they return to play a headline slot in the near future.

Tonight though is about Saint Etienne, and the trio originating from Croydon don’t let down. Sarah Cracknell and co may not have the youth they once had but there is no argument that their songs are still relevant today, so much so that Girls Aloud could easily release these tracks and no one would bat an eyelid.

They open up with the disco driven ‘Who Do You Think You Are’ before a projection of wonderfully fun looking scenes from the ‘60s. The electro beats of ‘Burnt Out Car’ keep the constant pop bliss oozing until Foxbase Alpha tracks kick in with the captivating ‘Spring’, which was remixed brilliant by Air France earlier this year.

Christmas fever has certainly hit Saint Etienne this year. The release of album A Glimpse of Stocking, a selection of festive merch and Cracknell’s constant chats of the season shows excitement is clearly apparent. It appears now Cracknell has two young children the Christmas period is just as exciting for her as no doubt it is for her children.

The band’s first single, Neil Young cover ‘Only Love Can Break Your Love Heart’ proves the set highlight, as the former dance chart no.1 sets toes a tapping and demonstrates why Saint Etienne were equally as important in the dance movement as they were in the sugar coated, C86 pop scene.

After a couple of encore’s including another dance chart no.1 in ‘Nothing Can Stop Us Now’ and a wee Christmas ditsy in keeping in the theme, the band call it an evening. A surprisingly early finish isn’t met with much disdain as Saint Etienne prove once again they and their music can capture an audience just as it did a couple of decades ago.

Photo: Stewart Fullerton

The Yummy Fur @ Stereo 15/12/10

“Never playing this city again, it’s the new Edinburgh” John McKeown quips after reemerging for an unexpected encore. Strangely enough his statement may be correct, albeit not for the lack of cheering for an encore, but because this is to be the last ever Yummy Fur gig, whether we believe this or not is questionable.

The Yummy Fur reformed to much excitement in the Glasgow scene back in late 2009/early 2010, a sold out Sleazy’s gig was followed by trips to London and a first ever visit to the States.

Now, less than a year on the clock they have decide to retire the band again, not that McKeown or indeed Paul Thomson, whose quiff tonight is phenomenal, will become strangers with duties in 1990s, Correcto and of course Franz Ferdinand to tend to.

The show at Sleazy’s was an undoubted success however tonight has disappointingly undersold but this does not stop the boys putting on a top show. The set is as close as you could get to a best of The Yummy Fur set and tops the previous show in that respect despite the crowd not being quite as cosy.

Tonight is clearly on to please a hometown audience, the band seem unprepared as cues get confused and after attempting to start ‘Deathclub’ for the fourth time McKeown quips “I knew six hours practice was too much”. Nonetheless the set is thoroughly entertaining if it is more for its content than its preparation.

The highlights of the set come in tracks that a Glasgow crowd hadn’t heard in over ten years; tracks like dark tinged ‘Canadian Flag’ and the electronic brilliance of ‘Shoot the Ridiculant’ really capture those assembled. And as the band demerge for their encore to play the snarly sing-along ‘Policeman’ and oldie ‘Chinese Bookie’ everyone is left more than satisfied.

The Yummy Fur don’t need to do much to prove their worth within the Glasgow scene, you just have to look at their collective CV’s. Still whether this will be the last we see of them is questionable, and with the projected remaster and release of their discography in the new year potentially giving them a new set of fans, we may not and hope not to have seen the last of them.

The National @ Glasgow Academy 26/11/10

If New York based Matthew Houck, aka Phosphorescent, is still building a name for himself in the UK then some seven years into his career under this alias he has got his break.

Anyone would be mad to turn down a support slot with the hottest US indie rock band to emerge in recent years, and while he and his four-piece band don’t quite have the same presence of the headliners they do more than justice for themselves.

Houck and co. are not set back at all by the massive crowd assembled to see The National and the audience in turn are comforted by the band’s ease. Houck clad in leather jacket and baseball cap looks remarkably relaxed in his groove as the rest of the band plough through some delightful alt-country.

New album, Here’s to Taking it Easy stand out ‘The Mermaid Parade’ brings their set to a rousing ending, surely capturing a few hundred new fans in the process. Look out for a headline show in the near future, as Houck and co. are hitting their stride some five albums into their career.

To say anyone here is not here to see The National would be a huge misconception the band have surpassed pretty much all their contemporaries and latest album High Violet’s No.5 charting just goes to show the attention they are receiving, not to mention the Academy was sold out months in advance.

Appearing in front a haunting black and white backdrop the band start up with the beautifully arranged, melodic ‘Runaway’ which gives the crowd their first taste of the powerful, heartfelt vocals of remarkably dapper dressed frontman Matt Berninger, who remains the main focal point for the rest of the set.

It is difficult to pick an early stand out, each and every track flows perfectly and injects something into as near a perfect indie rock show you will see. ‘Bloodbuzz Ohio’ sees the crowd swooning into a mass sing-along with every lyric lapped up while the slow building heartfelt anthem ‘Afraid of Everyone’ sees Berninger atop a pedestal screaming ”I don’t have the drugs to sort it out”.

The band aren’t afraid to chat to crowd either as they tell tales of their greatest low point when they stayed at the Glasgow Euro Hostel quickly followed by Berninger screaming “I’m evil” at the top of his lungs during a passionate performance of ‘Conversation 16’.

Despite the new album heavy set it is ‘Mr. November’ from 2005’s Alligator gains one of the most rousing receptions from the crowd and indeed from the band. Berninger launches himself into the crowd, ending up as far back as the sound desk shouting “I wont fuck us over I’m Mr. November” and still returning to the stage for more.

‘Terrible Love’ sees Berninger standing wonderfully profound above the crowd before the band bring the crowd down to a calm soothing sway with oldie ‘About Today’ that ends in a massive crescendo of pure euphoric sound.

As the band explain they are going to do something that they have only tried a few times, and most of those times it hasn’t worked, you can’t help but think “don’t ruin it” but also have that sheer optimistic feeling that at perfect shows like this nothing can possibly fail.

And it doesn’t fail better yet it proves the highlight of the night, as the entire band collect centre stage and take on a completly acoustic performance of ‘Vanderlyle Crybaby’. Berninger looks in his element as leads the crowd in a mass tearjerking sing-along climaxing in enthusiastic chants of “I’ll explain it all to the geeks”.

There isn’t really much more that needs to be said about The National, they fully deserve every ounce of praise and popularity they are receiving. Tonight is all the evidence needed to pin point an exact reason why they are fast becoming the world’s biggest indie rock band.

Gruff Rhys @ Vic Bar Art School Glasgow 23/11/10

Super Furry’s frontman Gruff Rhys takes to the stage at the Art School tonight to a crowd packed full of dedicated SFA fans. The Welsh singer looks perfectly at home a he perches on the front of the stage sporting a jumper and bobble hat behind an array instruments.

Downstairs at the Vic bar isn’t the best venue for a gig, with upstairs more suited to shows with larger audiences with its elevated stage, however everyone is in high spirits to see what for many is their personal musical icon.

Rhys announces casually that the set is going to “start miserable and get less miserable” and he isn’t exaggerating, the set is pretty much downbeat all the way through. Still despite the misery in the content there is no feeling of sadness detected in the crowd.

The singer lifts the majority of his material from his solo work with tracks from upcoming release Hotel Shampoo. Many Welsh language tracks, from 2005’s Yr Atal Genhedlaeth appear, which despite not being understood don’t fail to charm his adoring audience.

The main noticeable absence comes in the form of 2007 single ‘Candylion’, probably down to the lack of a female singer to accompany the track. Still we aren’t short of a duet as Rhys is joined on stage by support H. Hawkline for an encore.

Standout track of the night comes in the form of new album lead single ‘Shark Ridden Waters’ which ups the tempo for a short while towards the end of the set.

Still despite the majority of the set being downtempo the Welshman’s charm leaks through. His refreshing banter could win over any crowd, during the set he comments, “it’s a cold, cold night” but it’s a night that everyone would happily bare to see there him.

