Rave Child

The Fresh & Onlys @ Nice n’ Sleazy 10/05/11

2011-05-11T14:41:00.000-07:00

Brit pop’s back and it’s go a beard! Well maybe, those bouncy rhythms and effortless vocals that capture the attention quickly spills into 90s American indie rock stylings, fast powerful beats complimented by intentionally lackluster vocals.

This is all in the hands of a support, and Manchester’s Milk Maid deliver a set full of pop credentials, these guys could be very popular in the 90s, all they need is a hit and the kids would lap this up. However there’s no kids here, in fact there’s barely anyone here, surprising considering the clout of tonight’s headliners, Pitchfork love them and everything.

There’s next to no one here hen they take the stage too, Glasgow get your act together! It’s 20 to 10, maybe early for Sleazy’s but still. When The Fresh & Onlys take the stage that give that country kids vibe, covered in hair and plaid, but these guys hail from San Francisco, cool town, no?

Their songs carry you back to the 60s, live a pounding rhythm blasts them forward while vocalist Tim Cohen with eyes fixed to the ceiling. All dreary beauty that should fill a room but Sleazy’s is void of atmosphere tonight.

‘As the set approaches its mid point Waterfall’ captures all the best aspects of this band, lyrics that hit home immediately over inspired rhythm bringing the song home in splendid fashion.

It appears the band are finally getting into their stride after a slow start, ‘Fascinated’ brings in that 60s folk pop vibe and the band’s energy seems renewed as they power through ups and downs before introduction a new song, which impressively keeps up the momentum without having the familiarity, maybe something to look forward to.

That momentum continues as the band get further into their set, getting into their groove, finally everything seems to be running smoothly. Surely I’m not the only one digging this. These guys should have a bigger audience.

The last couple of songs bring a touch of movement from the crowd, ‘Until the End of Time‘ has an almost marching beat and a bouncing bassline which sets toes a tapping and the band into a powerful ending, before bowing out with ‘Peacock & Wing’ and a “thank you, I’ve never met a real Scottish person before” from Cohen.

Photos: Ka Man Hung

Oneohtrix Point Never @ Hung Up!, Sub Club 10/4/11

2011-04-11T14:34:00.000-07:00

What can you really say about gigs at Sub Club? It’s dark, its dingey, the lighting isn’t great but damn does the sound hit you. Tonight’s sees Brooklyn based Daniel Lopatin, aka Oneohtrix Point Never, bring his synthy drone to blast the eardrums at the Optimo ran Hung Up! and there is no better setting for this type of music.

As soon as Lopatin starts playing you are hit by a pure wall of sound, there’s a reason why Sub Club is world famous, you’d struggle to find a sound system so perfect for the size of room anyway. It has to be said that OPN is not the most dazzling visually, he spends the set bobbing behind a desk but to his credit he doesn’t need to be, the sound blows you away.

Mentioning the last time he played in Glasgow at the Art School he sites mike troubles but we can’t really fault anything tonight. The sheer power of the noise takes what was already brilliant on latest album Returnal and takes it to the next level explosively.

As Lopatin thanks Jonnie (JG Wilkes) for booking him you are left in a captivated daze. Still, that’s nothing that Wilkes can’t drag you out of as one of half of Optimo gets everyone dancing ecstatically in what is nowhere near the last time.

Hung Up! may not yet have gained the same popularity of Optimo but there is no doubting the talent here. OPN is just one perfect example of the wide array of live talent they attract but the sound in Sub Club accompanied by the never doubted talents of both Wilkes and Twitch will always be up there with the best clubs to go to in Glasgow, the UK and even the world.

James Blake @ Nice n’ Sleazy 27/02/10

2011-03-28T14:26:00.000-07:00

Two dates at Nice n’ Sleazy’s separated by a month for James Blake is very surprising, firstly considering the small gap between the shows and also considering the stature and hype the London composer has been receiving. As a result all pre sale tickets for both dates went in no time at all, but the lucky few that got down early grabbed the last few on the door.

Tonight’s gig is surprisingly early too, with Blake taking the stage at half nine and finishing way before a headliner has usually taken the stage at Sleazy’s. Despite the venue’s sold out status there is plenty of room to move at the back of the room but seeing Blake as he sits low over his keyboard proves difficult for anyone past the first couple of rows.

Still, what Blake doesn’t have in stage show he more than makes up for in his music as he plays out an almost perfect set of glitchy electronic gems, with vocals reminiscant of Antony Hegarty. His self-titled album released just earlier this month sees a full airing tonight and it’s easy to see why it is getting the praise it has been receiving.

For the full set there is barely a movement from the crowd, as they all stand transfixed at the sounds on offer. His first single and brilliant cover of Feist’s ‘Limit to Your Love’ is easily the highlight of the set, as the bass seems to be lifted to an extraordinary level almost dragging you backwards with sheer power.

Another cover forms the other end of Blake’s musical spectrum tonight as he plays a version of Joni Mitchell’s ‘A Case of You‘ in the most stripped down song of the set. The performance plays the most on his accent and is played over a straightforward piano sound, almost abandoning his usual stylings both musically and vocally.

James Blake plays Sleazy’s again on the 27th March, all the ticket are sold out but there will be limited availability on the door so if you’ve not got a ticket yet get yourself along early, this is the last chance you will get to see him at such a small venue.

Cut Copy interview

2011-03-05T14:32:00.000-08:00

Ben Browning, bassist in Cut Copy sat down with us shortly after the bands recent show at the Arches, Copy Copy’s new album Zonoscope is out now on Modular, the band return to the UK over summer for the festival season.

How is the tour going so far?

This tour has been great. There is some real excitement playing the new tunes, and we’ve been as far as Russia already. The cold weather has been only negative.

How have you enjoyed playing the UK with Holy Ghost!? Do you guys get on well?

Yeah of course. We’ve known those guys for years and we love their music. It’s great to see them as a live band. We’re about to do a heap of shows with them across the US. There could be some wild times ahead.

The Arches seemed like an ideal venue for you guys to play, how did you feel it compared to previous shows in Glasgow?

Yeah there was a great atmosphere in there. It was a very unique place. I think the last place we played in Glasgow was at one of Optimo’s nights, and I remember the stage in there being so tiny. I don’t we would have fit on that stage this time around.

This European tour has a lot of dates, do you get to see much of the cities you play in while on tour?

We aren’t getting much spare time on this particular tour. We often arrive in cities early in the morning and have time to grab a coffee and perhaps check out a few record stores. The best coffees we’ve had so far have been in Scandinavia.

Any interesting/amusing stories you’ve got to tell us about going on tour?

I threw a snowball at Mitchell our drummer in Oslo. And our tour bus left Tim and I behind in Copenhagen after our show. Seriously.

You’re playing a number of festivals over the summer, any you’re particularly looking forward to, acts you’re looking forward to seeing etc?

I haven’t had a chance to look at all the shows we are doing yet. Obviously we are looking forward to being in Europe and USA over summer. We are doing some shows in South America in June as well, that should amazing.

You’re albums are charting impressively back home in Australia, are you guys big celebrities over there, if so how is that?

We are not celebrities. My mum thinks I am cool though.

After another great album and a huge tour what is next for Cut Copy?

Lots more touring. After that we will start making our next record, which hopefully won’t take long to record and put out. I can’t wait to start it.

Finally, when are we likely to see you again in Glasgow, hopefully soon?

I’m sure we will be back this year.

Cut Copy w/ Holy Ghost @ The Arches 03/03/11

2011-03-04T14:27:00.000-08:00

NY DJ duo Holy Ghost! appear in a jolly mood this evening as they kick off a UK tour supporting Cut Copy. With Alex Frankel acting as frontman drenched in blue light, Holy Ghost! in their full band format launch a drum driven assault on this Glasgow crowd. The crowd is more than in the mood for tonight and you couldn’t ask for a more suited venue for tonight’s events, except possibly the Subclub although you’d struggle to fit this many people in, the DFA duo clearly have high views of the the place: “We usually play Subclub which is our favourite place to play in the world, as DJ’s.”

As a support act Holy Ghost! don’t let down, they may not be in their most comfortable surroundings as a live band but they do more than enough to enlighten the taste buds for what Cut Copy have to offer.

With new album Zonoscope gaining just as favourable reviews as In Ghost Colours did a couple of years back Cut Copy find themselves in that position where people have caught a glimpse of them near the mainstream. Certainly the band’s new wave and disco tinged electronica has it’s eyes on a more popy corner of the market.

As the heat from a brimming Arches hits boiling point the Aussie four-piece cruise through the early portion of there set including track like ‘Nobody Lost, Nobody Found‘ and ‘So Haunted‘ before the tempo is upped with ‘Lights and Music’ as the crowd join in on mass to provide backing vocals.

A quick birthday wish for bass/guitarist Tim Hoey gives the band a quick breather before hitting back into a set of every growing tempo. Vocalist Dan Whitford is visibly drenched in sweat by the time they hit into the bleepy, cowbell adorned house brilliance of ‘Pharaohs & Pyramids‘.

As debut album classic ‘Hearts on Fire’ reaches for the ceiling and the crowd now in full on dance mode it appears tonight can’t get too much better. Unfortunately the band have to be off, a quick encore of ‘Out There On The Ice’ lift every once more and sends them off into the night to find someplace else to dance, sadly there’s no afterparty which is shame as both acts are just as good, if not better, in DJ surrondings.

Words: Iain Dawson
Photos: Stewart Fullerton

Glasser @ The Captain’s Rest 20/2/11 + interview

2011-02-21T05:09:00.000-08:00

Cameron Mesirow aka Glasser has been getting nothing but praise since her debut LP, Ring, came out in September. From before the album’s release she had been getting comparisons with a whole range of enviously talented female artists and since being thrown in at the deep end, supporting The xx on their UK tour as her first tour outside of California, she has done nothing but thrive.

Tonight she visits Glasgow for the first time on her own headline European tour and the prospect of a hot and sweaty Rest tonight has most people appetites wet.

The somewhat bizarre image of Glasser’s three-piece band emerging on stage in matching boiler suits is only topped when Mesirow takes the stage herself in rather kooky stage attire complete with helmet like headwear and garnished with pompoms.

The dress is eye catching to say the least but it is what has brought the crowd along tonight, it is the material from Ring, which gets full airing tonight. The almost tribal sounding, double drummer attack on album standout ‘Apply’ gets the set going and from then on Mesirow and co. look set to cruise.

