Halloween night and all ghoulish apparitions seem to have been hounded from the streets by the insipid rain and blustering wind.
Inside the Captain’s Rest those present are resolute having holed up in the venue to enjoy the aural offerings.
The contingent of Edinburgh acts set foot on Glasgow’s glistening autumnal streets, fresh from Auld reekie and a short journey along the M8.
Although Edinburgh based, Vasquez offer a frisson of the cosmopolitan with Australian, Irish and Scottish heritage.
The trio project an air of enthusiasm, enjoyment and comfort, which settles any pre-emptive audience tension.
‘The Flight of Sarah Jessica Parker’s face’, is not only a title that I feel obliged to include it is also (along with the following track) one of the most engaging songs in the set, the sound burgeoning to new heights and rough/smooth layering textures.
The track is only improved on by the seamless sonic bridging of themes between this and the next track.
The guitar loops are just right, half a beat either way and they would represent a toothless sludge, as they are they are entirely original and create an intricate, cascading guitar presence and tactile melody.
This is a band with lots to explore and the ability to produce it as a polished end product.
Next is Oh You Dancer, a solo computer and effects interlude, otherwise known as Castaway this performer enforces the Hanks’ film’s visual presence by performing in cut-off shorts, with long beard and incorporating a volleyball with painted face into the performance.
Headliners Dead Boy Robotics have travelled from Edinburgh for what is only their third gig in the current format to launch their new single ‘Gatherer on the Threshold’.
A previous EP, ‘Tale of the Winter Kids’ was released in 2010 when the band were a duo, but the inclusion of a drummer is, for me a vital addition.
Tonight the drummer from Vasquez steps in to cover the Dead Boy Robotics percussion/rhythm role left open while the usual drummer’s touring with another band.
The drummer’s performance in both sets is highly-accomplished and to mix different styles, volume levels, genres etc. with such aplomb, while maintaining a unique sound deserves great credit.
The instrumental display by the original members including bass and guitars along with computerised sound is also nothing to be complacent about, use of heavy distortion and high-energy playing add other, greater building blocks to the noise.
The lyrical interplay of dual vocalists sits well as a soft, ethereal note to the intense and bombastic instrumentals.
My only reservation at this juncture would be the use of backing tracks force-fed through computers.
Admittedly, timing with the live performance is perfect but I still feel that there is a hint of inauthenticity which may restrict a more explosive engagement.
I am assured that the band are concentrating on including more and more live elements in future and as they expand I think any doubts about musicality or direction of sound will be dismissed categorically.
The paradoxically playful yet sinister sound and awkward yet forceful performance towards the end of the gig highlight the scope for diversification and originality and help to keep the performance dynamic.
I look forward to seeing what depth is added in subsequent performance.
Words: Joe Leightley
Photos: Ross Campbell
