The Virgins @ King Tut's Wah Wah Hut

Bringing the delights of New York to their bright melodies, The Virgins have created a sensation in their debut tour of Scotland. King Tut’s was packed full of eager fans, demonstrating the band’s growing international fame.

Offering a rock’n’roll edge to the indie music scene, The Virgins gave a fresh and energising performance. Their music is danceable and full of a vitality that sets them apart from some of their British counterparts. This is a dynamic band that seemed to be having an even better time than the crowd. The musician’s enthusiasm gave the performance a buzz, marking them out as a great live act.

Highlights of the night were ‘Teen Lovers’, a catchy and poppy tune that had the floor bopping; and a rendition of Squeeze’s ‘Up The Junction’, a memorable finale and tribute to one of their major influences. Only treated to one encore, the crowd were left calling for more from the New Yorkers.

Embarking upon a UK-wide tour and with an album already available to purchase, The Virgins have carried off their UK debut with aplomb. The Virgins are definitely one to watch, and may be playing T in the Park this summer. Their vitality and enjoyable band ethos could see them rise to the fore of the music scene

French Wives @ Limbo at the Voodoo Rooms

French Wives played their first gig out of Glasgow last week at Edinburgh’s Voodoo Rooms. There was an enthusiastic and loyal crowd of supporters cheering them on, proving their success on the Glasgow music scene.
The music is reminiscent of Arcade Fire and Belle and Sebastian, using multiple instruments to give the music an interesting edge. This is not your average guitar-based Indie band, as the use of violin and the brief spurts of trombone demonstrate. Stuart Dougan’s rollicking vocals carry the music along and provide a nice contrast to the sweet sounds of the violin.
The highlight of the set was the final song, ‘Me vs. Me’, a slightly rocky track with an infectious and cheerful beat. French Wives left the crowd looking for more, and have a definite potential to break into the Indie music scene. Their style is popular and uncomplicated, encouraging new listeners.
French Wives will be back in Edinburgh on 3rd May, playing Sneaky Pete’s.

Johnny Vulgar and the Additional Pylons @ Teviot Underground with Untapped Talent

An exciting new talent, Johnny Vulgar and the Additional Pylons played Untapped Talent @ Teviot Underground. Already attracting a dedicated following, Johnny Vulgar are a band to watch in the coming year.

The delighted whooping coming from the audience set the tone for an enthusiastic performance. Lead guitarist Kapil Seshayasee has developed an intricate guitar sound, overarching the rhythm bass that is reminiscent of Mogwai. Vocalist Chris Charles has a light and almost feminine voice that gives the band a softer edge: an interesting twist to the music that keeps the audience listening.

The highlight of the set was ‘Space Heater’, a melodic track laced with a slightly heavier drumbeat and a neatly contrasting, clear flute melody.

Recording a demo set for this summer, Johnny Vulgar and the Additional Pylons are an interesting and engaging talent that have the potential for great success.

Little Boots @ Cabaret Voltaire with Sick Note

Kicking off a much-anticipated world tour, Little Boots’ premier gig at Cabaret Voltaire proved to be an explosive beginning.

Stricken City provided and energetic and playful act in support, grabbing the crowd’s attention away from the main event for the moment. However, it was not Stricken City that we were tightly packed into the hot dance floor to see.

After a dramatically long pause, Little Boots took to the stage to rapturous applause. The first thing that struck me was how petite Victoria Little is, and yet she was more than capable of captivating the crowd’s attention. Her electro style is given an edge through the use of a tenorion and stylophone, lending the music a sophistication that is evocative of Goldfrapp and The Knife. Catchy and infinitely dance-able, the crowd was mesmerised.

The climaxes of the night, ‘Meddle’ and ‘Symmetry’, brought on near-manic dancing and these perfectly executed pop songs left the crowd screaming out for more.

Little Boots played a half hour set, perfectly suited to satisfy the hot and impatient audience. This performance was a fantastic and very promising beginning for this highly ambitious and skilled performer. If this is the future of pop music, then I for one predict wonderful and exciting things ahead. 

Findo Gask @ The Voodoo Rooms

The latest offering from Glasgow, Findo Gask brought their snappy electro-pop to the Edinburgh Voodoo Rooms as part of the Limbo events showcase.

With as many synths as those that could play them, the music had a bright and cheerful electro quality that occasionally gave way to a harder rock edge. All brought with a healthy dose of effects that could rival Mario Kart. Lead singer Gerard Black’s voice rises over and above the complex melodies, sounding almost melancholy and soulful over such bright tunes. While not a contradiction, it does give the music a new dimension that sets it apart from your average electro pop act.

‘Doritos’ and ‘Va Va Va’ were the definite highlights of the set, both tunes demonstrating a fantastic texture of sound and inspiring delighted cheers from the crowd.

Playing their hometown in the coming week with Stricken City at the Captains rest and with a new 7”, OneEightZero, out for download now, this is a band with big aspirations and some charming tunes.

Full set list:

OneEightZero
Go Fast
Wrap
Dorito
Curio
Air
Va

If he's not calling you...