Photo: Stuart Westwood

The Tallest Man on Earth @ the Arches 22/11/10

Kristian Matsson is The Tallest Man on Earth, well he isn’t physically, it’s a by no means fitting moniker. Matsson is by no means short but he appears your average skinny indie folkster, however the music he produces is not average at all.

With comparisons to top folk musicians flying all over the shop Matsson is slowly but surely pulling away from these comparisons. This years release The Wild Hunt has received rave reviews and is possibly the main reason why this has not only been upgraded from Stereo but also sold out The Arches.

Matsson comes across as a slightly timid character for most of the set and mumbles to the crowd between songs to various degrees of amusement. An interchange with a fellow Swede in audience has Matsson, after a comment in English, quip: “did you understand that? We can do the rest in English them.”

There are no complaints from the crowd as Matsson apologises for the third time of the evening for an extending tuning, instead he is drowned in chants of “Graceland” calling for his version of the Paul Simon classic.

The cover doesn’t come but disappointment isn’t too high as tracks like ‘King of Spain’ and ‘The Gardener’ capture the crowds imagination as Matsson gives a master class in singer-songwriting.

As the encore hits in Matsson seems to up the pace for the first time in the set as he bobs away through his could be teen anthem ‘Kids on the Run’ before slowing it down again for the beautiful, closer from 2008’s Shallow Grave, ‘This Wind’.

The Tallest Man on Earth may not be all that his name suggests but it appears in the musical world he is getting bigger and bigger. The Wild Hunt has captured an audience and it won’t be long before people forget the Paul Simon covers and the Dylan comparisons and appreciate the singer himself.

Photo: Warrick Beyers

Caribou / Four Tet @ ABC 21/11/10

This simply must not miss event kicks off at 6pm and the beats barely stop ‘til well gone midnight, as we witness easily one of the best shows Glasgow will see this year.

The night organised by Kieran Hebden, aka Four Tet, features a mouth-watering array of DJ’s and electronic musicians topped by the massively hyped Caribou, whose latest release Swim has achieve critical acclaim pretty much across the board.

Set with unenviable task of warming up the crowd are Rocketnumbernine who provide some experimental electronic delight as the ABC slowly fills to capacity.

Nathan Fake is next to take the stage, ducking and diving through a delightful set as the crowd slowly but surely build up momentum, give them credit it’s still only 8pm. James Holden quickly follows as he feeds on Fake’s lead keeping the crowd going at a steady pace before the main events take to the stage.

As former post-rocker Hebden moves in to take the reigns there is a vast push forward from the crowd as they see a familiar face and quickly descend into one hot sweaty mess.

Hebden appears slightly awkward as he bobs away behind his desk but there is a unique charm about the Londoner, even deep in concentration he comes across as likeable. With tracks like ‘Angel Echoes’ and ‘Love Cry’ it’s hard to fault anything about the man.

Starting out with post-rock band Fridge, Hebden took the moniker Four Tet for his more electronic experimental solo exploits and although only recent album There Is Love In You has gain much acclaim in the mass you have to look back at least a decade to pin point his debut. As he ends a rousing set with a cheeky smile and wave you can tell he is joyous at how the night has gone and how far he has come himself.

A slight questionability lies in the air as what has so far been non-stop music is cut to nothing as the stage is set up for Caribou’s live band. But as the band kicks into their set any questions as pushed aside as Dan Snaith and his band lash into a rip roaring set which is made further emphatic by the inclusion of a live band.

The band set up in a cluster in the centre of the stage never miss a beat as they power through a set primarily made up of tracks from Snaith’s latest work which is easily his most upbeat to date. The only gap in the set comes as Snaith announces how close the band were to having to pulling out due to their bassist being hospitalised in Newcastle.

New album stand out ‘Odessa’ packs a punch and is easily the popiest of Snaith’s decade worth of output, whether under Caribou or Manitoba. A real highlight of the set comes from 2007’s Andorra in the form of the wonderful ‘Melody Day’, which sees the crowd and the band lifted to euphoric highs as the Canadian drowns the crowd in pure beauty.

The tech-house throb of ‘Sun’ sets the crowd alight one last time as Snaith and co prove they are well worth every ounce of hype they receive elevating himself to the very top of the electronic scene.

Leaving the ABC there is that unique feeling that you only get from those life affirming shows, and this certainly has been one. Electronic music is alive and well and we’ll be hearing these acts for a long time to come.

If you haven’t had your fill the night is still young and Hebden has made the jaunt down to Hung Up! at the Subclub to carry on the beats way into the night.

Photos: Fran Lightbound

Casiotone for the Painfully Alone @ Captain’s Rest 11/11/10

There is no doubt one-man lo-fi experimentalist Owen Ashworth has come along way since he debuted the moniker Casiotone for the Painfully Alone back in 1997. Now 13 years older Ashworth is retiring these songs.

This will be his last show in Glasgow but the Californian urges us not to worries: “I’m gonna write a bunch of new songs and come and play them for you.”

Casiotone gigs always have a note of sadness; Ashworth’s ‘indietronica’ is renowned for being moving with his short sweet songs tugging the heartstrings of his audience.

In the middle of tonight’s set an audience member heckles “will you keep writing sad songs…? Happy songs?” To which Ashworth replies: “I’ve written a few songs, I’ve been told they’re slightly happier.”

The set is a true delight in typical style. Ashworth’s presence doesn’t set the Rest alight but instead a calm adoration fills the venue as the crowd stand patient in admiring awe. It doesn’t really matter what songs he plays every song is a highlight, a cover of Springsteen’s ‘Streets of Philadelphia’ his own charming style proves a delightful addition.

Ashworth knows how solemn his sets can be and he solves this by joking with the crowd “this is the only part of the set that’s fun” after expressing “I’m doing ok, feeling I could need some vegetables” to which a crowd member quips “you’ve come to the wrong country!” This shows that unique charm that keeps both people coming back to his shows and him coming back to Glasgow.

There is no doubt Ashworth will be back in Glasgow here, he shows genuine love for this city. However, for these songs the road has ended but a corner seems have turned and instead of this being a sad goodbye it feels more like the beginning of something new.

Crystal Castles @ ABC 19/10/10

Tonight the ABC sees a vast change from Robyn’s pop charms of last night, but yet again the venue is packed full albeit for an altogether more riotous experience.

LA based noise rock favourites HEALTH return to the Glasgow as support after a recent headline slot at the Arches and play to their biggest Glasgow crowd to date.

The Californian four-piece look more than at home as they power through a set of high impact, hair swinging post-punk. You could be forgiven for dismissing them as metal on first glance but images should not be thrown aside as their powerful industrial beats could penetrate many a dance floor.

Then it’s the turn of tonight’s headliners, Crystal Castles may be like marmite but no one in attendance can argue that the beat driven assault launched on the ABC tonight does not deliver.

A combination of constant smoke machines and seizure inducing strobes throughout the entire set produce a uniquely apocalyptic vision as the duo’s leader Alice Glass struts around the stage only visual as a silhouette for the majority of the set.

It isn’t long before Glass makes the first of many voyages into the braying crowd, as the tiny cropped singer approaches a sea of hands greeting her in a scene approaching the opening sequence of George A. Romero’s Day of the Dead.

Despite her rarely being in full vision Glass’ presence cannot be brought to fault, she is a constant blur of energy, as she screeches through tracks from new album Crystal Castles II, jumping from raised object to raised object while jumping around like a crazed nymph.

The atmosphere in the ABC tonight feels more like a rave than a gig as the crowd on whole jump wildly with hands raised throughout. Each and every song from latest release ‘Baptism’ to old favourite ‘Alice Practice’ are met with the same unrelenting wave of euphoria.

Crystal Castles may have once been laden with the new rave tag but the Canadian duo have outlived that scene and ousted the memory of it. Their live show has gone from strength to strength and even the shyest gig goer would struggle not to dance to this explosive live experience.