Mesirow’s quirky almost trance driven dances fluctuate between instrumental sections only for her to regain focus from nowhere to fill the room with her angelic voice. Mesirow bobs, ducks and sways around the stage, amid glitchy synth croaks giving the occasional yelp drawing attention but it’s always a pleasant surprise when she draws back into her mesmorising vocals.

There is a touch of nerves kicking about this evening, the delicate beauty of the songs seems to have the crowd pushed a step away from the stage, almost as if they fear they might break it. This doesn’t seem to worry Mesirow as she banters about her grandfather being from Glasgow adding, “everybody thinks I’m Irish” before going into the delightful ode to her best friend, ‘T’.

Tracks like ‘Home’, ‘Glad’, ‘Tremel’ and ‘Mirrorage’ finish off the rest of the set each emphasising the talent Merisow has in putting together mystical elctropop gems.

As Merisow shyly reemerges, minus headwear, she explains she never intended to do an encores on this tour, stating they’ve played the whole album which receives a heckle of “play it again” that she giggles off before gaining composure.

She explains she is going to do an a’cappella performance of a folk song called ‘Let No Man Steal You Time’, which receives another shout of “can I steal you time?” which receives a blunt “no”. The song itself goes some way to justify that “no”, as the haunting splendor of her vocals silences the whole room, leaving everyone expects Mesirow herself breathless.

Before the show tonight we had caught up with the genius behind Glasser, Cameron Mesirow, to talk about the tour and what she thinks about all the comparisons and praise she has been getting.

Q: This is your first headline tour in Europe, how has it been so far?
A: The shows so far have been ok, I’m not going to rave about them but it’s been a pretty good tour in terms of how we’re all feeling. Hopefully Glasgow will show up those down in England, it seems like a good crowd down there already.

Q: This is your first time in Glasgow, have you had a chance to see much of Glasgow while you’ve been here?
A: Not really, we took a little walk to Òran Mór and tried a few different whiskeys’, we were told that is what they are famous for, that’s all we’ve seen just the walk from here to there. I’m kind of excited to be here anyway, my grandfather came from here, he wasn’t a performer like my parents but his name was Cameron like me.

Q: Could you give us a description of your sound for anyone unfamiliar with it?
A: It sounds just like The Rolling Stones basically! (laughs) No it’s really hard to know how to classify, it’s electronic music that doesn’t sound like electronic music.

Q: There have been a lot of comparisons being banded about with a lot of varying different female artists, what do you make of this?
A: I think what stands out the most is that the comparisons are female, I doesn’t seem to matter what the music is like as long as there’s a female vocalist

Q: How have you reacted about the across the board positive reviews Ring has been getting?
A: I have barely seen a review myself I try not to read too much about it.

Q: How did you enjoy making the album?
A: I think with anything you’ve wanted to do for a long time and feel intimidated about doing there’s a lot of brow beating and questioning, if you’re doing a good thing or not. I can’t say it was the happiest experience that I just skipped though but I do feel good about it.

Q: You’re playing Primavera in the May, the line up looks amazing, anyone you fancy seeing while you’re there?
A: I’m really curious to see Pulp, is Suicide playing? I think Suicide are playing and I’m really excited to see Echo and the Bunnymen, I think they’re playing Ocean Rain, which is my favourite.

Q: What sort of stuff do you listen to while you’re on tour?
A: We listen to all kinds of things in the van, today we listened to Micachu and the Shapes who I’d never heard before, Sam Cooke, Lil Wayne, some techno from Berlin, D’Angelo so lots of different stuff.

Q: Finally, are you going to get out in Glasgow after the show?
A: I can’t go out because I’ll loose my voice, I have to go home all the time after the shows, I’m trying to be a professional.

Photo: Stewart Fullerton

Twin Shadow @ Captain’s Rest 27/1/11

2011-01-28T11:39:00.000-08:00

It’s rare you see someone appear as laid back as support act Chad Valley, last time he played in Glasgow he played to next to no one now he’s at a sold out Rest, so it’s a pleasant change for him, nice to see he’s put in the effort.

Banter flies comfortably back and forth exchanging comments surrounding his appearance in the Guardian, the G2 crossword being good and Sudoku not being cool, only to find Joe Strummer died while reading the Guardian and having to dedicate a song.

The music doesn’t let down either as his beautiful take on chillwave sets toes a tapping from the off. Dabbling through his sound experiments, throwing in a touch of disco here and there he provides a delightful start to the night.

Still, it is Twin Shadow people are here to see and the Dominican born artist, full band in tough, in not going to let down. George Lewis Jr., who adopted the persona Twin Shadow following a move to New York, exudes charm telling the crowd they are “exceptionally good looking” can’t go really go badly.

Twin Shadow has been receiving nothing but praise since last year’s debut, Forget. The album breaks down genres confidently and borrows brilliantly from a selection of different movements it’s easy to see why the show sold out way in advance tonight.

Early highlights like ‘Tyrant Destroyer’ capture the audience to perfection as Lewis and co. drag a packed Rest along for a new wave tinged ride as they take the record up a notch and unleash it on the crowd almost forcing everyone to get their dancing shoes on.

“What do they put in the water in Glasgow that they don’t in Manchester?” Lewis questions as he watches his captivated crowd, he even has the confidence to quip: “You have that here too? Annoying guy at the front” taunting a somewhat over eager fan.

‘Castles in the Snow’ is arguably the highlight of the night as he takes one of the most emotionally touching songs on the album and brings it into this upbeat live environment perfectly.

Lewis apologises for having no time to hang out after the show and as the encore approaches they come to the dilemma of leaving the stage. Lewis states: “I’m not going to lie to you, it’s physically difficult to leave the stage, emotionally yes! Physically no!”

They finish off the set with ‘Slow’ and ‘Tether Beat’ tying together an attention grabbing set that really hits the floor running for the new decade, leaving the crowd in the mood for some more dancing, whether they’ll find anything that matches this is very doubtful.

Photo: Euan Robertson

The Walkmen @ Oran Mor 19/1/11

2011-01-20T06:39:00.000-08:00

The Walkmen are now into their second decade as a band and after years of consistently quality releases they are finally getting the spotlight they have earned. Tonight they play a packed Oran Mor in this Celtic Connections showcase, and although they don’t really fit in the traditional mould for the festival not one person is complaining.

Support this evening comes from Glasgow’s own Laki Mera, who performs a charming set of indie electronica that easily caught the ears of a few new fans tonight.

Tennessee’s Mona is some thing different altogether, the classic rock four piece has been hyped ridiculously at the start of this year. On first impressions they clearly think they’re better than they are and that impression sadly doesn’t let up.

They give that ‘we want to be stadium rockers’ vibe and I’m sure would be more at home supporting Bon Jovi, as they try to encourage the crowd to sing-along it becomes all too cringe worthy for my liking so I have to wander off.

Looking around the crowd tonight it’s clearly not cool to like The Walkmen, there’s not a scenster in sight instead a more mature audience fills the venue, surely a positive impression on the quality of the band if anything.

From the second the band hit into oldie ‘Everyone Who Pretended To Like Me Is Gone’ heads start a nodding and they pretty much don’t stop the entire set. Frontman Hamilton Leithauser snarls into the mike with entrancingly heartfelt enthusiasm throughout the early point of the set, which includes ‘In The New Year’ and newbie ‘Angela Surf City’.

Leithauser’s electrifying presence is easily the most enticing thing about The Walkmen’s live show, as you feel he means every word he sings. Announcing they are going to sing a song about a Harlem street where they all stayed together the set takes a more chilled turn, ‘138th Street’ is followed by arguably new album standout ‘Blue As Your Blood’.

‘Victory’ sees the pace boosted again, before Leithauser tells us a girl had told him “this place is very good for sex/drugs parties”, Oran Mor doesn’t seem the likely place but a guy in the crowd replies “some room in back” keeping up the illusion.

‘Juveniles’ closes the set before the band reemerge to perform a rip roaring rendition of possibly their most well known song ‘The Rat’ and ending on the heartfelt bliss of ‘We’ve Been Had’.

The Walkmen may not be the most euphoric live experience but they have that charm that has seem them build a loyal fanbase over the last decade and now, after all their consistency, they are just starting to see the fruits of their labour.

Photo: Ingrid Mur

Saint Etienne @ ABC 16/12/10

2010-12-17T07:16:00.000-08:00

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

2010-12-16T08:59:00.000-08:00

“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

2010-11-27T15:07:00.000-08:00

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

2010-11-24T15:03:00.000-08:00

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

2010-11-23T14:59:00.000-08:00

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

2010-11-22T14:55:00.000-08:00

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

2010-11-12T14:51:00.000-08:00

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

2010-10-20T11:26:00.000-07:00

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

2010-10-19T11:20:00.000-07:00

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

2010-10-10T07:41:00.000-07:00

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

2010-10-05T04:49:00.000-07:00

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

2010-09-29T07:01:00.000-07:00

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

2010-09-18T12:14:00.000-07:00

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

2010-08-10T10:19:00.000-07:00

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

2010-07-29T08:31:00.000-07:00

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

2010-06-04T05:11:00.000-07:00

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

2010-05-23T06:51:00.000-07:00

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

2010-05-20T09:54:00.000-07:00

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

2010-05-10T13:04:00.000-07:00

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

2010-05-04T06:06:00.000-07:00

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

2010-04-24T06:22:00.000-07:00

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

2010-04-03T06:10:00.000-07:00

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

2010-03-13T09:19:00.000-08:00

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

2010-02-22T12:07:00.000-08:00

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

2010-02-18T11:12:00.000-08:00

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

2010-02-14T09:07:00.000-08:00

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

2010-02-11T07:44:00.000-08:00

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

2010-02-08T10:24:00.000-08:00

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.

Taken By Trees @ Mono 13/12/09

2009-12-14T06:57:00.000-08:00

It’s twelve days before Christmas and everything in this small corner of Glasgow is adorably twee. Tonight Mono is packed full of rimmed speced, wooly jumper and cardigan wearing kids without so much as a checkered shirt in sight.

Mono is truly unique venue and is perfectly suited for this kind of event; the vegan café bar just exudes twee quaintness. People sat around tables or browsing through records in Monorail soaking up the atmosphere and eagerly awaiting the treat in store. It is not hard to believe that Stephen Pastel, Glasgow’s indie pop hero and front man of the band partly responsible for this delightful genre of music, The Pastels, works here. Indeed Stephen is in attendance tonight and he is not the only recognisable indie pop face. Camera Obscura vocalist and friend of Victoria Bergsman (Taken By Trees), Tracyanne Campbell is here spinning records before the performance, for which most of the equipment has been leant by Camera Obscura.

