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.