Photos: Fran Lightbound

Robyn @ ABC 18/10/10

A delay of about half an hour hits into Robyn’s set tonight but this is quite happily eaten into by DJ duo Rebecca & Fiona, who appear to having the time of their lives as they dance around the ABC stage.

Still it is one person everyone is here to see, as Robyn speaks an intro track and the stage gets drowned in strobe the excitement in the room hits fever pitch. The quirky Swede emerges in an ever so kitsch outfit, which cuts down throughout the set to a much simpler but no less cheeky attire.

Opening with R&B enthused ‘Fembot’ sees the singer taking a step further into a scene she has be known to dabble, as she takes on the persona as the ultimate robot diva.

Most of the material tonight is new to Glasgow as Robyn is promoting her three album Body Talk series. With the second part just out and the third due later this year she seems to be pushing even further into the pop spotlight.

Latest single ‘Hang With Me’ hints at Robyn’s pop capabilities before we reach the set’s club section. The heavy bass hits in and ‘We Dance To The Beat’ delivers exactly what it says on the tin.

The Stockholm born popstess is certainly in the mood this evening and any doubts about the set’s energy dropping are quelled as she wolfs a banana in the midst of wild dance.

‘Love Kills’ continues the dance vibe, injecting a little clap along for the crowd before stepping into the upbeat electro Röyksopp single ‘The Girl and the Robot’, which sees Robyn reverse her robot persona from set opener ‘Fembot’.

The crowd matches the performer all night in terms of energy and this is no more evident when Body Talk, Pt. 1 single ‘Dancing On My Own’ fires out whipping the crowd into frantic excitement as Robyn displays the top end of her pop gems.

‘With Every Heartbeat’ is easily Robyn’s most recognisable track, her UK no.1 thus far, but it is a credit to the singer’s other tracks that no noticeable change is taken from the crowd, not that any more energy can be extracted from the excitable audience.

Robyn is at that bizarre stage where she has yet to reach the heights of mass stardom, trendy kids secretly adore her but there is a silly taboo with something this accessible. As a result, the crowd this evening is an odd mix and for many a first gig, explaining the mass head for the exit before the encore.

Upon returning to the stage Robyn and co not quite hit the heights of earlier but that is a difficult thing to fault them on. ‘Konichiwa Bitches’ and ‘Be Mine’ give welcome calls back the time when Robyn first him the mainstream and end the set on a reminiscent but no less pop fuelled brilliance.

Pop stardom may be where Robyn wants to be or not but it is certainly where she ought be. The set from start to finish is full of sugar coated pop and dance floor fillers and if Body Talk, Pt. 3 lives up to the first two then it wont be long before she is playing to screaming fanatical kids in their masses. So, make sure you set her while she’s still at a relatively modest venue.

Photos: Debbie McCuish

No Age / Male Bonding @ Stereo 9/10/10

A double bill of DIY brilliance is promised tonight as highly rated trio Male Bonding come out in support of Radiohead favourites No Age.

After a set from local boys Paws it is the formers turn to take the stage to an already overflowing Stereo. From the off the vocals are way too low in the mix, however the band soon shrug this off as they enter their stride.

Bassist Kevin Hendrick swaggers around in a confident fashion as they break into ‘Franklin’ from the Londoner’s superb debut album Nothing Hurts. Throughout the set Hendrick’s more traditional punk sneer contrasts well with guitarist John Arthur Webb’s sometimes shoegazey vocals as the two trade fronting places.

DIY punk ethos form a basis tonight, Male Bonding take to this full heartedly as poor sound quality is got over through sheer volume. Not that the band lack quality songs, album opener ‘Year’s Not Long’ forms the strongest example of this tonight.

It is safe to say most in attendance tonight are here to see No Age, and the duo have moved on somewhat since they last appeared in town on their tour with Los Campesinos! and Times New Viking.

Now a sampler joins them onstage adding a soundscapey feel to the raw sound they made their name with. This is not the only step away from their roots, they also have their own projectionist working a display throughout the show. This displays some interesting images but Stereo’s pillars and equipment don’t give much space for full-scale view.

The LA duo also are hampered with poor sound but the band make this work to their advantage as it compliments their raw and extremely loud set. The dtrong yet strained vocals of drummer Dean Allen Spunt work well as the set evolves more in a musical daze with one song flowing into the next.

Spunt is no shy cookie either as he proclaims his love for Glasgow over an emphatic soundscape before giving a quick shout out to his favourite Glasgow vegan hangouts, including tonight’s venue.

‘Fever Dreaming’ forms an early highlight as the band cut loose and hit us hard and fast in one of the standouts from latest album Everything in Between. While ‘Valley Hump Crash’ forms a great example of the new dreamy side of the band’s sound.

After a set comprised of mainly new material a rapturous finish is in order and the band truly deliver. The chirpy guitar of 2008 single ‘Eraser’ is easily the best received song of the night. The band then disappears only to reemerge as the recognisable duo and dig deep into their catalogue to perform Wierdo Rippers favourite ‘Boy Void’.

Sound may be an issue that is being constantly raised with Stereo but tonight’s set forms a classic example of how this problem can be worked in your advantage. The bands on offer tonight have grown up playing small dingy venues and through experience have a produced a sound that, delivered at break neck energy, works on any level.

Phot0: Gordon Ballantyne

of Montreal @ QMU 4/10/10

For anyone who has never seen of Montreal live you are certainly missing out! The Georgia based act light up the stage with their frantic freak pop while bringing a few actors along for the ride to add a theatrical tint to a wonderfully entertaining show.

The band emerge dressed in all white with chalked faces under an intense strobe and start playing a sinister intro. Meanwhile a combination of a fish and gas mask has wandered on stage holding a couple of heavy looking guns.

Just before things get too sinister, but not less weird, frontman Kevin Barnes appears dressed like a time confused, trendy transvestite and the band launch into new track ‘Coquet Couette’.

The camp theatrical antics continue throughout and matched up with an impressive background projection they provides a wonderful alternative for those bored of watching just some folks playing instruments.

It is clear of Montreal know their stronger tracks as the stage antics are somewhat set aside when the band hit into songs, from their rousingly trippy 2007 release Hissing Fauna, Are You The Destroyer, like ‘Gronlandic Edit’.

Various costume changes of bright coloured lycra and skeletal masks are gone through while the band work through tracks like ‘Enemy Gene’ and ‘Sex Karma’ from new release False Priest.

However, it is in the older songs that the true charm of the set is found. ‘Bunny Ain’t No Kind of Rider’ find Barnes at the peak of his powers. ‘She’s A Rejector’ injects powerful bouncing bass that pushes the crowd into an unrelenting sing-along while a blood drooling pair cackle around the stage in straight jackets.

Then the set takes a darker turn as Barnes disappears off stage and returns covered in golden cloth with a rope round his neck and performs a disturbed little number while animated war images project behind him.

This distressing image quickly gives way to screeching synths and Barnes, cloaked in a new skirted outfit, erupts into the pop bliss of ‘Heimdalsgate Like A Promethean Curse’. Pop gems ‘Plastis Wafers’ and ‘For Our Elegant Caste’ from 2008’s Skeletal Lamping sandwich the clap-along ‘Suffer For Fashion’.

Before the band disappear off stage we are treated to a couple of dancing pigs and are drowned confetti to the chirpy funk sound of ‘A Sentence Of Sorts In Kongsvinger’.

After the band disappear a solitary pig stays on stage and whirls the crowd into frenzy for the band to emerge again and exit of a victorious note.

Instead of the expected cover song of Montreal fans have come accustomed to (no Nirvana or Franz Ferdinand tonight). The band instead delve further into their back catalogue than at any point in the night choosing the joyous silliness of ‘The Party’s Crashing Us Now’ from 2005’s Sunlandic Twins.

While of Montreal’s hyperactive, uber-trendy indie rock may not everyone’s cup of tea, it’s hard to argue with the amount of fun they dish out live. A wonderfully dramatic, thoroughly entertaining set overshadows the poor setting and leaves everyone waiting for the band hit Glasgow again.