Before the band take the stage this is already the most lovely setting; girls performing pretty little dances in open spaces, burning incense in every corner and people posing for photographs with heart shaped biscuits just add to the beautiful atmosphere.

It is well gone ten when Taken By Trees take the stage but no one is complaining about the wait. The Swedish singer, tonight backed by a four-piece band, seems slightly timid as she speaks to the crowd in front of a charming backdrop of footage including kittens, snow leopards and red pandas. It is hard to imagine how this setting could be any cuter but then the band start playing, producing some of the most charmingly quaint tracks to have come out in recent times. If you look though the window behind the band you can see two bicycles tied to a lone tree, which combines with the projection to conjure just the cutest image.

Still with all this twee-ness it seems ridiculous that her most famous song is almost universally known in the English-speaking world. Not just for it being in the latest John Lewis ads aired during the X Factor, but also for it being a cover of Guns N Roses’ hit ‘Sweet Child o’ Mine’. Still this cover is nothing like the brash, loud hair metal of Slash and co., she has very much put her own slant on the track. Gone are Axl’s crude yelps and the harsh guitars, instead we have chirpy keyboard lines on top of sweetly delivered vocals, indeed if it weren’t for the lyrics this would be almost unrecognisable as a cover.

Arguably the standout track of the night is also a cover, but a very different one. This time the former front woman of The Concretes has stripped Panda Bear’s (who features on her latest album, East of Eden) superbly pop, layered ode to his wife and daughter ‘My Girls’, which featured on the last Animal Collective LP. The track has not only been altered to ‘My Boys’ to give it a more feminine edge but the pretty simplicity of her version make it almost as irresistible as the original and in a live setting it is hard not to won over by its grasping beauty.

This show is quite possibly the most twee event to happen in Glasgow in a long time; the setting, the act, the people just all add to overwhelming cuteness of the whole night. At the finish of the show you are left with that overwhelming warm feeling inside that everything is lovely, just the ticket for this festive season all that’s needed is a bit of cinnamon, maybe there was some in the biscuits.

Picture: Tomas Hermoso

Neon Indian @ Captain's Rest 1/12/09

2009-12-02T07:29:00.000-08:00

There’s a surprising baron feel in the Captain’s Rest this evening, especially when considering the praise tonight’s headliners Neon Indian have had heaped upon them for their superb debut album ‘Psychic Chasms’. Still, at this point the night is young and it does pick up somewhat for the band taking the stage (albeit not the full house expected), the quiz upstairs takes the majority of the blame for the late crowd.

The bulk of the crowd are lucky in their lateness as the stage times are running way behind and when the Texan four-piece take the stage they are greeted with a big enough reception. The face of Neon Indian, Alan Palomo, sways around delivering vocals and bleeps drawing large proportions of the crowd into rousing sing-a-longs. However, it is not the vocal hooks that will bring huge success to this band, it is the brilliantly catchy keyboard lines, courtesy of the lovely Leanne Macomber tonight, which could easily leave anyone humming them for the next week.

It is Macomber tonight who indulges in the most crowd interaction, encouraging the audience forward and making weak yet appreciated jokes about her very questionable Scottish decent. Still, the real genius behind this band is Palomo, the album is pretty much all his work, he is Neon Indian and for evidence of his talents you need to look no further than wonderfully catchy, ditzy pop single ‘Deadbeat Summer’. The track doesn’t necessarily stand out in the set as almost every track tonight drips with brilliant retro pop, but if you don’t yet know this band there is no better place to start.

Neon Indian’s first visit to Glasgow may have been plagued with time troubles but this will certainly not knock them of track. This band are destined for better things and don’t be surprised to see them selling out much larger venues in the not too distant future.

Their debut album ‘Psychic Chasms’ is out now of Lefse.

Picture: Lucy Knott

Lily Allen @ SECC 25/11/09

2009-11-27T06:29:00.000-08:00

Lily emerges through the floor atop a large staircase, which she saunters down to the sound of her latest album’s opening track, ‘Everyone’s at It’. Still, just her appearance on stage is enough draw hysteria from this massive crowd. Even Lily herself acknowledges this, commenting: “This is a big fucking room!” And it is, many people have made the step up to playing arena sized venues and failed abysmally, Lily is not one of them as she holds the audience and sound just as good as she had in the Academy and ABC. Although she seems tiny to the majority of the crowd three large screens enable to audience to view her antics, including pulling pints of Guinness for the front row, apparently what she chose to spend her extended budget on.

As the ska-tinged introduction to ‘LDN’ plays, for her second song, there is a sudden realisation to why Lily is so successful as a pop star. Lily’s debut album, ‘Alright, Still’ is a superb effort full of sharp ska-pop which could have any open listener hooked. Her latest effort, ‘It’s Not Me, It’s You’, sees a more electronic sound and tracks like ‘The Fear’ still drip with that accessible yet clever feel Lily’s debut had. However, some newer tracks lack the quality her debut carried and with only three old tracks remain in the set, a very nasal version ‘Littlest Things’ and her classic number one ‘Smile’, along with the aforementioned ‘LDN’. Obviously the lack of a brass section has had a major impact on this decision, even her version of Kaiser Chiefs single ‘Oh My God’ produced by the moronically corrupting, horrendously untalented and evil Mark Ronson only has his signature trumpets on backing track.

Still, to the majority of Lily’s extraordinarily varied audience the lack of older material doesn’t seen to matter as they latch on to Lily’s every word, whether genuinely meaningful or just idiotic. Her performance cannot really be faulted, even her cover of straw hated, fake accented, indie lightweights The Kooks’ ‘Naïve’ brings it close to sounding credible. Her nationalist bashing single ‘Fuck You’ also seems to carry a new punch with the recent high profile the BNP have been receiving.

Mid set Lily is joined by chirpy London MC Professor Green to perform ‘Just Be Good to Green’ which Lily featured on. This acts as superb interlude and brings an extra energy to the stage as the rapper runs about around drawing massive cheers from the crowd. The cheeky grin plastered on Green’s face says it all as he performs to an audience surely much bigger than he is used to.

As Lily disappears throw the centre of the stage at the end of her first encore there is a feel of great satisfaction, a set full of sing-a-longs, expensive looking props and costume changes only add to the spectacle. However, it should have ended there, as Lily re-enters to perform the frankly awful country-tinged ‘Not Fair’, where she moans about some ex being bad in bed. Still, if you forget about this ending the performance is enthralling, if only the track list could have been stronger.

Photo: Joshua Porter

The Field @ Optimo 15/11/09

2009-11-16T10:58:00.000-08:00

Tonight is quite the dramatic day here in Glasgow, the Christmas lights were turned on in George Square tonight and The Flaming Lips spreading joy to the masses with their uplifting live show. The Flaming Lips stage show is probably about the most prop filled and entertaining a visual experience as you are likely to see, the fireworks and Christmas lights in the town centre are not bad to witness either. So, in a way it is quite refreshing that The Field is much more reserved on visual effects, let’s face it there in no point competing with the F’Lips.

It is gone midnight when The Field and his live band take the stage, this is the norm for Optimo, and the hugely popular club night serves as pretty much the ideal setting for The Field’s live sound.

Axel Wilner’s music on record is chilled out and flows beautifully well in the background of any location. Still, performing live is a different beast and the intensity of his minimal techno has to be upped to keep a packed Subclub dancing through the entirety of his set. Wilner and his band manage this step up to this level superbly as the sheer force of their music drives the crowd into a frenzy that you would expect to be received for any top DJ.

Wilner bobs up and down behind his mixing desk while the rest of band smoothly change between instruments with minimal fuss. Still, it is the Swedish artist’s music that really speaks for itself; there is no need for an emphatic stage performance at this show. The smart little projections on show form a slight visual distraction, but without this the strength of his music would be easily lapped up by this, or any, Optimo crowd.

Optimo is superb experience whether there is a top of the range live act booked or not. Resident DJ’s JD Twitch and JG Wilkes have had praise heaped upon them from all over the globe for their mixing skills over a vast range of genres and sounds. Still, there is no arguing that a quality live band makes a difference at the club and The Field have to be up their with the best of recent times.

The Field’s latest LP ‘Yesterday and Today’ is available now on Kompakt.

A Place To Bury Strangers @ Captain's Rest 12/11/09

2009-11-13T11:31:00.000-08:00

A Place to Bury Strangers is affectionately hailed as ‘New York’s loudest band’ and on tonight’s evidence this is hard to argue. Support Japandroids, who are no means quiet, claim that they make them ‘sound like an acoustic folk band’. The tiny downstairs basement of the Captain’s Rest goes no way at all to restrict the loudness, if anything the enclosed environment only goes to enhance this reputation.

Still, you cannot go to this gig and not throw some word to Japandroids who are gathering major hype at the moment and are possibly one of the reasons why tonight is sold out. The Vancouver duo’s brand of noise rock is achieving more followers everyday, so much so that they have a headline show booked at King Tut’s in February which will surely be a hot ticket. Unfortunately though, the band’s first visit to Glasgow is plagued with microphone issues and even the ‘sound magicians’ could not save the day completely. Sounding ‘as much like Lady Gaga as possible’ was the aim, don’t worry this was not going to happen, but enough promise and energy is expelled to have people intrigued enough to have a further listen.

A Place To Bury Strangers emerge in an almost pitch black room, in an filled to capacity venue, the only light shone on them for the first three quarters of their set comes courtesy of a sole projector at the back the room. This creates an atmosphere suiting of the shoegazing beauty of their music that seems ever more perfect in a live setting. True enough the volume is a slight distraction; I certainly would not advise seeing this band without earplugs, the fact they sell them at their merchandise stand says it all, but with this investment made the bands set is even more glorious than they sound on record.

For the last quarter we find the minimal lighting replaced by drastic strobe effect, which near engulfs the band from the audience’s vision. Again, this effect only emphasises their music, as the band seem to increase the volume even more while drenched in a sea of white light. Closer ‘Ocean’, from 2007’s self-titled standout, is probably the best track of the evening. The band take the song to new extremes from the recorded version dragging it out to ridiculous lengths while holding a gawping crowd with sheer intensity. The forceful end to the set definitely goes the furthest to justify the band’s current tagline, which will have to go some way to be topped.

