Keeping with the “what I did on my spring break” theme, I reckon it’s about time I talk a bit about Glasgow, the sexiest city in the world, where everyone is effortlessly fashionable and Americans confidently mispronounce the name. Given that the Glasgow scene is typically lightyears ahead of everyone else, I figured it was best to pick a club, sit back, and listen. In the end, I spent two nights at Bloc+. Following is a selection of what I heard, in chronological order.
Louise Against the Elements: LAE opened the Slow Club Night (not, to my knowledge, related in any way to Slow Club the band) sporting a stripped down version of their normal set up (which, as I understand it, is sort of the idea of the night). Their sound is oozes American soul and blues rock influences, not that I want to label it an American knock-off (in fact, new research suggests that much American roots music is knock off of Scottish tradition). The music is definitely worth a listen. If I were to offer criticism to the band it would be in the arrangement of the set list. Namely, that it could benefit from some more rhythmic variation among the first few numbers and that they ought to close with “Baby Blue”, which is, by far, their best song.
Closing out the Slow Club gig were The Cinnamons. The magazine I read advertising the gig touted the band’s catchy synthpop. Synthpop, however, does not translate well in an acoustic setting. What does come across loud and clear? These guys can write an incredible hook! I might even go so far as to say that I prefer the acoustic set up—which is not to take anything away from their intended, plugged-in, sound—but the stripped down version makes the band’s uncanny melody-writing ability undeniably apparent. Check out “Analog Man” and “Dead Man’s Shoes”.
The next night was a gig sponsored by Detour Scotland, a relatively new monthly podcast spotlighting the best in Scottish music—with a twist. It is really worth checking out: detour-scotland.com. I’ll embed one of their videos from this particular gig at the end of this post. Detour night brought four bands and more people than fire codes should probably allow. It was hot and crowded, the girl next to me smelled strongly of vinegar, and, in the end, proved to be one of the most memorable gigs of my life, for which one of the acts, MOPP, is more than moderately responsible.
Kristin asked me yesterday what I think the next big thing to come out of Glasgow will be. I’m not sure, really. But I will say that MOPP could likely be the “next to next big thing”(that is, something else will probably crop up before that, but this has staying power). Essentially, it’s 80s-laden, uber-reverbed, monumental pop—everything you love about 80s synth music without all the creepiness of “The Air Tonight” (dear God, I hate that song!…). I hesitate to even attempt to describe it any further. All I will say is that, before the show, everyone I spoke to told me it was going to be phenomenal and, having now heard MOPP, I would have to say that, if anything, “phenomenal” is an understatement.
For those of you who are so inclined, (which ought to be anyone looking for good music) visit MOPP on MySpace. Whilst you’re there check out his remixes at the bottom of the playlist. I am a particular fan of the remix of Oasis’s “Wonderwall”, though there’s a Phoenix remix on there as well for those of you reluctant to venture beyond pre-approved contemporary indie fare.
That’s it for now. I will award 83 Sexy Indie Nerd (SIN) points to anyone who can identify the source of the title of this post (without Googling it). And, if you’ve read it, you can be my best friend and maybe we can make out a little bit the next time we see each other.