Photos: Eilidh McMillan

Grinderman @ Barrowlands 28/9/10

Tonight sees, what is still to some a Nick Cave and the Bad Seeds side-project, Grinderman visit Glasgow for the first time and this early into the tour they are in a rousing mood.

Promoting second album Grinderman 2 Cave and co have managed to distance themselves from the Bad Seeds material by coming at it from a different angle.

Cave’s usual avenues of song writing have been cut off, no love or religion under this alter ego! The result is a much more raw, raunchy rock ‘n’ roll sound, far removed from his heavily ballad ridden Bad Seeds work.

Grinderman has gradually moved away from being just a side project since the release of their self-titled debut in 2007. This is further emphasised by the easily sold out crowd at the Barrowlands tonight, a bigger venue than the Bad Seeds played on their last visit to Glasgow.

Opener tonight ‘Mickey Mouse and the Goodbye Man’ sees the four-piece start in an explosive fashion before pushing into the Cave speciality explicit charms of ‘Worm Tamer’.

A quick breather is given to the band when Bad Seeds stalwart Warren Ellis blows his amp, prompting Cave to input “Warren’s blown up his third amp of the tour”, which is incidentally only four days old.

The mere mention of Ellis’ name provokes the crowd into a spell of Warren worship. A number of adoring fans in the audience proclaim their love for the bearded multi-instrumentalist, to which Ellis quips “I’m looking for a good divorce lawyer”.

The oozing sexuality of Grinderman is no better shown than in the stand out tracks from their debut album. It is these songs also that prove the set stand outs, ‘Get It On’ and ‘ No Pussy Blues’ convey opposite sides of Cave’s sex driven lyrical world, but both rouse the crowd into massive sweaty sing-a-longs.

‘Man in the Moon’, ‘When My Love Comes Down’ and their self-titled track create a strong and dazing yet moving encore. The complaint anyone could have is the lack of Bad Seeds tracks making appearance, however this does not seem to bother most in attendance, further justifying the testament that Grinderman is a stand alone band in their own right.

Grinderman 2 is out now on Anti-.

Fang Island @ Captain’s Rest 5/9/10

Fang Island are one of the latest of the wave of New York artists labeled as “math rock” to pass through the UK. Despite the band’s calculated, mass pedal usage there is a hugely joyous, fun-filled attitude coming along with them.

Support tonight comes from local boys Endor, who bring an atmospheric yet pop filled charm to the start of the evening. Without completely blowing the crowd away, these guys have a solid base and will have won over a few new fans tonight, despite a lot in attendance being here to see them.

As Fang Island fronting duo Jason Bartell and Nicholas Andrew Sadler appear on stage clad in colourful hoodies (wizard like in the case of Bartell), it is hard to tell whether they are the height of New York cool, or the complete opposite. Any doubts on this are quickly quashed by the sheer joy they embody when playing.

Opening with ‘Dream of Dreams’, the band’s head bouncing, energetic antics quickly win over the sadly half full crowd. Still, the relatively small crowd is more than up for the show, and while hesitant during the support are now dancing along enthusiastically, something there isn’t usually room for in the Rest.

The band clearly are enjoying their first visit to Glasgow, or indeed their first full tour, as Bartell emphasises “we’ve never been anywhere before”, after stating how great it was to be here. The happiness these guys put into playing live could win over the most hardhearted music fan.

‘The Illinois’ forms an early highlight of the set conjuring up images of a superhero racing the rescue. The five-piece bounce through tracks from a self-titled debut album worth of mostly instrumental wonder.

As the set progresses into the skies the band move from potential hit to potential hit. Latest single ‘Daisy’ moves into set stand out ‘Sideswiper’ before closing on the explosive bursts of ‘Davey Crockett’.

By the end of the set it simply doesn’t matter if these guys are cool or not, and despite the lackluster attendance this evening, expect a scramble for tickets next time they hit British shores.

Picture: Gordon Ballantyne

Liars @ Stereo 9/8/10

Liars have been very consistent in quality since forming 10 years ago, and while touring perhaps their most critically acclaimed release to date, Sisterworld, Stereo is dumbfounded at how tonight’s show has undersold.

Tonight’s support comes from Glasgow’s own Milk, who come across come as much a blast from the past as it is a look to the future. We, at Rokbun, covered them at the Captain’s Rest last month.

By the time Liars take the stage, it is clear the now swelling, but not quite capacity, crowd are all here to catch to Brooklyn based trio, bolstered to a five-piece for this evening’s performance.

Draped in smoke and green light tonight’s heroes emerge. Frontman Angus Andrew strikes an imposing figure, but as his uniquely expressionate stage antics kick in a confidence fills the room; they are watching a band at the height of their game.

Advancing into the powerful ‘Scarecrows on a Killer Slant’ the band look in their stride. Andrew then expels a more touching side announcing they’ll play a track he wrote while staying in Glasgow but they don’t play live often, before moving into the almost heartfelt murder ballad ‘Scissor’ which explodes into full on noise-punk.

Liars aren’t afraid to show off their more humorous side as Aaron Hemphill, on synth and guitar duties, jokes with a crowd member sporting Wu-Tang Clan merch. Displaying his knowledge of Wu-Tang Hemphill jibes at his favourite album is Wu-Tang Forever stating: “I’m not posing man, I read both books.”

The heat in the Stereo basement rises throughout the set, but Andrew keeps up his passionate dazed dances as the band power through Sisterworld tracks ‘No Barrier Fun’, ‘Here Comes All the People’ and ‘The Overachievers’.

Perhaps the standout of the night comes from 2007’s self-titled album in the form of ‘Clear Island’. The track’s throbbing keyboards and chanting lyrics have even the questionable fan nodding along.

Performances of old and new favourites like ‘The Other Side of Mt. Heart Attack’ and ‘Proud Evolution’ only go further to demonstrate the band’s appeal. However, it is when they emerge as just a trio for the encore that the crowd really takes the show by the scruff of the neck, as chants of “blood” rain down on Stereo during an engrossing version of ‘Broken Witch’.

Liars may not have managed to fill out Stereo this time, but their disco vibed punk continues to capture the ears and imagination of everyone in attendance. As the word gets out and with their ever-growing popularity, we will surely see them playing a bigger venue next time around.

Photograph: Usman Malik

Wild Nothing @ Captain’s Rest 28/7/2010

It’s time again for the sound of 2010 to hit Glasgow. Tonight’s headliner, Wild Nothing, is the latest act to be labeled ‘dream pop’ that has set eyes a sparkling the world over, fans and critics alike.

The solo project of Virginia born Jack Tatum, tonight performing as a four-piece, visits Glasgow for the first time, promoting debut album Gemini.

Support tonight comes from Glasgow’s own Barn Owl, who treat us to calm wave of a set. The five-piece seem confident in their groove but outside of it the nerves look apparent. Despite this the twinkling of a xylophone and the occasion tune reminiscent of laid back Los Campesinos! the band form a delightful opener.

Tonight there is surprisingly room to move in Rest, which is odd considering the hype Wild Nothing has been receiving and the tiny venue. Still, the relatively few in attendance are treated a shy yet refined performance courtesy of this talented young man, who is continually gaining a deserved recognition.

The clattering of ‘Chinatown’ opens the set on an upbeat tone before Tatum drags us into a deep yet dreamy sulk, so brilliantly captured by this genres best, who Wild Nothing is among.

The beautiful album opener ‘Live in Dreams’ forms a stand out of the set as Tatum sings “that’s exactly why I’d rather live in dreams and I rather die” and the crowd grows ever closer to the glazed swagger evoked by he constant rhythm of Tatum’s backing.

Then the glaze is blasted open as the most danceable beat of the night hits the floor, as Tatum and co hit into arguably the albums most pop track ‘Bored Games’. Tatum keeps the high ground and ends the set on an optimistic point with current single and almost twee delight ‘Summer Holiday’.

The shy frontman leaves us on an apology, firstly for not being the most talkative onstage, this he is instantly forgiven, and once again as the crowd chants for more he shyly announces that they had this last night but they have no more songs.