A Place to Bury Strangers second full-length ‘Exploding Head’ was released on Mute in October this year.

Picture: Sam Fenn

I Like Trains @ King Tut's 17/10/09

2009-10-18T06:55:00.000-07:00

When post-rock was very much the in thing a few years ago, when being a student automatically meant you to listened to Explosions in the Sky, when even Hollywood movies mentioned GY!BE, not many bands took that lush atmosphere sound and added prominent vocals to much success. I Like Trains, then iLiKETRAiNS, emergence in 2005 then proved a blissful rarity as they produced this familiarly ambitious soundscape working superbly with vocalist Dave Martin’s moody emotive words. Tonight the Leeds based four-piece play to an appreciative Tut’s audience that has been brimming over with anticipation for the treat in store.

Support tonight comes in three very different forms: Firstly Glasgow duo Holy Mountain assault the ears of the crowd with their brand of high energy, hairy yet superbly entertaining hardcore. Then it is the turn of Norfolk’s indie pop darlings The Kabeebies who deliver delightful pop tunes which would not look out of place in a Los Campesinos! set. Last on before ILT, is Nottingham’s experimentalists Swimming who work through a set of very diverse tracks without nailing a specific sound that may take them a step further.

As ILT take the stage and the smoke rises around them there is an overwhelming awe coming from the crowd. ILT’s audience loves them and it hard to see how anyone could not as they watch gob smacked as the band drive through a set of strong yet emotively brilliant tracks. It is difficult to watch ILT without a quick mention of local boys The Twilight Sad who also produce that epically strong sound with outstanding, moving vocals and the audience reception ILT receive is comparable in so ways to that which you would find at a TS gig.

Almost an hour into the set, as ILT announces they are playing their last song, almost the first sound is heard from the silently admiring audience. You can safely say that not one person in that room wanted the show to end there. There’s quite possibly some poetic irony in the fact that no one cares that I Like Trains are actually responsible for people missing trains, me for one. Still the sets closer ‘Spencer Perceval’, the standout from 2007’s ‘Elegies to Lessons Learnt’, is a fittingly perfect end to an engrossing set from start to finish. Even the slightly gimmicky train conductor jackets do not matter as this band has earned their rights to any such eccentrics.

New single, ‘Sea of Regrets’ was available to buy from Monday, and by the sound of the new tracks on show tonight we have an unmissable album to look forward to.

The Big Pink @ King Tut's 14/10/09

2009-10-15T08:17:00.000-07:00

This may make me sound slightly hypocritical considering the review I wrote for this show on a certain website, but that review is completely honest, however it does miss out some vital details regarding the show.

The Big Pink themselves do have an image that could see them breaking the mainstream, and they certainly have a song in ‘Dominoes’ that could well be a hit. It is true they can appeal to a vast spectrum of music fans, they have become somewhat darlings of Pitchfork while they have been shot into the mainstream through Guitar Hero adverts and being featured on the universal jukebox every chain bar seems to host.

I must clear up that the band’s sound is not shoegaze-y in any way, comparisons with My Bloody Valentine and M83 seem completely unjust. The band play a mass appealing kind of electro rock, which does carry some slightly dark and gothic undertones, but also comes with that Oasis-ish lad-y wanker swagger that could see this band out jump any contempories on popularity. The band have been compared to The Verve a fair bit, which I can see as just, they’re like The Verve before Richard Ashcroft became such an unbearable twat that even Wayne Coyne wanted to hit him.

Still the band is enjoyable, the set is solid and both ‘Velvet’ and ‘Dominoes’ are brilliant tracks. The latter in particular, inspires a massive buzz and full on sing-a-long from the capacity crowd on a scale that you only see rarely at gigs these days. ‘Dominoes’ is exactly the kind of song you can imagine some drunkard singing to themselves on a bus home, much like that incessant ‘der der der’ nonsense from the Fratellis ‘Chelsea Dagger’, only with much more charm and of course quality.

However despite the soon to be anthem, the stand out from tonight’s show is the support from Glasgow based outfit Findo Gask. This band are a shining light in the current Glasgow scene and their blissfully bleeping pop gems, from opener ‘One Eight Zero’ to closer ‘Go Faster Stripe’, could get any slightly open minded music fan dancing. For most people who will probably read this Findo don’t need any introduction but just incase let their music speak for itself: http://www.myspace.com/findogaskuk. Catch them at their monthly residency, Crufts at Nice ‘n Sleazy’s this Saturday. This month Findo are joined by Copy Haho and North Atlantic Oscillation, it’ll should be a treat! I’m sure all the bands will be thanked for their performance onstage on Saturday, which Findo rather ignorantly tonight were not.

Wild Beasts @ Arches 29/9/09

2009-09-30T12:26:00.000-07:00

Wild Beasts find themselves playing in Glasgow tonight as part of Topman CTRL music series, tonight’s event being curated by French electro-popsters Phoenix. The show has been cleverly grafted onto the front of a full UK tour that starts in Edinburgh tomorrow. However, this late addition to the tour has been detrimental to the turn out with many fans having purchased tickets to the Edinburgh that went on sale months before tonight’s announcement.

Support this evening comes from local art punk talent Paper Planes, who are visually increasing in confidence with every show they play.

Leeds based Wild Beasts come to Glasgow with praise being heaped on them from all angles following the release of highly acclaimed second album Two Dancers. The bands interchanging of vocals, from guitarist Hayden Thorpe’s unmistakable falsetto to the more classic indie rock vocals of bassist Tom Fleming, keeps the crowd more than interested as the band cruise through a set infectious indie rock tracks occasionally touching the edges of glam.

Last single Hooting & Howling is the set’s stand out, as the band continue a tradition of strong singles, the building anthem does not as Thorpe’s looping vocals digs deep into the listeners conscience.

On the whole tonight the band seem eager and raring to go on their new tour, but despite tonight not setting the tour alight it acts as a solid beginning and the Beasts do nothing to discredit themselves (well aside from Thorpe’s awful denim waistcoat!) Or Phoenix for that matter.

Fuck Buttons @ Stereo 24/9/09

2009-09-25T12:39:00.000-07:00

A couple of days before tonight I suffered a slightly awkward moment upon purchasing a friend’s ticket for this evening show. Uttering the words ‘Fuck Buttons’ drew a quizzical expression from the ticket agent along with embarrassed giggles from a group of young girls. However, if these people had experienced the music of Fuck Buttons I’m sure they’d reverse their reaction, either for that of absorbed amazement or sheer terror, as Fuck Buttons are one of the most complex sounding electronic acts to emerge from the UK in recent years.

The Bristol duo is not the most visually stimulating as they bop up and down in relative darkness, still the ear busting noise created more than makes up for the lack of visual entertainment. At time the sound is almost apocalyptic when they power through tracks from brutally brilliant debut album, Street Horrrsing, as they push the audience’s ears to the verge of self-destruct.

The show tonight also gives a preview of second album Tarot Sport, for those who have not already experienced it. Tarot Sport, released by ATP Recordings on 14th October, sees Fuck Buttons walk a much more accessible path than their previous work, but still the complex collage of sound remains only in less scary, yet not necessarily better, mould.

Benjamin John Power and Andrew Hung’s sound that holds a majority of a jam-packed Stereo crowd affixed in some sort of awestruck wonder. The band may not bring any real entertainment for the eyes, but are both physically as engrossed in their sound as their audience are. Once the show is finished it takes a good minute to remove yourself from the trancelike state forced open you by the sheer force of noise created, a force the duo should take a huge amount of credit for creating.

Times New Viking @ Nice n' Sleazy's 17/9/09

2009-09-18T05:53:00.000-07:00

Thrashy alternative three piece Times New Viking return to Glasgow for the fourth time, their second headline slot, after audience raising support slots with No Age, Los Campesinos! and Crystal Antlers. The Ohio three-piece is thriving on tonight’s proceedings blasting through a set of minute and half lo-fi gems. Tonight’s show acts as a preview to the unreleased LP, Born Again Revisited, which is on sale tonight but not due for full release until next week.

The view from the side wall of the Sleazy’s basement obscures the vision of the full band, but does elevate somewhat so at least some vision is thrown in with the sonic experience. Still the tight setting the venue provides is ideal for TNV’s lo-fi sound. Despite the visual obstacles it is only guitarist, Jared Phillips who remains out of vision. Keyboardist and dual vocalist, Beth Murphy’s dream fuelled sway remains in full view creating an audience focal point, as she delivers the sweeter melodies coming from under the layers of fuzz the band project.

This fuzzy sound is now an ever present with TNV both live and on record. By others accounts the band used to hone a much cleaner sound, but their current output cannot be argued with on its quality alone.

The most vocally active member of the band comes in vocalist and drummer, Adam Elliott who throws chat at the crowd through out the set, some of which goes over the crowd’s head, some is amusing, most is about drugs. Elliott introduces a large amount of songs with reference to drugs: ‘this song is not about drugs’, ‘this song is about drugs’ and ‘this song is about taking drugs in a museum with your girlfriend’. Still every bit of the drummers stage banter is treated with warmth. Finishing the set, Elliott announces ‘we love your city’, a sentiment the crowd tonight would happily throw back on the band that have treated them with a set as superb as it is raw.

Sunset Rubdown @ Stereo 10/9/09

2009-09-11T00:58:00.000-07:00

The advertisement poster for tonight’s event reads ‘Sunset Rubdown featuring members of Swan Lake, Wolf Parade and Frog Eyes’, a fact that band leader Spencer Krug is clearly wary of pointing out that they are all him. Still it is obvious Krug is the leader of this Montreal five-piece, he strikes an imposingly confident figure as he confirms this is a Sunset Rubdown set and not any of his other alter egos. The frontman’s presence strikes a stark contrast with the rest of the band as they take step back and let Krug lead the show. Co-vocalist / keyboardist former Pony Up! Camilla Wayne Ingr is the only other member remaining in the constant spotlight cutting a rather more timid figure in comparison to the muscular flexes of Krug.

Sunset has been hailed as the outlet for most of Krug’s more adventurous outings, however by the strength of their records and tonight’s performance they can easily compete on quality terms with his more famous projects. The set starts on a atmospheric note as the band lay out a lush full sound before Krug crows into ‘The Empty Threats of Little Lord’ ending on a scratchier note as the singing hisses ‘you snake’ at the end each line of the last verse. From this point the band never drops in tempo, often jumping into bouts of double percussion, as they cut through a set featuring a heavily from the outstanding new record ‘Dragonslayer’ probably the most accessible to date under this alias.

