David Monks and his posse should, if they haven’t already, release a guitar-pop crash-course for budding skinny jeans sporting, over-stylized helmet-mullet adorning indie advocates, as they seem to have found the Holy Grail of candy-pop-indie-rock; earnestly distilling the intrinsic basics, forging a pop-tastic song-writing wizardry, elementally conjoining vigorous energy and cheerfully-distorted guitars which, when juxtaposed with simple, direct songs become an infused tripartite; creating an elixir of sing-along anthems that helped bands like Ash stay relevant throughout musical unpredictability.
Tokyo Police Club’s new album Forcefield has been a long time coming for fans considering it is the quartet’s first release in four years, following 2010’s vastly acclaimed thirty-minute-speed-pop anthology: Champ; consequently this has meant lack of promotional touring.
Tonight is testament that this Glasgow crowd have missed their fix of Monk’s adolescent gesticulations mixed with his innocuously mature lyrics and sing-a-long guitar-pop.
It would be cheap and lazy to hark on about the similarities between Tokyo Police Club and The Strokes as it has been done to death, and the band are not only fully aware of the copious amount of lazy journalism out there – they are also not in the least bit bothered, having addressed this in myriad interviews.
It’s all about the honest integrity, a characteristic that cannot be feigned and there are certainly no false pretenses tonight.
The band kick-off with ‘Argentina’, one of the more experimental and longer songs that the Canadian quartet has produced.
‘Hot Tonight’ will be played in rock/indie clubs to get butts out of chairs and onto the dance floor as it is standard ‘indie-electro-dance’ affair with the requisitely infectious melody that comprises the chorus.
‘Tunnel Vision’ is another contagious bass grooving delight with another chorus that delights in its extremely simple lyricism: “I got tunnel vision/can’t see the light/can’t make it through one more night”.
With all their album having clocked in at about the 30-minute mark: there is room for a plentiful array of material from their back catalogue, which is full of unashamedly brusque-balled quick-fire jingles.
The band play a fair amount of material from Forcefield which is conceivably their best record yet, harmoniously referencing a haphazardly colossal array of influences from Tom Petty to Mont’s love of Smashing Pumpkins.
They have all the ingredients that make for a dichotomous endgame, which is: making short and to-the-point songs that have a lasting ring to them, catchy, endearing and infectious, yet something that will perhaps last the test of time.
They have developed as a band while never really changing much about what made their debut mini-album A Lesson in Crime such a lovable little beast.
Happy times and happy thoughts among the doom-and-gloom of everyday drudgery.
The sunshine kids, it’s good to have you back; rainbows, birds, and bees.
All round a great gig, the fans paid their money for some sunshine, and that is what they got before they head back out to the grim reality of the forecasting morning; money well spent.
Words: Derek Robertson
Photos: Tessy Troes