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MUSIC | Reviews
ELECTRONIC / POST-ROCK MOGWAI Royal Concert Hall, Glasgow, Tue 28 Jan ●●●●●
If a supreme omnipresent being really is everywhere then hopefully they were floating around the Royal Concert Hall here. If so, then the rapture will be heralded not by Gabriel’s trumpet but by the sound of ‘Rano Pano’ from Mogwai’s 2011 album Hardcore Will Never Die, But You Will blasting through the ether at volumes loud enough to stir the dead, which are probably only a few decibels above what this crowd encountered. This Celtic Connections performance included
a mix of old and new material, evoking past times when the sheer power of a Mogwai gig was spoken of with hushed awe. A potent demonstration of the band at their best, this show was both searing yet blessed with countless moments of beauty, buried within the fuzz. ‘Yes! I am a Long Way From Home’ from their 1997 debut album, and ‘Cody’ from their second, sounded remarkably stripped- back in comparison with the cinematic poise and aplomb of ‘Deesh’ or the faintly unsettling pound of ‘Remurdered’, both tracks from their newly released album Rave Tapes. But the different paces and styles find
their place equally; the older cuts are still delivered with a warmth that befits their elder status, and the recent inclusions sound, to be frank, bloody huge. The new songs are fiery without being overwhelming, and blessed with unobtrusive complexity that make them among the band’s strongest material in years. ‘Travel is Dangerous’ toes the line between bliss and bludgeon, while a pre-encore ‘Mexican Grand Prix’ provides the energetic high point of the show, with Martin Bulloch’s sharp drumming pushing the tempo with vibrant precision. This was Mogwai at their very best, right
up to and beyond the final eruption of ‘Mogwai Fear Satan’ in a terrifying, jubilant burst of light, distortion and unfettered audio glory. After almost 20 years, they are still honing their old tricks while learning a shedload of new ones. They can still rock you to sleep with a twinkling, cut-glass melody before abruptly kicking you out of bed with sheer sonic force. Mogwai remain the undisputed kings of everything they do, and long may they reign. (Dave Bowes) ■ Mogwai play the Usher Hall, Edinburgh, Sat 8 Mar. To win tickets, see page 75. Rave Tapes is out now on Rock Action.
722 THE LIST 20 Feb–20 Mar 2014
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ELECTRONIC / AMBIENT / SOUNDTRACK THE PSYCHOGEOGRAPHICAL COMMISSION, WITH SECURITY AND (A IS TO B) The Old Hairdresser’s, Glasgow, Sat 8 Feb ●●●●● Rich with history, but regularly filled with challenging art, the Old Hairdresser’s is an ideal setting in which to bring together old and new. Glasgow duo (a is to b) do so by juxtaposing nihilistic, tungsten-hard electronic beats with breathy, languid Billie Holiday- isms. The debut manifestation of Security offers another thrilling clash between technology and the organism. Vocalist P6 (pictured) adds feral noise-rock throat and an extremely intimidating but mischievous presence to Joe Ahmed’s electro-industrial tanzmusik.
GUITARIST / SINGER-SONGWRITER ANNA CALVI The Arches, Glasgow, Wed 5 Feb ●●●●● When Anna Calvi steps onstage, bursting into ‘Suzanne and I’, ‘Eliza’ and ‘Suddenly’ from her two albums, a hushed reverence sweeps the crowd. This is not an artist that responds to a raucous crowd, bloodthirsty for hooks and banter. Calvi begs to be listened to and watched carefully. She wields her guitar, not like a weapon, but as an extension of herself – an effortless talent is visibly apparent. Her voice – a howl, then a whisper – commands attention. There is something otherworldly about the Spanish-inflected tones echoing from her guitar, like a standalone number in a David Lynch film – and her gaze is entrancing.
Given its blood-soaked, plague-ridden history, Something is missing though; as if she’s
London’s Whitechapel–Shoreditch–Limehouse triangle is a a natural subject for the attentions of the Psychogeographical Commission. Tonight’s performance is based around the 1979 Jack the Ripper-meets-Sherlock Holmes movie Murder By Decree. Stuart Silver and Andy Hokano’s accompaniment is powerfully atmospheric, moving from looming horror to mournful aftermath via delicate guitar lines (Matt Evans) withholding. But this only lasts a few songs, before it becomes obvious Calvi’s true strength is in a live setting. She lets rip with a squall of distortion, manipulating her guitar in ways Jimi Hendrix would be proud of, and grinding guitar strings against the mic. Even in grungier moments, she maintains a steely composure. These moments are the most satisfying. (Tony Inglis)
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GALLIC POP PHOENIX Barrowland, Glasgow, Mon 10 Feb ●●●●● TECHNO/DANCE MODERAT ABC, Glasgow, Sat 8 Feb ●●●●●
Unlike the steady ascent of their career, there was no teasing build-up from Phoenix at this feelgood, no-filler show. The French foursome jumped straight into a succession of storming power pop tracks, while frontman Thomas Mars headed for the front rows, a go-getting stage presence off-setting his reedy tenor; though even this was turned to an advantage when bolstered by the unison vocals of bassist Deck d’Arcy. The tease came later, when guitarists Christian
Mazzalai and Laurent Brancowitz indulged in a chiming little duel to the delight of the crowd. But everything about this performance tickled the audience, and understandably so. At their best, Phoenix deliver alchemical pop hits as effectively as their peers Daft Punk, MGMT and Empire of the Sun, and this was a celebratory example of a gig where audience and venue pushed the performers to greater heights. Mars returned to his favourite spot for the encore, perched on the barrier amid a forest of smartphones, before voyaging into the crowd to offer personal thanks. Mais non, merci à vous. (Fiona Shepherd)
Spare a thought for club promoters, Substance, as a series of unfortunate events meant this gig nearly didn’t happen. Originally timed for the Edinburgh club night’s seventh birthday last October, a motorbike accident, venue closure, then drug- related death at The Arches meant it was forced to switch date, city, then venue again. So when Sascha Ring (aka Berlin-based techno producer Apparat, who fell from said motorbike), Gernot Bronsert and Sebastian Szary (aka Berlin techno duo, Modeselektor) appear onstage, the crowd’s particularly noisy, enthusiastic welcome is a mix of joy and relief now they are at last able to perform. Standing in front of two screens, animated white- line drawings shooting across seem almost 3D and form part of the concert’s minimal lighting; a setting which accentuates the differing elements of the combined Modeselektor and Apparat sound. Later, the anthemic closing salvo of ‘Gita’, ‘Let in the Light’ and encore, ‘Therapy’, offer Moderat at their best, showcasing their deft ability to move feet and stir emotions in equal measure. (Colin Chapman) ■ See list.co.uk for a longer version of this review.