The hugely talented Krug also proves he can inject a bit of humor into the proceedings as he shares amusing tales of their overnight ‘cruise’ from Amsterdam, before proving he isn’t perfect after all as he embarrassedly forgets the names of tonight’s support acts, local based Mitchell Museum and North Atlantic Oscillation. However they recover from this minor setback and end the set emphatically as they finish off with two tracks from 2006 stand out ‘Shut Up I Am Dreaming’, starting off with the triumphant ‘Stadiums and Shrines II’ before ending on a softer more ambient note with beautifully constructed ballad ‘Us Ones In Between. As the band leave the stage to an rousing reception it is clear that Sunset Rubdown have gone some way from just being a Wolf Parade side-project, and here’s hoping this their first visit to Glasgow wont be their last.

Beerjacket @ King Tut's 8/8/09

2009-08-09T05:44:00.000-07:00

The task of writing a review for an artist, or many, that you are almost certainly going to see in the not to distant future can be a somewhat daunting one. Luckily very few negative words can be shed about tonight’s show taking all the guilt of having to write them away.

Tonight is Beerjacket’s birthday show and the man is clearly proud to be finally headlining the legendary King Tuts after around 45 support slots here spanning several years. Kicking off the nights feast of local talent are avant folk five-piece Seventeenth Century displaying a sort of distinctive awkwardness as they cringe through a set of emphatic room filling tracks.

Talking of room filling, next on the bill The Second Hand Marching Band could make a venue slightly smaller than Tuts appear full just with their own presence. Their sound does not let down either, matching their numbers (eighteen strong tonight, we think), as they produce an enthralling performance despite being crammed onto the Tuts stage. The bands live sets are slightly on the side of shambolic compared to other large musical collectives, but this only adds to the attraction of this radiant live experience.

As headliner Beerjacket takes the stage he maintains his usual vaguely nervous stage presence as he perches himself on his chair, however tonight he gleams with genuine disbelief. The singer-songwriter openly thanking the, much larger than he expected, crowd for coming on several occasions, clearly chuffed at the turn out as he finally gets his overdue headline slot.

Beerjacket has very recently found some sort of minor fame over the water featuring in recent issues of Rolling Stone, allegedly he just wishes it the spotlight would go away. He actively jokes about this following a minor hiccup in the intro to his cover of Bruce Springsteen’s ‘Dancing in the Dark’, (the track Rolling Stone had originally drawn attention to) embarrassedly stopping to claim that if he wasn’t going to write his ‘hit’ he may as well get it right. However at the second attempt the song is executed with the charm Beerjacket brings to his entire growing back catalogue of songs.

Tonight’s performance is not far off what you would get with most Beerjacket shows, the man seems remarkably consistent as he again delivers a delightful set which leaves the crowd as pleased as the man himself is with the evenings events.

Hafdís Huld @ Brel 18/6/09

2009-06-19T14:05:00.000-07:00

For someone used to chart hits Brel seems a slightly odd choice of venue, but this is where former winner of best Icelandic pop album Hafdís Huld finds herself. Half her lifetime ago Hafdís had been part of GusGus, one of Iceland’s biggest ‘90’s bands, along with notable member Emilíana Torrini (who can be seen at Òran Mór next week), now she is on the verge of releasing her second solo effort. Still despite Iceland hosting less than half of the population of Glasgow it must be a bizarrely quaint venue for a home country pop star on her third visit to the city.

Support comes from local favourite Jo Mango who graces us with a splendid set of sweet acoustic gems perfectly, and more chat than you would know what to do with. Jo informs the crowd of her attendance of speech therapy for talking too much learning she was in the top two percentile for talkativeness in the country, and more than backed this up with stories of exploding fish, baking disasters and murmuration.

When Hafdís takes the stage there is an odd feeling that this just might not work. A fully seated audience in a daylight filled venue does not seem the ideal setting for a chirpy blond and a sown pink hippo in a leotard. This sentiment continues throughout her first track ‘Ski Jumper’ a moderately cheesy yet delightful pop track that does not translate perfectly onto one acoustic guitar. Only guitarist Alasdair Wright joins Hafdís today, her usual three-piece band would struggle to fit onto the Brel stage. However this feeling of uncertainty is thrown out the window when Hafdís begins to talk, the singer knows how to charm a crowd coming across both endearing and funny to hilarious extremes, justifying why Phil Jupitus considers her ‘the maddest person I’ve ever interviewed’.

Introducing second track ‘Homemade Lemonade’ Hafdís jokes about the mention of Dolly Parton saying ‘if you hear from her tell me to call me, it’s been long enough’ capturing an array of giggles from her ranging audience. Her unique and charismatic stage chat would catch even the dourest person out, as she jokes about sounding like the Queen, sowing websites, elf watching and pulling out her Christina and Beyoncé dance moves. Even the hippo gets explained out of oblivion, as she tells how a lovely yet hyperactive fan presented her with it adding to the cat in a ski jumper she received on her last visit to Glasgow, simultaneously putting her sowing talents to shame.

It is not just the onstage banter that wins over the audience, as the set continues her lovingly crafted songs enhance her credit even further. Songs about silly topics which could bewilder anyone’s imagination while simultaneously dragging them into her story book world of treasure hunting in pawn shops and old folk thinking she’s a vampire. When closer, new single ‘Kongulo’ (possibly number one in Iceland by the time this review is published) about human spider Alain Robert finishes it leaves a highly satisfied crowd who keep the girl chatting way past the music has stopped. Hafdís may not be known well in this country but she has all the qualities that could see her equal her home country success abroad.

The Soft Pack @ King Tut's 26/5/09

2009-05-27T13:06:00.000-07:00

Kings Tuts is strangely bare tonight for what on paper seems a mouth-watering line-up for fans of the alt rock scene. With two of America’s hottest prospects on display I am sure more people were expected at the famous venue, however for the few in attendance expectations seems high.

The bill is opened by local indie rock act The Deals, the Motherwell four-piece certainly put a lot of enthusiasm into their set, but as one of this wave of Scottish bands adopting English accents it lacks somewhat in imagination.

When New Jersey alt punk act Titus Andronicus take the stage expectation are at a high especially after a storming performance at the same venue some three months earlier. The band seem rather tired possibly down to a hefty tour schedule, and the much smaller more motionless crowd failing to spur on the band who seemed to thrive off their crowds energy in February.

At this point it is hard to fathom why the crowd cannot get into Titus, maybe it is frontman Patrick Stickles’ choice to sport an Oasis t-shirt, maybe it is his distractingly large beard. Still, musically the band is as solid as ever and produce a strong set which only suffers from a lack of urgency and a crowd egging them on.

The last time I saw headliners The Soft Pack they seems dumb founded by a full house Barrowland crowd waiting to see Franz Ferdinand, tonight however the band seem a lot more at home in front of a smaller audience. The crowd however smaller was disappointingly as still as it had been then and thus for Titus Andronicus. Aside from a couple of really excited fellows who jumped about in jubilation to every song while belting out chants of ‘we are the Soft Pack’ after almost every song.

The plaid clad alt rock ‘n’ rollers have been compared to many bands at the pinnacle of the scene they occupy and tonight they go some way to justify why. Following a slow start in which excitement level does not reach too far past plain average the band kick into gear with recent double A-side track and arguably the bands best song ‘Bright Side’ displaying vocalist Adam Lamkin’s distinctive alt rock croak best.

From this point the set keeps up the pace as the band play out with a collection of their stronger songs including other recent singles ‘Nightlife’ and ‘Extinction’. The change in gear seemingly stirs the crowd as they draw movement for the first time in the night, this however draws excelled excitement from the mega fans, mentioned earlier, whom Lamkin joins in the crowd for the closer, this coupled with an increase in volume provide an emphatic ending to a show that in reality should have been much more of a spectacle than it turned out to be.

The Soft Pack will certainly leave the happier of the acts as many more of the people in attendance will leave with positive view points of the band than would have done in their near anonymous dates with Franz.

Anna Meldrum @ Brel 26/4/09

2009-04-27T03:29:00.000-07:00

On the same night Camera Obscura perform their quite impressive new record at the Barrowlands I find myself up the West End for a quainter but equally as lovely experience. Tonight the former stables of Brel play host to the launch of Anna Meldrum’s band. Anna herself is by no means a stranger to the scene gracing many a Glasgow venue with her quirky pop and ‘jumbo fringe’ as a solo artist.

Anna is clearly excited about tonight’s events openly expressing thanks to everyone for attending on numerous occasions. Brel is packed to the brim tonight with people all of which Anna claims she knows. However, the audience are not here simply because they know her and Anna’s performance more than justifies their attendance. Her songs are eccentric yet lovely, telling tales of every day mishaps and childhood antics that could easily be related to anybody’s life. Her performance is absorbingly charming as she fidgets with her mini mouth organ while cheerily chatting away between tracks only stopping to tune her guitar, which she informs us is difficult to do while talking.

The new attraction which are the band are introduced early into the set and definitely add a new dimension to Anna’s live sound. Joe on double bass and Nick on drums do not draw the focus to much away from singer but do compliment her impeccably as she translates her acoustic songs into a full band environment.

I am informed that new recording are on there way and judging by her only previous quality-recorded track, and tonight’s closer ‘Marigolds’ this is something to look forward to. With the band seemingly a permanent feature now the future seems brighter than ever for this freckled songstress.

I Never Cared About Henry Rollins: A Brief History of Indie Pop

2009-04-24T04:02:00.000-07:00

Indie pop may be loved by as many as it is loathed but its story is one of the most endearing and important in the evolution of a lot of the music we know today. It made heroes out of kids who didn’t occupy the rock star attitude, opposed the world of the major label embracing and encouraging the art of the handmade single, the fanzine and the mix-tape.

The musical scene would evolve into a full-blown culture with people taking on every aspect of what it stood for. Indie pop was not merely music that was both ‘indie’ and ‘pop’ it became much more than that. The scene became labelled many different names the most recognizable being ‘twee’, a British word derived from how a baby would pronounce ‘sweet’. ‘Twee’ was defensively rejected by the scenes British founders but was taken under the wing by the mid-’90s American kids who would adopt indie pop as a lifestyle.