Wild Nothing may not be dripping with the pop sensibilities that the more popular members of this scene embody, however, both live and record he has is a gem which will be cherished by many who have taken this scene to heart.

Ariel Pink’s Haunted Graffiti @ Captain’s Rest 3/6/10

With the Halt Bar Hijack just along the road the area is jam packed with live music fans. This hands the perfect scenario to much hyped avant-garde musician Ariel Pink to play his own set just a skip away at the Captain’s Rest.

Many have taken a quick time out from the Hijack to catch the LA based act, with his band Haunted Graffiti. As a result the show is sold out very quickly and we find the tiny basement of the Rest once again at it’s sweaty best by the time the headliners come on.

Before the venue gets packed to the brims we are treated to a couple of local acts to get the early comers warmed up. First on are We’re Only Afraid Of NYC, who’s alternative indie borders on the expansive without really breaking any barriers.

Next are the more interesting, yet not as well received, Paws who up the energy and the volume with a number of powerful punk enthused alternative tracks.

The one trouble with a packed Captain’s Rest, aside the intense heat, is vision, if you aren’t near the front you aren’t going to see very much. So, with having to guess what the band looks like your ears are left to do the judging.

With agitation building in the crowd, as the Graffiti take a good time fidgeting with equipment, the band finally fire into their set, opening with the funky ‘Don’t Think Twice (Love)’ from Ariel’s 2004 debut Doldrums. The track’s grooved up bassline coupled with Ariel’s obscure yet impressive vocal changes, switching from a high squeal to a deep boom and everywhere in between, provide an ideal start.

The Graffiti’s latest release, Before Today, has been receiving much hype all over the music press and with it only out a week many tonight are here to see what it can offer in a live environment.

The flowing dreamy pop tones of 60s garage cover ‘Bright Lit Blue Skies’ is the first chance we get to sample the new material and it does not let down. The soaring beautiful chorus drags the listener in and as Ariel sticks to one vocal pattern it gives a nice coherence not found in much of their older material.

Indeed it is Ariel’s vocals that many will raise a question over, the constant changing and sometimes odd positions of his voice can occasionally come across as grating.

However, these eccentrics, love them or hate them, are tied down more of the new release and as a result the band have found their feet commercially. Still, a vast amount of the set is built up of old material and some who have only heard the new release will struggle to accept the more taxing material.

Closing, before a relatively pointless encore, on their hit of the minute ‘Round and Round’ the Graffiti reach the peak of their set. The single has become an indie centerpiece for 2010 and best signifies the band’s move form psychedelic awkwardness to dream filled pop bliss.

Ariel Pink appears to be gradually moving away from his past musical haunts, and while live he still clings to the past, there is still quality here in abundance. Finishing just in time for a run back along to the Halt to catch Holy Mountain and Eternal Fags, the Graffiti provide a perfect pop injection to a damp Sunday evening.

Photograph: Sam Fenn

Stag & Dagger 22/5/10

Huge queuing problems plagued Stag & Dagger last year with the unfounded early set time for Frightened Rabbit in the ABC. This year the festival seems to have learnt its lesson and left the big crowd pullers until later in the day.

First on at the ABC are Brooklyn’s much hyped, but still relatively unknown, The Antlers, who deliver dream filled indie rock to a slowly growing crowd. The Antlers may have released a brilliant album in ‘Hospice’ but tonight they seem slightly out of their depth in the huge ABC1.

Frontman Peter Silberman’s vocals are drowned out in early part of the set, but as the band build in confidence and the more accessible songs enter the fray the problems fade into obscurity. Latest single ‘Two’ provides the tonight’s standout but we look forward to seeing them play in more suitable surroundings in the near future.

A quick skip across the way and you’re in the Nice n’ Sleazy’s basement in plenty of time for a powerful set from noise punk trio Male Bonding. The London based trio keep the fast, noisy hooks commonly associated with punk rock but drop the unneeded sleaze.

Tonight they deliver a short yet exhilarating set which leaves the audience eagerly awaiting their next visit north of the border. Male Bonding went under our radar when they supported Vivian Girls last May but with debut album ‘Nothing Hurts’ just out they’ll be turning more than our heads in 2010.

Staying on at Sleazy’s sees you catch Glasgow based, female fronted hardcore punk act Divorce, who pull out all the stops in keeping the crowd from dashing off to see the likes of We Were Promised Jetpacks and A Place to Bury Strangers. Even a broken string doesn’t get in the way too much as they entertain with bursts from Fleetwood Mac’s ‘The Chain’ as the problem gets sorted.

A mad dash up the hill to the Art School catches the end of Titus Andronicus, the bearded punks are on usual top form. The band leader, Patrick Stickles, keeps up the energy ploughing through tracks from both their brilliant releases.

We’ve covered these guys a lot in the past and this certainly won’t be the last, recently released album ‘Monitor’ is more than deserving of the band returning for another headline visit to Glasgow.

Staying on at the Art School keeps your toes bouncing as we await our most eagerly anticipated set of the night and Sleigh Bells do not let down. The Brooklyn duo bombards us with waves of electronic attitude while Alexis Krauss’ infectious squeal drags the crowd into a mass of dancing.

Sleigh Bells have a lot of things on their side, despite not being everyone’s cup of tea, their music passes many genre barriers and some of their tracks would not look out of place in the charts. Album stand out ‘Crown on the Ground’ is possibly the best example of the duos cross over charms and is greeted with a joyous sing-along tonight.

Each track of a ridiculously energetic set is met with more and more enthusiasm by a crowd who may have just met their new favourite act of the moment. We certainly look forward to seeing them back in Glasgow, if you’ve not checked these guys out yet go get your hands on their debut album ‘Treats’, it’s bound to be up there in those end of year lists.

With something to offer for everyone S&D seems to have been a resounding success; each venue is buzzing with people whether it’s to see the pop charms of Wild Beasts or the booming dubstep of Joker. Treks to the Captain’s Rest or Stereo may be areas where question marks could be raised but I’m pretty sure we haven’t seen the last of S&D.

Photograph: Alan Dunlop

Wolf Parade @ Oran Mor 19/5/10

The last time I saw Spencer Krug he was fronting his now established art rock side-project Sunset Rubdown at a half-full Stereo. This time the multi talented frontman brings what is widely regarded as his main project, Wolf Parade, for their first trip to Glasgow in a long time. The atmosphere has upped a notch from that show, the larger Oran Mor is almost full and as the band take to the stage bathed in red light excitement is brewing.

Opening with ‘You Are A Runner and I Am My Father’s Son’ under the flicker of pink neon Krug and co look just at home. The song taken from 2005 standout ‘Apologies to the Queen Mary’ forms a strong opener and indeed it is songs from this record that cause the biggest responses from the crowd.

‘Dear Sons and Daughters of Hungry Ghosts’ is easily one of the stand out songs of the set, lifting the crowd from its synth drenched daze to one of genuine clap along elation. The soaring ‘I’ll Believe in Anything’ quickly follows as the band builds up momentum.

Wolf Parade clearly know which songs will receive the best response but are also keen to air some of their new material. Upcoming album ‘Expo 86’ is due out at the end of June but early signs show promise, delicious electronic, almost space age promise. Still, Krug thanks the crowd for listening, calling us “sweethearts” before defending his drink: “This actually looks like piss but it’s just Scotch and water.”

It is important to note Wolf Parade is not just about Krug, in fact he shares vocals with guitarist Dan Boeckner also of Handsome Furs. It is Boeckner who brings the set to a brilliant end calling from ‘Apologies’ again for ‘Shine a Light’ before ending on the whimsical ‘Kissing a Beehive’.

Tonight’s set may have gone on a bit longer than many would have liked but how else are a band to showcase new material while cramming in the favourites. This Canadian four-piece certainly know what there are doing, so expect to hear a lot more about them when the new album hits shelves.

Photograph: Ingrid Mur

All Tomorrow’s Parties curated by Matt Groening @ Butlins, Minehead 7-9/5/10

All Tomorrow’s Parties may be one of the most unique and wondrous festivals you will ever have the privilege to attend. With it now passing a decade in existence the success of the event goes without saying.

