Astral Planes EP Launch @ Stereo 29/05/2010

Tonight’s launch of Astral Plane’s new EP has something of an air of intrigue. The Planes are well known in Glasgow but the EP brings with it a raft of new songs. In contrast, then, to The French Wives celebration of the songs we all know and love last week, the Planes have more of a job to do in impressing with new material.

The chosen location is Stereo and unfortunately for the spectacle a lukewarm crowd gives something of a lukewarm response. With its high stage and cavernous roof Stereo is a strange venue whose walls and corners always seem to do odd things with the sound. The result is that the crunching notes from guitarist Chad’s Vox Phantom get slightly squashed and dampened. On the plus side, however, Jen Paley’s vocals are the loudest thing on stage and the progress she has made is clear. The new songs showcase her talents and on ‘Sleep of Reason’ in particular it’s the voice that stands out.
A set that starts with four new tracks in a row is brave but the EP is allowed to speak for itself. ‘Rotten’ continues the Planes trademark sound giving tremolo guitar riffs and a pleasantly uneasy atmosphere. ‘Disguise’ and ‘Eddie’ are deceptively engaging and pull together punchy choruses whilst ‘Sleep of Reason’ has the bittersweet lyrics ‘You were so pretty and I was so mean’ at its heart.

Things perhaps come together most completely in ‘Shut the Door’ and the band sound wonderful. Chad’s deft guitar lines are enhanced by an echoing, evocative drum sound and the track is one of real quality. The night ends in familiar territory with the stomping ‘Doris Day’ but it’s the new songs rather than the night which will linger in the memory. The Planes give proof positive that they are capable of producing fantastic pop records and Sit Still Child is an exceptionally interesting EP. After a summer of festival appearances expect the profile to take a sharp rise.

Sit Still Child is availability here.

Band of Horses – Infinite Arms

One of the problems in using itunes to listen to music (and having a slightly dodgy memory) is that I often find it difficult to place songs to albums. Nowhere is that better exemplified than with Band of Horses, for debut Everything All the Time and follow-up Cease to Begin are pretty interchangeable. This is no bad thing. Simply providing more of the same is great when it produces two terrific albums like those, it’s only when the sideways step becomes dull that there’s a problem. Enter Infinite Arms.

This, it must be stated explicitly, is a good album. Opener ‘Factory’ sets the marker for what is to follow and would have happily sat onto either of the existing albums. All the hallmarks of the sound remain, the lush vocals and the wistful guitar sounds, but the track isn’t one that particularly stands out. Neither is the next, or the next, and indeed the whole of what might be considered Side One passes pleasantly enough but without much event.

On Side Two we get a change of pace and more promise. ‘Evening Kitchen’ takes the simplest of guitar lines and carves out something melancholically beautiful. A lament to missed opportunities, lines like ‘I'd go tonight but I know you'll be there too’ give a reflective and regretful air. Whereas the lifting moment in the band’s songs tends to come from big drumbeats and layers of sound, the same effect is created on the chorus here with just two sets of vocals. There’s more to get behind on tracks like ‘Dilly’ and ‘NW Apt.’ The former feels almost like a laid-back Strokes record and has a pop charm whilst the latter has an urgency absent from the rest of the record and steps a little further outwith the the usual formula.

In all Infinite Arms is something of a missed opportunity. It’s extremely difficult to dislike a band and an album so generally worthwhile and amiable but the high points and standout tracks are sorely missed.

The French Wives – Me v Me Single Launch @ The Art School 14/05/2010

As a veteran follower of The French Wives it’s a real treat to open the doors to the Art School and find the place absolutely packed. In Glasgow the road to success is paved with gigs playing to five people in the 13th Note and mismatched support slots behind metal bands in Sleazys. For those talented enough and dogged enough to stick it out this is the reward – the release of a single and an evening to showcase it. As a result, gigs like this are a celebration of the survivors and a satisfying confirmation that they have what it takes.

As the lights go down we are treated to the outtakes from the fantastic promotional video (here) produced to promote the single and featuring the band fifty years into the future. Violinist Siobhan Anderson’s gran finally speaks directly to the crowd and welcomes the band on stage to wonderful effect. The tone of the video, with a sense of a humour and the ability not to take themselves too seriously, in many ways sums up the charm of The Wives and is a fitting introduction.

This is a set that most of the crowd have seen many times before but the sense of occasion brings a renewed appreciation and the atmosphere is terrific. Tight as ever and rising to the occasion, The Wives rip through Dogfight and Your Friends and Mine with the vigour and energy that we are all accustomed to. Confidence, one of the newest tracks, adds a different dimension and builds towards a sprawling conclusion infused with trombone and violin, a wonderful sound akin to Broken Social Scene when they take the breaks off.

With a song that befits the venue, a cover of Orange Juice’s Blue Boy is an unexpected addition to the set and a great conclusion to the night. Things end, quite naturally, with Me v Me and the single has all the punchy dance-ability that it has on record. It’s a great track that captures the essence of the band and an enormously effective three minute pop song. The Wives manage then to pull off a single launch with the same sense of enjoyment they seem to invest in everything they do. The night is a real success and the single is released on Monday 17th May and available through itunes. You should buy it you know.