Indie pop on whole represented innocence and everything cutesy and pretty but it did have its problems. The cultures excessive quaint prettiness was embraced by some just as an excuse to be cool at a time when the scene made heroes of the cripplingly un-cool. For now I shall reject these flaws and give a brief insight into why indie pop was loved and should be held in higher regard than it currently is in the bigger musical picture.

The roots of indie pop have been traced to many places but many accept it came out of the mire of the UK punk scene in the late ’70s to early ’80s. Punk embodied a snotty, sneery approach that came with a lot of hatred and anger directed at many different places, but punk did have that DIY attitude in which your favourite band did not have to be someone playing to thousands of people, it could just be the kids down the street. The latter part was adopted by the kids who would eventually go on to inspire what became indie pop, scrapping the harsher attitude of punk in favour of a nicer outlook on life.

Arguably the place that embodied the beginnings of this scene most was Glasgow the best example of this being the output of Postcard Records, with label leaders Orange Juice and Josef K often sited as the inspiration for the scene. Postcard certainly formed a foundation for the NME’s C81 compilation, the prequel to C86 which is often sited as the first to group together indie pop and is regarded a benchmark in founding indie pop as a scene. Another notable band that embodied this attitude were London’s Television Personalities who took on the DIY aspects of punk injecting this quaint, caring outlook which in some ways completely opposed punk. Television Personalities went on to become one of the scenes staple acts.

NME’s release of C86 in 1986 brought about a further following for the music and accelerated the foundation of the indie pop scene. Then around the same time something happened, British indie became popular with The Smiths at the forefront of the whole movement. The Smiths embodied a lot of things indie pop held dear they were signed to an independent label and Morrissey appeared the type of person these kids would make a hero of with his awkward personality and flower waving. But The Smiths popularity required the mass production of records and came with a huge public awareness of the indie scene.

With indie becoming popular the culture of exchanging mix-tapes and fanzines about indie music became elite. The bands that featured on the tapes were now thrust into the public eye defeating the purpose of their efforts made in making them. Cue Sarah Records the Bristol based label specialising in releasing indie pop records. Sarah took on the whole cutesy attitude and again encouraged the adoration of the kids who would not typically be considered so. The Field Mice were the epitome of what indie pop stood for and became the first heroes of Sarah Records. The next major product of Sarah were Heavenly, coming out of the ashes of Talulah Gosh Amelia Fletcher and co. become the poster stars of a generation of indie pop kids and are vastly regarded as the best indie pop band ever.

However by 1995 the demise of indie pop was underway, Sarah’s bands had begun to experiment with new sounds and complexify their music and the ‘anyone could make this music’ attitude just was not there anymore. The emergence of My Bloody Valentine and the obsession with shoegaze caught the imagination of the scene and the take-off of Britpop somewhat spelled the end of indie pop as a movement in the UK, the closure of Sarah during that year only went further to confirm this.

The death of Sarah did not mean the end of indie pop it was still alive and well across the sea in America. In America indie pop had taken a bit longer to emerge and it did so in quite similar fashion to the way it had done in Britain. In a way it followed an almost parallel path but something happened that keeps indie pop alive today.

In America punk had lasted way into the mid ’80's as a popular scene, still running through this DIY ethic that the UK punks had in the late ’70's. It was out of this scene that the American indie pop emerged. Olympia, Washington was at the centre of this event with Calvin Johnson, his band Beat Happening and label K Records becoming the rock that everything was built on. K became essentially what the likes of Postcard were in the UK and inspired a following of hero-worshiping kids for this generation of indie pop stars. K’s much acclaimed International Pop Underground festival is responsible for the emergence Modest Mouse among others, while indie pop’s feminine roots which K championed led a path to the popularity of riot grrrl in the early ’90's. Then, just like in the UK American indie became popular; bands that would have typically been labelled twee were entering the mainstream and indie pop found itself in the same scenario as it had been in the UK a few years earlier.

This is the point that the American story takes a different path from the British one because the American indie pop scene did not die, instead it flourished. People took the scene to heart; indie pop mix-tapes and fanzines came back into the lifestyles of thousands of Americans. Twee as a culture had begun. This generation of twee kids were different from those of the past, while the indie pop scene the UK had created rejected the label of ‘twee’ and ‘cutie’ as insults, this new wave adopted them as their own. T shirts sporting the terms like ‘Twee as Fuck’ were aplenty and bands like Tullycraft actively poked fun at the very scene they occupied. The once insults became in-jokes. Topping this one of their own was to be seen at the very centre of public attention sporting a K records tattoo for everyone to see. Yes, Kurt Cobain had once been an indie pop kid in fact his favourite band were Glasgow indie pop act The Vaselines and he had once been part of Calvin Johnson’s project the Go Team.

Twee lived its height in America through the mid-1990’s and after that faded back to a small niche that kept the scene alive. But with today’s indie guitar music beginning to tire there must be an avenue for something fresh that could possible thrust twee back to its height. New York recently has seen a minor breakthrough with the Pains of Being Pure at Heart leading the way to see twee pushed to the attention again of musical underground again. Whether indie pop will relive the heights of the mid-’90's is questionable but the scene is certainly not dead. As long as there are kids making music and appreciating the nicer things in life it will continue, and with such a rich back catalogue of records it certainly should be held with more esteem in the wider musical world than it is.

Record Reviews: Jan-Mar '09

2009-04-01T07:38:00.000-07:00

Animal Collective
Merriweather Post Pavilion

In some circles it seemed before 2009 had begun the years best album had already been decided, the strength of four leaked tracks and a constantly improving back catalogue the only ground for this at the time absurd claim. Some justification of these claims is received upon hearing the album in its complete form.

Merriweather Post Pavilion sees Animal Collective reach new accessibility levels, their material has been refined and perfected carving a new chapter into a quite unique musical output. Working through the bands back catalogue you experience the steady progressions that have been made, the evolution of a sound that most great bands have to craft before reaching that hefty status.

Animal Collective’s technically ninth album draws from many era of the bands lifespan all blended seamlessly leaving all influences meaningless, creating a sound that can only be described as their own. Flowing soundscapes and reverb drenched vocals are a plenty, but placed side by side with songs of a classic pop structure and some blissful harmonies it all maps out wonderfully.

Yet labeling this album Animal Collective’s ‘pop’ album still seems silly, although some of the tracks share many similarities with classic pop these tracks will never draw a mainstream audience. Merriweather Post Pavilion may be more accessible than previous work but it still does take a few listens to sink in. There are no standout vocal hooks to be left reeling around your head for days, instead the band has created stunning record in which every track holds its own appeal.

Genrefying this record is surpassed with it crossing so many musical boundaries just no classification would suffice. The heavy hype which surrounded this record has been justified in splendid fashion, it is a special album that may end up record of ’09 it even holds the qualities that will see it go down in some groups as timeless. Still there is time left so jumping the gun will not suffice, just do not be surprised to hear this record talked about for years to come.

Bat for Lashes
Two Suns

There was always something quite lovely about Natasha Khan’s music, 2006’s Fur and Gold carried so much promise, precious songs with an array of sounds from cultural backgrounds quite foreign to her Brighton home. Despite it winning her high profile support slots with Radiohead it did lack something in depth, it did not manage to raise Bat For Lashes above the rest of her contemporaries. Two Suns her second LP sees her find this depth and it should see her lifted high into the consciousness of every music fan.

Two Suns sees Khan explore a more complex path as she gives a much fuller more confident sound. Much of this confidence is focused through her destructive fantasy creation Pearl, whose repeated mentions bring a minor theme to the record helping draw it all together as a complete product.

Khan admits her travels have inspired a lot of the sound on this record and this is certainly evident in the transatlantic electronic feel a lot of the tracks possess. Still a lot of the quaint touches that brought people to adore her debut remain, this enthused with her new found confidence all come together producing what is bound to be one of the best British albums you will hear this year.

Crystal Antlers
Tentacles

‘Crystal’ is the latest word you must use in the name of your new hip underground band, no less than three acts succeeded in drawing a name for themselves last year with its inclusion. Crystal Antlers were possibly the least publicised of these bands at the time but this year sees them make up for it with major tours and the release of their debut LP.

The Long Beach act has strong punk footings, some members having shared bands with former Bad Brains frontman H.R.. Tentacles takes on those footings and attempts to expand on them with a series of varied influences which were showcased through last years self released EP which caught the attention of many critics.

Tentacles although a very interesting and at times enjoyable experience does not seem to have taken too many steps away from potential of their EP. There is too much unrefined noise here for it to be considered great, but it is far from unlistenable there is more than enough promise on here to keep ears pricked for any progressions this band may make in the future.

The Pains of Being Pure at Heart
The Pains of Being Pure at Heart

The Pains of Being Pure at Heart have taken the forefront of the current New York indie pop revival scene and are helping pave the way for success further afield. The bands influences are not difficult to point out, yes the band may drop names of some ultra twee acts but this sound just screams ‘The Smiths’. Being influenced by The Smiths is by no means terrible as they would be listed as one of the most influential bands ever, in fact the Pains of Being Pure at Heart’s take on their influence is quite refreshing if it is not all round unique.

This is a melancholy indie pop album that will no doubt be labeled as twee, but could quite easily be so much more. Tracks like ‘Stay Alive’ come with a dreamy caress that could see it taken to heart of many, Smiths fans or not. ‘A Teenager in Love’ takes more conventional indie pop subject matter and its chirpy keyboard flickers are certain to satisfy many an ear. Throw this in with a few minor shoegazing glimpses and you have a record of charming gems that feels as much in the now as it does reminisce of the past.

Röyksopp
Junior

Röyksopp are one of those acts that everyone has unknowingly heard at some point in their life, there was a time when every second television advert contained one of their tracks. Despite this the Norwegian duos name has gone pretty much unheard of in many quarters. Their haunting and generally quite ambient electronica has seemingly flowed through the mainstream without too much notice.

Junior comes after a four-year gap and sees them return with a more upbeat excitable sound that could possibly see them thrust back into the mainstream again whether anonymously or not. Lead single ‘Happy up Here’ translates perfectly as their ‘Eple’ of 2009 and could easily stick in the head of multitudes of people but thus far has had not enough airplay to blast them into the wider public eye. It is second single ‘The Girl and the Robot’ that holds the most promise of a hit, acquiring the services of Swedish pop heroine Robyn for vocal duties can only aid in this process. The song stretches Röyksopp further towards the pop world than ever before as their gloomy synths are overlapped by one of the catchiest choruses the year will see, as Robyn treats us to her robot romance tale.

