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

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

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

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

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

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

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

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

Photo: Warrick Beyers

Caribou / Four Tet @ ABC 21/11/10

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Fran Lightbound

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

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

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

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

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

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

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

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

Crystal Castles @ ABC 19/10/10

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

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

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

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

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

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

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

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

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

Photos: Fran Lightbound

Robyn @ ABC 18/10/10

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Debbie McCuish

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

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

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

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

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

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

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

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

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

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

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

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

Phot0: Gordon Ballantyne

of Montreal @ QMU 4/10/10

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

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

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

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

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

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

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

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

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

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

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

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

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

Photos: Eilidh McMillan