This weekend sees the festival curated by The Simpsons creator, Matt Groening, who has put together a wide variety of different acts and other entertainment to keep us occupied all weekend.

The most bizarre thing about ATP is its location within a Butlins holiday camp, but these surroundings more than suit a festival. Chalets provide the comfort and cleanliness a tent never could and while all the regular Butlins entertainment is not valid, bowling, swimming and cinema are all welcome additions to a festival environment.

A short jaunt from the festival gates and you’re at the seaside. This would act as more of a delight on that sunny day we sadly never got this weekend. Still, delicious ice cream, seaside fish ‘n’ chips and arcades are all pleasant additions to the weekend.

On top of that there is the sheer delightful novelty of being able to travel part of the way to the festival via steam train.

After settling into your chalet and having a cooked meal, you’re just in time to dash up to the main arena and a quick jump up the stairs, to the ultra dark Centre Stage, to catch the end of the wonderfully atmospheric bliss of Broadcast.

Cold Cave quickly follow and treat us to a more upbeat electronic affair, blasting us with deliciously dark electronic gems.

It’s Friday evening and not even dark in the main Pavilion before many people’s act of weekend take the stage and Iggy & the Stooges don’t let down. That raw power of the original releases may have quelled, but the energy Iggy expels onstage is phenomenal, as the 63 year old singer springs around the stage longer and more exuberantly than people half his age would manage.

Old favourites ‘I Wanna Be Your Dog’ and ‘1969’ are present as ATP enjoys it’s most rowdy moment of the weekend.

A late night set from the excellent noise rock aficionados Liars rounds off the evening superbly as they showcase their superb new album ‘Sisterworld’ to a far travelled and now sleep fighting audience.

Everyone is wide awake and buzzing to go by Saturday and sight of Matt Groening signing posters at the merch stand has caught many a person’s attention. However, it is the Pavilion which forms the first port of call for today’s musical adventures.

Atalanta’s indie rock wonders Deerhunter are keen to impress early in the day. The band’s frontman probably the festival’s biggest fan boy, Bradford Cox, sings the praises of the mouth-watering line-up ahead between sweetly executed tracks, including single ‘Nothing Ever Happened’.

For many just the sight of Zooey Deschanel would leave them in a mystical daze, but her combination with M. Ward in She & Him shows a more adorable side to the singer/actress. The duo glides through a delightful set of country-tinged pop, including the wonderfully catchy ‘Why Do You Let Me Stay Here?’

Next up is the African blues of the mesmorising blind duo of Amadou & Mariam whose endearing personalities only emphasise the huge spectacle that is their music.

A late night trip to Centre Stage sees you catch the dream filled beauty that is a Panda Bear set. The Animal Collective’s ‘pop’ link delivers a sleepy set of beautiful soundscapes, lulling the entire audience into a hazy world of wonder.

Then it’s off to Butlins country themed club location Crazy Horse for a dance or a wander to find a chalet party, who knows, you may bump into The XX.

After a Sunday filled with Butlins and seaside delights soon comes to time to hit the stages again. Daniel Johnston provides the perfect start to the day’s musical offerings, as the lo-fi cult hero delivers his quiveringly beautiful heart-felt lyrics to an adoring audience.

There’s a bit of a wait until the next act but it’s more than worth it. It is questionable that you will find anyone as wonderful as Joanna Newsom in the world of music today let alone in this line-up, and this festival crowd clearly agree, as he queues for Centre Stage stems way past the Pavilion.

The Californian singer-songwriter does not let down, whether singing, playing the piano, plucking or even tuning her harp she does not sway from the enchanting.

After a jaunt over to the under used Reds venue to catch a rare set from The Raincoats, then drifting off to the electronic bliss of The XX at Centre Stage before CocoRosie end the festival on a kooky alternative pop high.

Then it’s off to more parties or back to the chalets for 3am for Evil Dead 2 on the Groening curated ATP TV.

Matt Groening has curated one of the most memorable and varied ATP line-ups seen, but the sheer childhood glee of the location makes for the ideal festival. Belle & Sebastian are curating the Bowlie 2 ATP in December if you’ve not yet got your chalet booked get on it right away.

65daysofstatic @ Oran Mor 3/5/10

Just a year ago 65daysofstatic would just be another post-rock act that melded into the scene like so many others, brilliant technically but no real reason why lyrics could not be added to improve the tracks as a whole. Now the Sheffield four-piece find themselves turning heads with a new more electronic, almost drum n’ bass style. New album ‘We Were Exploding Away’ has provided on record the exciting sound we had been hearing live since last summer.

Support tonight comes from London based electronic trio Nedry, who treat us to a delightful set branching across a variety of different electronic genres. The comparisons Nedry have received to acts such as Björk and Mogwai just go to demonstrate how diverse a sound these guys have and tonight certainly showed signs that they could be an attractive prospect for the future.

After the mellow wonder expelled by Nedry, 65dos provide a powerful alternative as all four members emerge full of energy and blast through a set comprised mainly from their new full length. Shrewbury, Wolinski and Wright throw themselves at the front of the stage almost the entire set whether playing with synths or slamming against guitars or bass. Even drummer Rob Jones adds to the band’s awesome presence appearing centre stage from time to time hammering down a beat.

While individual tracks prove hard to label, due to lack of lyrics, in your average 65dos set their songs still have solid structure and the new tracks carry enough strength that could see them inserted into the set of many a top DJ without anyone being left upset.

Tonight Oran Mor is buzzing with all varieties of people, over enthusiastic slam dancing and crowd surfing don’t seem fitting to some but throwing post rockers in the mixing pot with those looking for some hard electronic edge you are never going to keep everyone happy. Despite this mixed crowd the band successfully deliver managing to impress on all fronts. Even those who have been with them from the start are treated with ‘Radio Protector’ providing a delightful standout in an encore of post-rock gems prize picked from their previous three albums.

Bear in Heaven @ Captain’s Rest 23/4/10

Tonight saw Brooklyn’s Bear in Heaven take up Scottish soil for the first time in their seven years together opening to warm reception from an eager yet not entirely packed Captain’s Rest. The band’s first European tour had been struck by the volcanic ash scenario, which has restricted all travel in northern Europe, effectively leaving the guys stranded in Spain just last week. However, they have made it here tonight and after successful shows London and Manchester the band are buzzing as the UK leg of the tour runs without problem.

For myself tonight’s set took a little bit of a different context, before seeing the experiencing the brilliant experimental rock of Bear in Heaven I had been down at Stereo catching the first ever live appearance of Glasgow’s newest hardcore novelty Prolife in support of Take a Worm for a Walk Week. The four-piece, made up entirely of Nice n’ Sleazy’s staff, produce an explosively aggressive nine-minute set leaving the audience breathless. Take a Worm certainly had something to live up to but for me it was BiH who unknowingly had to live up this onslaught.

The moustachioed three-piece certainly do not disappoint as they break into the set and build and build without ever dropping pace. There are times in the set when you are drawn to thinking when is this momentum going to go off the rails but all credit the band as they cruise comfortably from track to track mostly taken from only recently UK released latest album ‘Beast Rest Forth Mouth’.

‘Ultimate Satisfaction’ builds slowly but Jon Philpot and co eventually brings the track to a superb crescendo as the crowd lap up every note. ‘Wholehearted Mess’ also proves a high point of the set as Philpot sways on spot in an assured almost camp manner powering out ‘dig out, dig out, dig out...’ while the rhythm section look cool and confident taking on the adoration from the crowd. Ending the set with crowd favourite ‘Lovesick Teenagers’ proves a fitting end to a nonstop set and while not displaying that violent hardcore pursuit which Prolife expelled BiH certainly stepped up to anything anyone was asking for them to terms of unbounded quality.

If you’re lucky enough to be hitting the Green Man Festival this summer be sure to pop along and catch them at their only UK festival appearance.