THE STAR-STUDDED He’s Just Not That Into You follows the inter-twining lives of five women and the men they encounter, living together in Baltimore. This bittersweet comedy examines the consequences of women misreading the ‘signs’ from the opposite sex, and of the abuses of trust in a relationship.

The story begins with the desperate Gigi, (Ginnifer Goodwin), always unlucky in love, and, slightly mad. Her numerous failed attempts at finding a man leads her into the path of club-owner Alex (Justin Long). Gigi intrigues Alex, and he begins to give her advice on dating, telling her when to run and saving her from the pain of waiting for a call that will never come. Then there is the beautiful singer, Anna (Scarlett Johansson). Able to string men along as she pleases, she uses Conor (Kevin Connelly) until she becomes bored and moves onto married-man Ben (Bradley Cooper). She succeeds in seducing him, and they begin an affair that destroys his marriage with his long-suffering wife Janine (Jennifer Connolly). Ben’s best friend Neil (Ben Affleck) has managed to avoid marrying his long-term girlfriend Beth (Jennifer Anniston) for five years. However, as she becomes more frustrated with his lack of commitment, she throws him out, consigning them both to a loneliness neither wants. The fifth strand of the tale follows Mary (Drew Barrymore), best friend of Anna and looking for love in the wrong places. Her ideals of being able to strike up a relationship on Myspace are naïve yet charming, and probably quite relevant now that everything you could want to have with a person can be done without having to meet them.

The film’s structure takes one aspect of the relationships within it, and then tries to answer the questions posed, such as ‘If he is not sleeping with you…’ or ‘If he is sleeping with someone else…’ close to the reality.

The film is quite enjoyable, and many of the characters succeed in finding the ‘one’ for them after so long a search. However, there is no happy-ever-after for some of these hapless characters, allowing the film to end on a sour note and a reminder of the fragility of love. The audience is left without the closure that is expected of such a film, and it forces us to question whether or not we ourselves can ever be the ‘exception’ in love, or if we are the ‘rule’, destined for unhappiness despite our best efforts. 

Mumford and Sons at Sneaky Pete's, Edinburgh

Mumford and Sons having been causing quite a stir in recent days, selling out their Edinburgh gig and one of their London dates.

Sneaky Pete’s was fit to burst with the influx of fans, whooping and yelling for the band. The Sons themselves look deceptively quiet, but as soon as they begin to play they break into an energetic and almost frenzied performance.

Following the same lines as the Arcade Fire, of a ‘play/hit everything and anything available’ policy, the sheer talent of the four band members and their multi-instrumental abilities was impressive. Within about a minute of being on stage the crowd was enthusiastically singing and stomping along. The banjo-come-electric guitar player was suitably eccentric, shouting, “Are we ready to wig out?” receiving gleeful cries of assent in return.

Amongst the most enjoyable tracks of the night were ‘Honour’, and ‘Little Lion Man’ from the Love Your Ground EP. ‘Dust for a Dance’ brought the gig to an end and a climax, leaving the crowd yelling out for more.

The hype is entirely justified on the back of this performance. They are not quite like any other band, and their originality makes them one to watch this year.

Their third EP is set for release in April.

Fresh Air Live Presents: Come On Gang! at Cabaret Voltaire

Full of infectious energy, the Edinburgh trio shone in their home town at Cabaret Voltaire. Set to play at SXSW this year, Come On Gang! have emerged from the Edinburgh music scene to claim due attention.
The material is guaranteed to get your head bopping and toes tapping. The delightful riffs over-laid with Sarah Banat Jones’ keening, lyrical voice became an instant hit with the audience, pulling them away from the bar and onto the floor.
The highlights of the set were ‘Out of Control’, and ‘Wheels’. ‘Out of Control’ had a harsher and rawer edge than the other material, giving a punk attitude to the sound that was otherwise quite commercial and accessible. ‘Wheels’ is a rollicking tune with a pervasive beat, the sheer enthusiasm of the players earning a few whoops from the crowd.
Come On Gang! obviously have the ability and the edge to hold your attention, but their lack of more diverse material could leave many unsatisfied. Their energy makes them enjoyable to watch, but outside of the concert venue it is somewhat lacking. The band has found a formula that works, but they need to step out of their comfort zone occasionally. As ‘Out of Control’ proved, they are capable of something more challenging than the breezy pop that dominates their sound.

The Touch of Frost

FROST/NIXON dramatises the legendary encounter between the disgraced ex-President Richard Nixon, and the failing British talk-show host, David Frost. For three years Nixon had been silent about his time as the President, earning a pardon from President Ford and causing many Americans to wonder whether his crimes against democracy and the American people would ever be brought to account. Driven by greed and a renewed search for power, Nixon surprises everybody by allowing an all-inclusive interview with the breezy Frost. Nixon believes he can easily subdue any difficult questions, as Frost appears as nothing more than a performer and a showman.

All believe Frost will fail to deliver anything of substance from the interview. Even his own investigators and producer cannot fully believe that he can hope to master the great politician. However, a drunken telephone call from Nixon to Frost turns the tide of the interviews, and as cameras roll on the last subject, Watergate, a battle of wits ensues.