The remainder of the album does not lift off any further than the first two tracks, which is a shame as the rest of the material is solid stuff the album just peaks too early. A couple of tracks featuring electropop singer Lykke Li do provide highs on the second half of the record but still there are a lot that will fall off after such a lofty start. Röyksopp promise a partner to this record later in the year, a more ambient effort titled Senior that could provide a well deserved chill out after Junior hits the dance floor.

Delta Spirit @ King Tut's 29/3/09

2009-03-30T02:12:00.000-07:00

San Diego’s Delta Spirit return to the Europe for the second time this year on mission to get their name heard, this time armed with a more extensive tour schedule. In the UK word has yet to peak about their refreshing take on alternative country, while support slots with Clap Your Hands Say Yeah and Cold War Kids have gone some way to raise the bands US profile. Ticket sales tonight have resulted in Bathgate indie Topshop oiks The Harringtons being promoted to headline slot. Still on tonight’s evidence it wont be long before Delta Spirit are selling out venues like King Tuts, and The Harringtons are but a distant bad memory.

Delta Spirit appear your typical alt. folk band facial hair and plaid shirts intact, but do not let that fool they bring a original sense to the whole scene. Frontman Matt Vasquez’s rough croak is as unique as it is engrossing as he creates a feel reminiscent of singers from ‘60’s folk movements. It does not stop with the former busker, Vasquez is backed by an equally equipped band whose tendency to break into triple percussion attacks only add to bands live appeal.

The band seem excited to be back at Tuts being more than encouraged by recognising faces from two months prior. The returning crowd members share a similar excitement and are thoroughly rewarded when they break into outstanding cover of Tom Waits ‘San Diego Serenade’, which Vasquez proudly announces is about their hometown.

Closer the protest era Dylan-esque ‘People Turn Around’ starts off slowly but builds up to see the band leave on high before, The Harringtons lower the tone. The bands performance tonight will certainly draw many more of the crowd back to see them on return to Glasgow, and with festival season just around the corner they will certainly be on the list for one to look out for.

Lily Allen @ Academy 14/3/09

2009-03-15T06:46:00.000-07:00

It seems a day never goes by where Lily Allen is not in the public eye, the latest celebrity slagging or new love interest which ever apparently matters to us most at that specific time. But with all this attention it seems to have been forgotten why she came to the publics attention first of all, her music. Debut album Alright, Still’s sunny ska-pop sound brightened up the summer of 2006 leaving people from all over the musical spectrum with a smile on their face. Latest offering It’s Not Me, It’s You sees a new slimmer, more glamorous Lily take a more electronic path. Yet, while maintaining that poppy appeal it lacks the sunny freshness that the debut brought.

Tonight sees Lily in her usual stage capacity as she exchanges words with the crowd like they are friends down the pub, while sipping from a wine glass containing what appears to be cider. Onstage she maintains her refreshing ignorance to the attention that is thrust her way, it all seems to by pass her as she chats about tomorrows forthcoming cup final.

Disappointingly the set is short of older material as only three pre-It’s Not Me It’s You tracks make it in, even classic LDN is harshly cut short as they try jam every song from the new record into the show. The new songs do not lack appeal but you do find yourself longing for a Friday Night with each new track leaving you appreciating how good her debut was. Lily herself is on her game as she struts about in her now trademark trainers and dress willing her ‘friends’ to sing along to every word.

The show itself is strong and most, like the press, seem to be lapping up everything Lily does. Yes, the old songs are few and far between but the new songs have their charm and the lack of a brass section might not do the older tracks justice. Still the gig taken on first hand is highly enjoyable and closing on her superb yet trouble-ridden cover of Britney’s Womanizer ends the set on a high. Let’s face it could have been much worse, she could have played Alfie.

Franz Ferdinand @ Barrowlands 5/3/09

2009-03-06T08:59:00.000-08:00

Tonight is the second homecoming night for a band needing to justify who is the biggest Glasgow band, and with the illustrious ballroom that is the Barrowlands they could not ask for a more ideal location. Tonight does not come with the excitement it could following a new album that could so easily have passed under the radar and with Franz being a common sight around the city, despite two of them residing outside Glasgow. Still the prospect of hearing the tracks that won over almost the whole country is enough to sell out the venue twice and surely more.

Support tonight comes from the latest California buzz band The Soft Pack whose main column filler has come from a controversial name change. Formerly The Muslims they changed their name following violent attacks from idiots who believed them to be either racists or terrorists. The band has won praise for their music too drawing comparisons with lists of illustrious acts. Either way they have gained a name for themselves and their current tour schedule goes some way to prove it, with this support slot is followed by full US and UK headline tours, and dates at SXSW, ATP and Primavera.

Tonight the band seems bedazzled by an almost static crowd impatient to see their heroes. They appear rigid and unenthusiastic as if they had given up on winning over the audience, possibly down to a poor reception the previous night. However they get through the set without expelling too much energy and get off as fast as they can, that is not to say they were bad possibly in their own environment a band like this would thrive. You can see evidence in their songs where comparisons with bands like Pavement and The Strokes have come. It is easy to see how tracks like closers ‘Parasites’ and ‘Nightlife’ could be loved by those who have adopted that alternative indie scene. Tonight The Soft Pack do themselves no justice and the majority of the crowd wont go as far as learning their name.

Franz as expected enter to the complete opposite reception, it is as if you are back in 2004 when they won over multitudes of fans with their sing-a-long brand of post punk. Just the word ‘Glasgow’ leaving Alex’s lips are enough to draw a euphoric response from the crowd as if the city is welcoming home its own kings.

The set itself is its usual enjoyable yet shambolic Franz Ferdinand affair, but that is what it always was. The band flows through a set of old and new with each song receiving an up roaring retort from this excitable crowd. The odd duff note and Alex not being able to hit notes he would have five years ago go almost unnoticed as the crowd sing along to every word. The thing is, in Glasgow at least, Franz will always be forgiven these mistakes it is the way they have always been. Now they are getting old some pushing forty, they can be given even more scope but what they have done for the reputation of Glasgow music will assure they are always loved. As I leave a show packed full classic tracks and joyful hero worshipers it is clear who Glasgow’s biggest band are, and I think the band knows it too.

David Byrne @ Royal Concert Hall 31/3/09

2009-03-01T08:06:00.000-08:00

‘Does anybody like Dumbarton?’ I heard shouted at Connect a couple of years ago, why anybody would do such a thing? The answer is simple: David Byrne. Tonight I got to see exactly why this man could bring somebody to like a place such as Dumbarton without even visiting the place.

The Royal Concert Hall has a bizarre feel to it as a gig venue. Entering through a bewilderingly large foyer into what appears to be an airport check-in, expensive bar and gift shops with complete with ‘no food of drink past this point’ signs. The hall itself feels more like a conference room than a venue for a pop concert. This is all forgotten when the lights go out and the homecoming hero enters the stage.

Byrne and his band appear dressed in all white as if there is something all round clean and innocent about them, and there is as Byrne just appears a nice old man. Byrne addresses the crowd with his intent for tonight’s show, announcing the set will consist majorly of songs produced with Brian Eno. Crowd interaction is clearly not Byrne’s forte but that is not what he is here to do, and when he bursts into the set you instantly get why he is so highly regarded. His singing voice is as unique and wonderful as it ever was, and for man pushing 60 he gets about the stage.

Still by two or three songs in you feel there is something missing, the famous Talking Heads dance moves or the orchestra that has been with him through recent solo touring schedules, maybe. However it is just as you start to think this that the surprise is unleashed, as Byrne and co. hit into their next track three dancers emerge. The dancers go on to produce a mesmerisngly energetic, superbly choreographed routine throughout the set. It is not just the energy and routine that is engages about the dancers, they seem to be genuinely having the time of their lives and their engagements with the backing vocalists makes for quite an eye-catchingly chaotic show. This coupled with the use of wheelie chairs and the involvement of Byrne himself all add up to create as superb a visual experience as it is musically.

The set itself draws from Byrne’s expansive yet brilliant catalogue of material; the tracks produced with Eno are arguably the best of his work. Only one song from a non-Eno era is squeezed into the set in Talking Heads single ‘Burning Down the House’. Byrne himself is endearing while remaining constantly entertaining as he cuts through old and new, points out his family members, and keeps coming back with three encores.

The highlights of the set for the majority of the crowd are Talking Heads tracks, which are not played sparingly. Arguably the stand out moment of the set is when Talking Heads’ classic tracks are played back to back in Remain in Light’s ‘Once in a Lifetime’ and Fear of Music’s ‘Life During Wartime’. Creating enough of a spark in the room to draw the majority of the crowd to their feet, simultaneously tearing a new energy level on the stage.

It may be for reminisant purposes that the majority come and see David Byrne, but unlike so many older acts who have returned to the stage he does not let down. It is not exactly the same of course this is not Stop Making Sense but it is a man who equally and clearly knows what he is doing as much as he loves it.

Titus Andronicus @ King Tut's 25/2/09

2009-02-26T07:34:00.000-08:00

It is ten to ten when the New Jersey quintet takes the stage, and before assaulting the eager crowd with a dose of their punk inspired indie rock they take time to apologize for missed trains. Albeit, when the band breaks into their set catching a train the last of anyone’s worries as the energy the band expels is breathtaking, it is as if the band are zapping their strength straight from the audience.

Titus Andronicus blast through a set packed full of could be underground classics, as they successfully manage to translate the quality of their debut LP into a quite awe-inspiring live show.

The sets stand out track comes in their anthemic self-titled effort, which draws the crowd into frenzy with its catchy howled vocals and lively harmonica bursts. This comes perfectly straight after treating them to a sing-a-long cover of Weezer hit ‘Say It Ain’t So’.

Unlike the play from which they lift their name there doesn’t seem to be tragedy in this Titus Andronicus only a huge celebratory feel. Certainly is one to look out for in the future.

Interview: Crystal Antlers

2009-01-31T02:59:00.000-08:00

Chimney sweeping wont even enter your mind when you think of California; the states sun baked roofs surely don’t need fires and if they do chimneys are near extinct. Still this is what you could find one of the states best up-and-coming bands doing, now is not the time to find them though as the much-hyped DIY act Crystal Antlers are kicking into their first European tour.