Photo: Ingrid Mur

The Twilight Sad @ ABC 2/4/10

Seeing The Twilight Sad live in quadraphonic sound is more than a mouth-watering prospect. The band’s sound can challenge most post rock on a room filling level but it is when coupled with the deep, ever-so Scottish words of James Graham that it approaches behemoth scales within the scene they frequent.

Tonight’s unique event has drawn huge excitement with the ABC jam-packed and forming a who’s who of the Glasgow music scene with Frightened Rabbit, We Were Promised Jetpacks and even Tommy Reilly among others making up the numbers.

After a bit of pre-recorded banter demonstrating how the sound set up works tonight’s heroes emerge on stage. Opening with the slow brooding ‘Reflection of the Television’, the opener from impressive latest album ‘Forget the Night Ahead’, the band lurch into action with Graham seemingly spiralling through the emotions for undoubtedly one of the biggest crowd they have ever played to.

Working through a set of comprised pretty evenly from both full lengths The Twilight Sad certainly put an argument together for the label of one of Scotland’s best bands. The stand out tonight comes direct from their emphatic debut ‘Fourteen Autumns and Fifteen Winters’ in the form of ‘I Am Taking the Train Home’ wooing the audience with an ever impressive wall of sound synonymous with The Twilight Sad.

Now when in comes to the quadraphonic experiment, being allowed to do this clearly means a lot to the band and here are truly mesmerising moments that strike awe. A slow has the sound experiment seeming to be almost lost but as the band edge through their set the sound become more and more noticeable and impressive. When Graham emotionally thanks the crowd, seeming quite overwhelmed with the event, sound rings beautifully around the entire room.

Ending the set on the wonderful ‘Cold Days From the Birdhouse’ The Twilight Sad are successful in showing just why they are so special to this scene and just in general. If you have not seen this band before, whether in quadraphonic or not, get yourself along the next time you can, you are missing out!

Photograph: Joshua Porter

Memory Tapes @ Stereo 12/3/10

A short but sweet set is the call of the evening tonight for New Jersey’s Memory Tapes only entertaining this small yet eager Stereo audience for just over half an hour. With only one full length to his name, in last year’s wonderful Seek Magic, it was unsurprising the latest act in uprising of the dream pop scene to hit Scottish shores would not be here for long on his first visit.

Dayve Hawk, the man behind Memory Tapes, cuts a much more laid back image on stage than other genre contemporaries as he stands calmly onstage in loose hanging trousers and plaid shirt. Despite this image the tunes have an even more uplifting feel than on the record as Hawk, along with his touring drummer, treat us to a selection of tracks from the album filled out with some charming pre recorded almost new wave beats.

Tracks like “Plain Material” and “Graphics” provide perfect examples of why this acts deserves a bigger crowd as some of these track would equally be at home at now sadly finishing Optimo as they would at half past nine on a Friday night in Stereo.

Hawk had been charming us all of last summer with various dreamy chilled out singles under this guise, as well as others Memory Cassette and Weird Tapes. Arguably the best of these singles came in tonight’s closer “Bicycle” which provides tonight’s highlight being drawn out perfectly to nearly three times its original 5:20 length. Memory Tapes may have only give us a glimpse but in that glimpse can be found the essence of this scene and why it has taken off in such a way.

Xiu Xiu @ Nice n’ Sleazy 21/2/10

Xiu Xiu is one of those bands that you either get or you don’t, but if you don’t there is nothing to worry about as they provide as interesting an experience as you will see from a live band.

The audience tonight is rather sparse, considering rumours of the show selling out and Sleazy’s on a Sunday night is quite the odd experience too. On entering the hugely popular bar at around nine there is barely a sole in the place, going downstairs into the venue there are a few more but not the busy environment I had envisioned. Still those that have made it out tonight are set for a treat.

After a slow pretty sounding beginning the California band soon builds into the experimental sound they are admired for. Xiu Xiu carry with them an array of weird and wonderful equipment that they eagerly play around with, including various forms of whistles and intriguingly a Nintendo DS.

The band move through a quirky set filled with mainly tracks from new album, Dear God, I Hate Myself, who’s opener “Grey Death” provides an early spark. The odd older track squeezed in prove more than welcome to, arguably the standout of the night is the superb “I Luv the Valley OH” which puts into use the DS as Xiu Xiu’s main man Jamie Stewart taps away at the console while straining for every word.

One of the things that put many people off Xiu Xiu is how easily they move from a quaint pretty little sound to a harsh, coarse sounding synthline that almost grates your ears. However, while this may put people off this remains a big charm of the band for others and you can gather this from the crowd, standing perfectly still admirably taking the product of a clearly talented act.

As main synth player Angela Seo plays the emphatic cymbal introduction to one of the new standouts “Chocolate Makes You Happy” you can see why this band are so respected. There is something wonderfully experimental about them, they have parts in their music that are joyous to listen to and others which seem playful, they just carry that impression that they have fun making this music.

As the band move into their final track of the evening, the traumatic anthem “Boy Soprano” from 2006’s The Air Force, there is touch of satisfaction in the air. Xiu Xiu are not infrequent visitors to Glasgow and it surely won’t be long until they’re back promoting another release but if you haven’t yet seen this band give them a shot next time, you’ll get an interesting experience nonetheless but maybe you will be left with a great one.

Photo: Sam Fenn

Yeasayer @ Oran Mor 17/2/10

This show’s upgrading from King Tut’s some months ago, along with selling out of the Oran Mor, came as no surprise, Yeasayer’s experimental pop music has been catching the ears and attention of a wide variety of people. The release of album Odd Blood and particularly lead single “Ambling Alp” has won the band a new wave of crowd members.

The new album, while not receiving the best critical reviews and as a whole remaining a bit ‘hit or miss’, holds some tracks that positively drip with catchy pop goodness. Still, many of the people here tonight are here for reminders of 2007’s brilliant debut All Hour Cymbals, which featured on numerous albums of the decade lists.

Yeasayer as a live band are simply mesmerising, it’s hard to take your eyes off the hive of activity and relentless energy coming from the stage. They pose a striking image too, guitarist Anand Wilder sporting a camouflage boiler suit and bassist Ira Wolf Tuton a tank top stand either side of the stage certainly creating an interesting image. Lead vocalist Chris Keating stands tall in the middle of the waving his free hand frantically like he’s out clubbing attempting to dance while holding a drink.

The crowd really get kicked into the show by second track “Madder Red”, one of the stronger tracks on the new album and one of a number of songs Wilder takes lead vocals on. As they move into “Tightrope”, the outstanding effort contributed to last year’s superbly put together charity double album Dark Was The Night, sees the set hit full flow and there is no looking back.

Moving into the middle part of the set some of the tracks the crowd are here to see filter in, old favourite “Wait For The Summer” and new lead single “Ambling Alps” gets the crowd in full sing-along. At this point a fan joins the band on stage dancing, leaving to Keating asking to the crowd to give a hand for his son from the future.

Upcoming single “O.N.E.” throws a punch before the biggest surprise of the night, the omission of arguably their best song “2080”. For a band only two albums it is a somewhat controversial decision to leave out what is their most popular track, “2080” featured in many songs of the decade lists at the end of last year. Still, the set does not finish in a disappointing fashion the Brooklyn trio’s debut’s opener “Sunrise” provides a more than adequate end to a thoroughly entertaining show leaving the crowd giddy for more.

Vampire Weekend @ Barrowlands 13/2/10

Vampire Weekend are definitely one of the more pleasing acts to hit the mainstream of recent times, their Afro pop tinged tunes gave a certain freshness from your typical indie rocker in the charts. Now, two years after their self-titled debut the band return to Glasgow with a second strong album under their belt, the recently released ‘Contra’.

Credit where credit is due, the band enjoying their third show at the Barrowlands, the first supporting The Shins, are here mainly on musical credit. Vampire Weekend have no rock star stage presence, no bad boy image, in fact as they saunter on stage to the sound of ‘Everybody Jump’ it seems almost ironic.

