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.
Wednesday, 30 September 2009
Friday, 25 September 2009
Fuck Buttons @ Stereo 24/9/09
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.
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.
Friday, 18 September 2009
Times New Viking @ Nice n' Sleazy's 17/9/09
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.
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.
Friday, 11 September 2009
Sunset Rubdown @ Stereo 10/9/09
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.
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.
Sunday, 9 August 2009
Beerjacket @ King Tut's 8/8/09
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.
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.
Friday, 19 June 2009
Hafdís Huld @ Brel 18/6/09
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.
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.
Wednesday, 27 May 2009
The Soft Pack @ King Tut's 26/5/09
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.
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.
Subscribe to:
Posts (Atom)