Writer Peter Morgan’s dramatisation highlights the pressure on both men to succeed on a highly personal level. The greater part of the film is the interview itself and the days surrounding its conception and execution. The heavy focus upon the interviews forces the audience to feel much of Frost’s frustration and desperate hope for success.

We also begin to feel a surprising sympathy towards the cunning Nixon, now trapped and aging, an exile to the people and yet still adored by those around him. Kevin Bacon plays Jack Brennan, Nixon’s Chief of Staff who has followed him into exile. The great respect and love that he holds for his President is truly touching, and we feel his pain and exhaustion when Nixon finally gives in to Frost and condemns himself to retirement and a hidden existence.

The casting of the film follows that of the stage show it is based upon, with Michael Sheen playing David Frost and Frank Langella as the terrible politician. Langella has earned himself an Oscar nomination for his emotional portrayal of Nixon, pitching him against the Hollywood heavyweights such as Brad Pitt and Sean Penn.

The story has managed the transfer from stage to screen beautifully, creating names for the two main actors and earning them the recognition they deserve. Their chemistry and interaction brought from the intimacy of the stage is intriguing and involving, giving the film a sense of thrill in that drive for the winner’s glory.

Well acted and ably directed by Ron Howard, Frost/Nixon is a hugely enjoyable and engaging battle of wits. This is not a history lesson, it is two failing men, trying to throw the last punch and win once more. Only one can emerge victorious, the other must be condemned forever.

No Egg On Ma Face!

THE SPIRIT is the latest comic book adaptation to hit the big screen. Directed by Frank Miller, the film follows the same artistic direction as Sin City, using bold graphics and colour blocks causing it to appear as an animated comic strip.

The success of this film lies in its looks. It is stylish, bringing the genre to a new level of sophistication. Not only this, but the quota of beautiful women falling for the Spirit is quite high. Eva Mendes smoulders as the fatal Sand Saref, Sarah Paulson is the pretty blonde Dr Ellen Dolan, Stana Katic is the eager police rookie, and Scarlett Johansson plays the ultimate sarcastic side-kick, all with some interesting costumes to boot. There can be no denying that this film is visually spectacular.

Once you get your head round the visuals, however, the film is somewhat lacking. Lacking sensible dialogue, any character development, a feasible plot…One minute we have the Spirit battling his nemesis on a mud flat, the next we are trying to follow the half-baked attempt at a plot that is the finding of the blood of Heracles. All for little, or no, purpose it would seem.

On the other hand, this film does have everything a comic book geek could ever want. There is a Samurai scene, there are Nazi dentists, there are the clones, there is gratuitous and, often hilarious, violence, there are the gorgeous babes. Heck, there is even Samuel L. Jackson thrown into the mix. Will Eisner and Frank Miller knew their demographic well when they came up with this heady cocktail of a film.

Samuel L. Jackson plays the Octopus, the evil nemesis of the Spirit. His character is, by some way, the best thing about this film. He is everything a comic book enemy should be: insane, evil, and out for world domination using the most difficult methods possible. The Octopus and his assistant, Silken Floss (Scarlett Johansson), tease and tempt the Spirit into their lair where, dressed as Nazis and under a giant Swastika, they subject him to ridiculous monologues about free-range eggs, genetics and dissolving kittens. All the issues with plot and dialogue become unimportant once Samuel L. is on the screen.

And that is how this film must be viewed. If you want to enjoy this, you cannot concern yourself with anything important. Even the cast seem to be having a ball, as they deliver their lines in sarcastic tones and run around in ludicrous costumes fighting, or seducing, one another. The only aspect of this film that is worth any critical acclaim is the artistic direction. But please, don’t let that worry you. Enjoy the ride, and you will not be disappointed. 

Come On Home

 

FRANZ FERDINAND returned triumphant at the Picture House, debuting material from their latest album, Tonight.

The anticipation was palpable. This is the first time the Glaswegian band has played in Edinburgh for over three years. Not only that, but this was the first official concert to promote the new material; in advance, even, of the album tour that kicks off in the early spring.

Anyone who has seen this band can tell you that the on-stage performance is never lacking. In comparison to the studio versions, the songs take on a harsher, faster, tone, giving the performance an element of punk that is less pronounced on the albums. And this was no exception; Franz lived up to their reputation as a brilliant act.

They opened with ‘Lucid Dreams, from the forthcoming album. All of the new material demonstrates a far more electronic sound, apparently evident throughout Tonight. This quickly segued into the arrogant and rollicking ‘Do You Want To’, causing the crowd to begin bopping with the enthusiasm that is reserved for bringing home an old, long-absent friend.

The high points of the concert were reserved for tracks from the band’s debut album, demonstrating their enduring quality. The band only played 55 minutes for their main set, before returning to stage for the brilliantly energetic ‘Michael’, and then ending with ‘This Fire’, sending the crowd into a frenzied mosh-pit.

Their new material does seem to lacking the edge that their previous albums held over all the other ‘4 men in suits playing fast guitar’ groups. But do not let that put you off: when it comes to Franz Ferdinand, seeing is believing. And, on the back of this performance, they will have a wonderful reunion with the old fans, but they may not claim any more to the cause.