However, as the band open up the set with upcoming single ‘White Sky’ it is easy to imagine how the band has elevated to this level. The latest album’s lofty chart positions merited, peaking at number three in the UK charts, it does not carry as many instant pop gems as the debut, still the new effort holds together as an album in a cohesive fashion.

The self-titled album’s popularity drew from a selection of instantly catchy songs and these are the ones met with the most enthusiasm tonight. This is emphasised as the band move into their third track ‘Cape Cod Kwassa Kwassa’ the crowd are upped a notch with vigorous dancing and a universal sing-along commencing.

A minor let down in VW’s set, in comparison to their last visit, is the lack of a charming cover song to finish off the night off. In their last visit they ended with a superb cover of Fleetwood Mac hit ‘Everywhere’. Now carrying two albums worth of material the band are capable of filling the set with their own material. Not that many are complaining about the end of tonight’s set as the band finish on arguably their strongest stand alone song in ‘Walcott’.

While VW now have a strong base of songs to count on you still can’t help but think they lack something live. Maybe this is unrealistic or maybe I’m basing my opinion on seeing bands in smaller venues that when I see a good band take to a bigger stage I expect it commanded like they would a smaller one. Ezra Koenig’s attempts to engage the crowd in banter seem somewhat awkward but still, I would not want to judge the band on this, like I said earlier VW are here on the strength of their music.

By the mid part of the set the hits start to come in full flow, led by their angriest sounding effort, the new albums lead single, ‘Cousins’, which ends explosively leaving the band to move into their most recognisable track ‘A-Punk’. From then on the crowd are jumping constantly as the band play through old favourites like ‘Mansard Roof’ and ‘Oxford Comma’ and new standouts like ‘Horchata’.

Whether or not VW deserve to be on a bigger stage more than some that aren’t is not something I will debate, the band are here on the merit of their music and that is credit enough. With two more than solid albums under their belt don’t expect VW to drop off the radar anytime soon.

Beach House @ King Tut's 10/2/10

2010 spells the 20th anniversary year for King Tut’s and a wealth of big acts are set to grace the stage, still you will go a long way to find someone to match tonight’s act on terms of quality. Beach House are pretty much at the forefront of this dream pop movement that is taking the musical underground by storm.

Combining atmospheric rhythms with charming pop hooks and moving lyrics, it is no wonder Beach House are being latched onto by the mainstream media as one of the ‘hot new bands’ for 2010. However, this year’s early runner for album of the year, the beautiful ‘Teen Dream’ is the band’s third full-length release, it would appear the band have been allowed to reach a peak before having a spotlight cast upon them.

Tonight’s support comes from Bella Union labelmate Lawrence Arabia, who manages to win over much of the capacity crowd with brand of folk inspired pop.

When Beach House takes the stage I find myself surrounded by people seemingly overwhelmed with ecstatic awe, vocalist and keyboardist Victoria Legrand takes front and centre and certainly provides the main focal point for the set. Opening with a short interlude to warm up the band quickly coast into the recognisable haunting beauty of ‘Walk In The Park’ before moving onto to the new album’s lead single ‘Norway’, a blissful 70s pop effort which has been instrumental in the band’s move to the helm of this scene.

The Baltimore duo woo the crowd with additions of humour and charm between songs, both Legrand and bandmate Alex Scally, give that genuine impression they are enjoying being here without spelling it out. The band exchange banter with the crowd about the gloom of it being Wednesday night before introducing the ‘R rated section of the show’ kicked off with the murky sensuality of ‘Silver Soul’.

The show keeps a superb flow considering the amount of gaps the band have to fill with banter due almost constant rejigging of equipment to setting up new dreamy soundscapes to work with the live act. The band close on yet another effort from the latest record in ‘10 Mile Stereo’, the uplifting almost shoegazey effort wraps up the night perfectly, it’s hard to see how anyone here can have failed to be won over by tonight if they weren’t already under Beach House’s gorgeous spell.

Instantly likeable and visually lovely, their adorable sound, encapsulated in their new album, is the very epicentre of what Beach are about. At one point a crowd member pronounces his love for Legrand to which she sweetly replies just “that’s really nice”, capturing not only a delightful modesty but also embedding the feeling of this sweet joy the band bring. Beach House is certainly riding at the start of a wave and I would not be surprised if we see then back very soon on a bigger stage.

The breathtaking mainstream breakthrough album ‘Teen Dream’ is available now on Sub Pop.

Photogragh: Euan Anderson

Interview: The Yummy Fur

The Yummy Fur were somewhat of a cult band when you were originally about, were you surprised by the reception the reformation shows have been receiving?

The Yummy Fur is a cult band now but we weren't when we were active, pre-social network sites we were operating in a vacuum. If we were cult we didn't know it. No one ever championed the Yummy Fur so people who liked us had made their own decision about that which often made it a bit special. It's been great to see who the Yummy Fur fans are and the reception in America has been surprising. Who'd have thought any of it had filtered through? The records are even scarcer over there so it's great that the best of compilation will be making the material available again to cult band completists, ganger conspiratists and anoraks worldwide.

What was it that brought about the reformation? How long did it take from the idea of reformation to it actually happening?

As I understand it, Paul Guided Missile wanted something special for the label 15th anniversary show and contacted John about a 1990s show. This wasn't possible so he upped the ante and asked for a Yummy Fur re-union instead. For some reason John gave this request serious consideration and Paul made inquiries as to the other members. I was obviously in but Paul Thomson was routinely unavailable. With a few schedule tweaks the gig was on with a Glasgow gig added to give our pals a fun night and nostalgic wallow. Then the US dates were all organised by Kevin Pederson from What's Your Rupture. I think it was about 10-12 weeks from idea to inception.

Obviously members of the band have toured in America before, but how do you feel about this first tour over the water with The Yummy Fur?

Now that it's all over I feel dazed, privileged and a wee bit melancholic.

The Yummy Fur is quintessentially a Glasgow band, what does it mean to you guys to be playing these songs in Glasgow again?

The Glasgow show was a brilliant night, we'd had one rehearsal but we were determined to elevate having a good time above all else. I don't know how good the performance was but the whole event was essentially a party for us and all our pals.

The show at Sleazy’s was being treated in some circles as a huge event in the Glasgow music scene, what do you feel the reformation and The Yummy Fur in general mean to the Glasgow scene?

I've no idea what the Yummy Fur mean to other people and had even less idea before these shows. To me the Sleazy's show had everyone I would have expected to be there; the same people who would be at my wedding or would have been there ten years ago, just that some of them now inspire delirium in others who haven't spent hours in the back of a crappy transit van with them.

The Sleazy’s show pretty much read as a who’s who of Scottish indie music, was there anyone you were surprised to see there or were honoured to have there?

See above. It was nice to see Philippa, Claire and Danny, Jane, Maureen, Stuart, you know, pals.

How does playing a show at home in Glasgow now compare to playing in say London or America?

As above, Glasgow was a party. As was the Buffalo bar in London. America was a tour proper, with all the stuff that goes with it so it could be tiring and feel alien. In New York we were literally trapped on stage, with no refuge or bolt-hole. You become a little gang on tour and have a shared experience. The audiences weren't that different, except for Beth Ditto. She commanded the room.

How is the band enjoying being back together and playing shows again?

Everyone is still on speaking terms. I think John and Paul T found the scale refreshing. Me and Paul GM (the civilians) were just happy to be there. To me, the songs sounded better than ever before.

There have been murmurs about a compilation to be released featuring the best of the band’s material. Is this correct? What is it likely to be entitled?

The compilation is due out in March on the ‘What's Your Rupture’ label. It looks like it's called 'Piggywings' and will feature our 'greatest hits'. The last track list I saw had 23 tracks, so it may be shortened a bit.

Are we ever likely to see The Yummy Fur release any new material and/or playing in Glasgow again?

No new material, we promise. You wouldn't thank us for it. I'm always up for playing again and the Yummy Fur door is now a wee bit more ajar than it was before. When Japan, Canada and the boutique festival bookers come knocking we'll be listening. I think I can say we are open to any interesting offers and we'll always need a Glasgow show to round things off, circle of life.