Excitement is high as for the majority of the band this is a first trip to Europe, Scotland seems to hold some significance as like so many American’s they believe they have a distant Scottish heritage. Evidence of this heritage is pretty well hidden, drummer Kevin Stuart’s shocked reaction to gulping from a can of Tennents provides evidence of this. The band arrived in Glasgow for the first time on the back of four nights in London where I am assured there was no Dick Van Dyke-esque rooftop dancing, but playing to near sold out shows every night.

The Long Beach act find tonight’s gig just as highly anticipated as the London shows with the venue having to stop selling tickets early in fear of an overflow. Appearing an unorthodox mix with appearances as varied as their part time job is rare but the band are linked together through their fussy, funk enthused punk sound. After the sound check I caught up with frontman Jonny Bell to chat about the new album, Bad Brains, Pitchfork, and ‘the dying trade’ of chimney sweeping.

This is your first European tour and for the majority of the band a first visit to Europe. Is there anywhere you are particularly excited about visiting or playing in while you’re here?

We were all really excited to come to Glasgow as some of us have Scottish heritage, at least we think. Kevin (Stuart, drummer) defiantly does. Our manager Phil and our friend Michael, who’s making a movie with us, have been to Europe hundreds of times but have never been to Glasgow.

Have you managed to see much of Glasgow?

We’ve only been here about four hours, (laughs) all we’ve really managed to see is the hotel and the rain. We went into a shopping centre; it wasn’t much different from ones in America. We generally don’t get to see much more than the venue when we are on tour; we’ll get the occasional night off but not tonight, hopefully we’ll get to see more when we come back after the album is released.

On the subject of the new album Tentacles is due out in shortly. It has been said to ‘detail the fragmentation of nature and its destruction from humankind’, is this a theme behind the record?

I think that was just something in a press release, I don’t really know where they got that from. The album has a lot of the same elements that were on our EP. It has a kind of loose feeling, but with a lot of parts that are more concise, and we have a lot of ‘noise’ sections that were worked out is specific ways to sound like noise, but they’re not. It’s a progression from the EP overall, there are more vocals and the writing process was a lot more collaborative.

Everyone seems to be struggling to nail down an accurate description of your sound. You’ve been described as various crossovers of styles, or random genres that seem to have been thrown together. How would you describe your sound and influence?

I try not to describe our sound; I’m not really going for something specific. As for our influences, all of us were in punk bands; we come from a real punk background. Damian (Edwards aka Sexual Chocolate, percussion) and Andrew (King, guitar) played with H.R. from Bad Brains so there is a lot of punk influence. We tried to expand on that. Myself, I was really into old soul music, Miami ‘60's type stuff.

I wanted to touch on the promotion the band has been receiving from Pitchfork. What is your perspective on the promotion they give to bands like yourselves, and what affect it has?

It’s pretty amazing how much affect and power they have over the music industry. It’s particularly interesting to us, as none of us had ever heard of Pitchfork when they reviewed the EP, it was up in their best new music section, we had no idea what that meant. At that point we didn’t have a label or distribution, it was all done through mail order with my house as the return mailing address, all the CDs were hand made. Then we were reviewed on Pitchfork and I had to spend pretty much the next week making CDs and shipping them out. So, yes it was good for us as it all expanded from there, but it does seem kind of unrealistic and unfair to a lot of bands. Also, a lot of the bands they champion I don’t necessarily agree with.

Finally just to clear something up, I read that three of you met while you were chimney sweeps, is this true or a complete myth?

Well, we didn’t meet as chimney sweeps but we did all work as chimney sweeps. I suppose it is a pretty rare thing to do, especially in California, it’s a dying trade in a way. I actually still work as a chimney sweep when I’m not touring.

You’ll have heard all the Mary Poppins jokes then?

(laughs) well the company we worked for was actually called Chim Chimney. So, (laughs) yes!

Best of 2008

2009-01-01T05:46:00.000-08:00

10.
Lil Wayne
Tha Carter III
(Cash Money)

The biggest selling album of the year seldom means greatness but Lil Wayne’s latest offering is certainly deserving of all the units sold. The self-proclaimed ‘best rapper alive’ put the work in to get his name around, countless guest appearances, and an endless collection of mix-tapes helped keep bloggers pages filled. Yet the New Orleans born MC has topped it all, C3 is remarkable as the eccentric Wayne brings all his tricks to the table producing his best work so far. It seems Wayne is justifying the bold brags he spits in both his lyrics and personal life some nine years after his debut.

9.
Vampire Weekend
Vampire Weekend
(XL)

Tipped as one of the hottest prospects for 2008 Vampire Weekend set the bar high early on. In their self-titled debut the well-educated New York kids give nods to African pop, much like influence David Byrne had before them. But the band doesn’t outwardly wear their influences; they appear a preppy easily dismissible indie band. However, it is how these ideas and influences are used which makes VW shine. The album dazzles with pop sensibilities, a happy uncomplicated listen that will keep you coming back for more. VW’s bright sunny feel makes it the ideal summer record, leaving a feeling that it came a little too early.

8.
Portishead
Third
(Mercury)

Portishead’s return was almost as unexpected as it proved refreshing eleven years after their last release. Arguably the elite of trip-hop’s return comes long after the death of the scene they led. The Bristol trio have obviously seen this happen, and while Third holds slight similarities to past work the majority is left smartly back in 1997. Gone are the heavily moody trips instead a pacier almost psychedelic feel is left. The recognisable feature of Beth Gibbons’ inspired quiver is almost the only resemblance. Still the stunning weirdness Portishead always had remains but this time it comes in a somehow starker reality than a decade ago.

7.
Atlas Sound
Let The Blind Lead Those Who Can See But Cannot Feel
(Kranky)

It has been a packed year for Bradford Cox; his bands third LP, countless blogged demos, and his solo debut. Cox sees Let The Blind… as his psychedelic dream but it is easy to see Atlas Sound as a deeper impression of his personal self. Cox’s band Deerhunter carry a powerful impression, but there is something awkwardly personal about this record. Wondrous eerie stories told through disturbed isolated lyrics that could be easily linked to Cox’s illness ridden past. Still, as Atlas Sound, Cox has created a superbly distinctive minor pop record full of ambient instrumentals and cool haunting psychedelica that could complete some estranged dream.

6.
The Bug
London Zoo
(Ninja Tune)

Noise artisan Kevin Martin has been kicking about the UK dance underground for a good time; during this time he has varied his projects through many subgenres. Martin’s latest release under alias The Bug finds him drawing these subcultures together more than ever before. London Zoo, his second album as The Bug, finds Martin drawing plenty from current British dance movements, merging them in with his own dancehall mastery effectively drawing British dub directly into the 21st century. Yet Martin cannot take all the accolades as he called on a wealth of vocal talent for this record, however it was him who marshalled this to create possibly his most accessible work to date.

5.
TV On the Radio
Dear Science,
(4AD)

As one of the years most eagerly awaited albums Dear Science, does not let down, TV On the Radio have produced another outstanding effort in follow up to 2006’s Return to Cookie Mountain. In Dear Science, they have released as optimistic a record as will be heard this year, an album hugely varied in style and sound. TVOTR make their cautiousness about gaining huge popularity clear through dark stories and their never immediate catchiness. Despite this Dear Science, holds down musical and production excellence with notes of joy managing to break through, adding to the appeal of one of the most exciting indie rock bands of recent times.

4.
No Age
Nouns
(Sub Pop)

The L.A. duo took a more ambitious route to follow up last years Weirdo Rippers, and it has paid off emphatically, as Nouns sees No Age break more accessible ground than ever before. Lead single ‘Eraser’ being the biggest example of this complete with its frenzied chirping guitar introduction. The tracks have changed from the riff driven debut in favour of a more coherent thoughtful sound, with the band still managing to keep the droney appeal that won over their initial audience. Simultaneously they are crafting minor vocal hooks behind the constant sound barrage that will keep their audience interested and continue to attract new fans.

3.
Hercules and Love Affair
Hercules and Love Affair
(DFA)

New York’s Hercules and Love Affair have not only produced one of best DFA LPs to date but have also paved a possible mainstream disco revival. Andrew Butler and Antony (and the Johnsons) Hegarty have shaped a lush, camp masterpiece in which a mixture of vintage styles, strong lyrics and plenty of imagination have been used to create as unique a dance album as you will hear this year. Yes, H&LA owe a debt to the ‘70’s/’80’s disco scene but this release should not leave them pigeon holed by their references. Slight pacing issues are instantly forgiven, as there are more than enough tracks to fill any forward thinking dance floor within this gem of a record.

2.
Fleet Foxes
Fleet Foxes/Sun Giant EP
(Sub Pop)

Somewhat of a buzz was surrounding Fleet Foxes even before their debut EP hit iTunes libraries. The excitement surrounding the band became justified as soon as you put these records on and enter into the wondrous world of Fleet Foxes. The Seattle five-piece has crafted a beautiful pop record with a strong folk feel combined with near perfect harmonies, which could appeal to almost any age group. The harmonies are possibly the main focal point as the record acts as a vehicle for the bands vocal talents, especially those of Robin Pecknold, who gloriously leads the Foxes. Collectively Fleet Foxes have created something original and timeless that could have easily come from west coast America in the ‘60’s, rather than from a bunch of 20-somethings in 2008.

1.
Deerhunter
Microcastle/Weird Era Cont.
(Kranky)

While Bradford Cox takes almost full credit for earlier mentioned Atlas Sound, on this his full bands third LP the band are as much accountable as himself. Undoubtedly he will carry the most of the credit, he stands out as the leader of Deerhunter and his seemingly constant stream of quality new material justify every plaudit he receives.

The Atlas Sound debut carried an almost personal feel; Microcastle however is more a retreat from the frustrations of personal life. The album feels more like it belongs to the listener than Cox’s own Atlas Sound. It takes the listener on a dreamy, emotional journey kicking off on a high and ending with crashing feeling of anger.

The second disk, Weird Era Cont. supposedly a set of b-sides, is almost as emphatic as the album itself. It does not fit together quite as well but is fierce and focused, containing tracks that could easily be considered some of the bands best. Weird Era Cont. adds to this set and the superb catalogue Deerhunter have created, leaving them credited with two superb albums within the year, and three for Cox himself.

In this 2xCD set Deerhunter do hold debts to the occasional influence, Cox’s ‘50’s/’60’s pop leaning are often sited but they are less obvious here than on earlier releases. Nonetheless, for every piece of nostalgia there is equal originality moulding together to create one of the most stunning albums of 2008.