Surfer Blood @ King Tuts 09/05/2010

Sometimes a support band just get under your skin. Opening tonight, St Deluxe are the sort of band who have far more fun onstage than they generate off it. I mean I’d be enjoying myself too if I had a Marshall stack, a scuzzy guitar sound and twenty minutes to replicate Sonic Youth riffs, but that’s beside the point. The songs are dull and overlong and next band Funeral Party are welcomed with relief. The word dull certainly can’t be applied here and the energy, and indeed volume, are a welcome change of pace. The LA band rattle through a solid little set and leave a good impression on a half-full venue, although time constraints mean we don't get to see quite as much of them as we would like.

The amount of floor space can be attributed to the fact that tonight’s headliners are, as of yet, relative unknowns. Florida’s Surfer Blood, four guys and a percussionist that’s part Jarvis Cocker part Animal from the Muppets, seem way too young to be this assured. Debut single Swim is a fast paced, urgent track that has rightly earned the band many fans already. It’s a three minute, get in and get out, take the money and run sort of song that makes its point and doesn’t overstay its welcome. This breathless enthusiasm is Surfer Blood’s default setting and makes for an exciting set.

There’s a real mix of influences dripping together here but the line ‘now we need to redefine’ in Harmonix pretty much sums up the result. Songs switch between the reverb heavy riffs of Twin Freaks to the more meandering, experimental structures of Anchorage whilst somehow maintaining a uniform sound all of their own. The overall sound seems to be the focus and the combination of the two guitars is crucial, with wistful looks from singer to guitarist as they trade lines seeming to hint at the relationship that creates these songs.

The guitar lines are near perfect, simple and effective throughout. Just as Joey Santiago’s deft additions to Pixies records draws life and the colour from the most unlikely of places the songs on show tonight are given a certain edge by guitarist Thomas Fekete. Fast Jabroni centres on a four note riff which is made far more interesting than it has any right to be because of all that is going on around it. The faces might seem youthful but there’s a poise and maturity in the writing here that sets them apart. When a band proclaims ‘this is a new song’ and proceeds to play something that was better than anything else on show then it’s a fair bet that they’ll be one to watch out for. Surfer Blood do just that and leave Glasgow with a lasting impression – the album can’t come soon enough.

Pics: Alan Dunlop

French Wives Video

As a promo for their new single Me v Me (released May 17th) The French Wives have created the following video. What could be better to whet your appetite?

The Futureheads & Oran Mor Glasgow 29/04/10

It’s only on stepping into Oran Mor that I realise this is something of a special gig. The Futureheads have seen their stock fall in recent years through lukewarm critical response to a solid third album and have been quiet on the touring front. It’s easy, then, to forget how wonderful a band they are and how great it is too see them play such a small venue.

Tonight’s gig is sponsored by Miller and saturated to near breaking point with Miller promos, Miller posters, Miller reps and Miller adverts. There’s even a free Miller with the price of admission. Still, the company’s commitment to live music can draw a good roster and before the main event we have the artists formerly known as Brother Louis Collective.

Admiral Fallow, as they are now known, provide a short set that whets the appetite but fails to truly engage. The songs are pleasant enough and build to beautiful crescendos, novel and intricate in a line-up that encompasses double bass and woodwind, yet there is something lacklustre about the overall feel. What’s missing is an energy, a passion for the songs – in fact what’s missing is something like The Futureheads and as they arrive on stage the difference is striking.

Whilst introducing ‘Le Garage‘ front-man, Glasgow resident Barry Hyde proudly declares that the band have been together for ten years – ‘twice the length of the average band!’ It’s not difficult to spot why. Le Garage is one of the first songs they wrote together and the four guys on stage perform it with all the excitement and vigour of a band who are glad just to have a stage for the evening. It’s an ethos that makes for a sparkling performance and a set that spans all four albums with ease.

Favourites like ‘Decent Days and Nights’ and ‘The Beginning of the Twist’ are warmly received and the tight guitar playing and even tighter harmonies are as impressive as ever. Hyde stops singing during Skip to the End just to marvel at the sound being produced by bassist Jaff and the enjoyment on the faces of all four on stage is wonderful to behold.

Material from the new album is filtered seamlessly into the set and impresses. ‘Heartbeat Song’, introduced as being the poppy-est song ever written in the history of the world ever, is unashamedly crowd-pleasing and charming into the bargain. But there’s a harder edge too; the ‘The Chaos’ snarls and shakes whilst ‘I Can Do That’ adds harmonies and a sing-along chorus to a punchy punk song.

The biggest cheer of the night comes, quite naturally, for ‘Hounds of Love‘ and the cover has the same power as ever. As a performance this is flawless and, with the reminder of such a strong back catalogue, it’s a memorable gig. The Futureheads might have becomes slightly forgotten in the grander scheme of things but there are few better live bands in the country and few who enjoy proving it just as much.

Pics: Alan Dunlop