A group of near-middle aged men released an album
of post-punk / shoegaze gold, when Glasvegas surfaced in 2008. Their
self-titled debut album stood out as one of 2008s gems. They came without a
bang, without a story, and then they left without a bang. See, this may
surprise people - Glasvegas released a second album in 2011 called Euphoric
/// Heartbreak \\\. It passed us without Columbia's marketing campaign and
without knowledge of their drummers departure - Columbia dropped Glasvegas
later that year. They succeeded at creating single material for a genre known
for non-existing chart hits -"The World Is Yours". Euphoric ///
Heartbreak \\\ received a generally negative critical reception, including
a 4.0 from myself. A stark contrast to what I believed to be the best
major-label debut album to be released in years with Glasvegas in 2008.
That simplicity, sheer Scottish pride, and unique blend of lyrics really
took a toll on my listening habits that year. Glasvegas combined Ludwig van
Beethoven with Vincent van Gogh, Phil Spector with Andy Warhol. They were
the epitome of love and hate - for the time being at least...
It's always going to be past tense with Glasvegas. They've never looked like
a band that can build from the ground up. New
material is always welcomed, but when a band you cherish releases an album of mediocrity,
the questions start to become answered. If Glasvegas were my epitome of love
and hate in 2008, then what are they now? 2011 was a difficult year for the
Scots, you can still notice the lack of enthusiasm in their faces today. When
James Allan hit writers block in California writing and recording Euphoric /// Heartbreak \\\, part of me believed he had a nervous breakdown. The lack
of originality, ingenuity and creativity on Euphoric /// Heartbreak \\\ surely
wasn't down to the Californian sun? After all, Glasvegas is the combination of
the dirt lows of Glasgow, with the stardom, bright lights, and fantasy world of
Las Vegas. Later... When The TV Turns To Static takes Glasvegas back to
their roots, Glasgow.
Allan opens up the album with one of his best vocal deliveries to date:
"My street as I remember is, still the same, wonder what the people round
here say, only I can turn things the other way, I think my friends have all
give up on me." He goes on to sing clearly: (this is really important)
"Dance, dance, dance, dance, dance, into the future with me, beware
the fences, the present defences." It's hard transcribing
everything Allan sings, because his Scottish accent is strong. He
sings a powerful chorus with his home grown imagery: "Its
later when the TV turns to static, it's quiet on the edge of my bed, up in the
attic, how I came home tonight seems so automatic, systematic now the outside
world works so cinematic." Opening with the common shoegaze
sounds, "Later... When The TV Turns To Static" starts Glasvegas'
third album with a seize the moment opportunity. It's a ballad, a Scottish
ballad that finds itself in pole position rather than last on the grid where
some may place it.
Later... When The TV Turns To Static follows a similar pattern to the
bands' debut album Glasvegas. There's a hidden flow, you notice it when
listening carefully. Each track is representing, it's taking the listener
through emotions, a journey. “Youngblood" has blunt, almost forceful
instrumentation. Opening as a guitar rock drone, it takes an unconvincing path
down to the core of Allan. His vocal: sentimental, to the edge of tears. It's
like a runaway track, and having Allan sing unusually slow vocals only adds to
the runaway effect: "Tangible one day, unrecognisable the next
day." Allan's heart has been broken enough for you to realise the
meaning of "Youngblood". It's mostly dark love stories on Later...
When The TV Turns To Static, it does take the listener back to the golden
age of Allan's heartfelt lyricism. "Secret Truth" evokes the gloomy
nature of his lyricism, using reverb heavy instrumental to give his vocal a
favour: "Every fucking time I don't look back expecting to see
crystal clearly, I was right for you, and you wrong for me."
It doesn't stop there. Glasvegas have been criticised In the past for their
tendency to repeat themselves musically. The departure of Rich Costey's
production and a 60s girl group influence has been one of split opinions among fans. The "Be My Baby" drum riff is no more, this left
previous drummer Caroline McKay without a job. Allan's shift to piano has been
noted, with two mirroring tracks featuring Allan's heartbreak tracks -
"Choices / "I'd Rather Be Dead (Than Be With You)". The former
sounds cathartic to the ear, the latter a hate message released on this year’s
Record Store Day. It's arguably the weakest track on the album, bringing to
mind "Stabbed" from their debut album. Thankfully the second single
opens Glasvegas back to the world of arena rock. An anthem at its core,
"If" becomes an instant favourite. Soaring Interpol-esque guitars and
marching percussion, "If" is the entire package. Most notably Allan's
vocal work, a major improvement on previous work. They even throw in a sweet
harmony before the prolonged killer chorus: "If not for loneliness,
a friend is somewhere in the wilderness. If our love was ever to part ways,
then the world as I know it would never ever spin again."
Glasvegas' third effort doesn't have an obvious concept like their glowing
debut or their over-the-top sophomore. It's back to basics for the Glaswegians
(and Swede), who returned to Glasgow for the recording process. The guitar
spinning tracks are still present - "Magazine" and
"Youngblood" top the album in this category. "If" is the
skilled "Geraldine" of today’s Glasvegas, meanwhile the fourth track
"All I Want Is My Baby" acts as the "Daddy's Gone".
Strangely attractive, but at the same time off-putting - relating perhaps to
Allan's daughter and referring to his underarm private life. Allan's vocal
shrieks and accent droppings return once more for the album closer
"Finished Sympathy". It builds like an album closer should, leaving
the listener in awe of Rab Allan's lead guitar.
It's safe to say Later... When The TV Turns To Static is a return to
form. The rawness and down-to-earth grip Glasvegas have on their own sound
plays a major factor in how we and they perceive album three. James produced
this himself, without a Costey or a Flood. The outcome is a drawn back album
which isn't overproduced. It' an improvement on all accounts over 2011s Euphoric
/// Heartbreak \\\. This is a step forward rather than the two steps back
they took two years ago.
~Eddie
7.6
