Glasvegas - EUPHORIC /// HEARTBREAK \\\, a review

Whilst my music tastes in 2008 were questionable at best, there was something a little bit vitriolic in my attitude towards Glasvegas' breakthrough. They seemed to play into everybody's hands but mine - picking up stellar reviews, Mercury nods and a few NME awards along the way. Perhaps it was all down to lead singer James Allan - a man perpetually seen in sunglasses (an annoying quirk at the best of times) and whose droll, sanctimonious appearance on Never Mind the Buzzcocks did little to endear them to me.

Step forward 3 years and the tables have turned. Well, not quite, because that would mean that they hate me. Possible I guess but unlikely. No, there's been a total change of styling, production and genre - and they're now back with Euphoric Heartbreak (I cannot be bothered to stylise the title as it should everytime). Produced by the legendary Flood - a man behind plenty of Nick Cave and the Bad Seeds, Depeche Mode and U2's records, not to mention stand-out favourites of mine such as The Killers' Sam's Town, Placebo's Meds and PJ Harvey's recent Let England Shake.

So you'd expect a certain degree of electrolysis. And that is delivered. From the introduction's take on an epic seacrest of haze and French lyrics, the fact this was conceptualised whilst in California becomes quickly apparent. It is in 'Pain Pain, Never Again' that such Enoesque reverie is indulged upon you with glittery rays of loveliness. But don't get too comfortable in this Ibizan comedown, for 'The World Is Yours' storms in with stadium rock ambitions and pointed pauses that suggests Allan still takes himself (a little too) seriously.


'You' is a take on British Sea Power territory, all bold distortion and majesty with a pretty easy hook for a chorus - it gets a little lost in the bluster halfway through but is a pretty decent piece of romanticism. Beeps and synths herald in 'Shine Like Stars' that ushers them into Yeah Yeah Yeahs territory, a playful post-punk paradise laden with desperate vocals and ominous crashing noises.

The Cure is touched upon with 'Whatever Hurts You Through The Night' (no discernable John Lennon nod other than the nameplay), Allan doing his best to mimic Robert Smith with crowing and anguished vocals accompanied by one of the record's sweetest tunes. The reason behind the unusual styling of the album title is an allusion to a wave rising, cresting and falling, according to Allan, and 'Stronger Than Dirt (Homosexuality Pt. 2)' is noticably the begin of said descent. It acts as a fragile bookend to Part 1, between which 'Dream Dream Dreaming' roars and rumbles and feels like a man losing control. 'I Feel Wrong', aforementioned Pt. 1, rises from the ruins with no real letup on the mood - "Forgive me Father for I have sinned" completing the poignancy with raspy vocals and unrelenting synths.


But there's light at the end of the tunnel. 'Euphoria, Take My Hand' implores us to "let go", all set over easily the record's most likely tune to be pinched by TV bosses now that White Lies have gone a bit shit. But it strives to come across as earnest rather than corny; the previous anguish pretty much testimony to how deserved this sudden change of tone is. 'Lots Sometimes' is a pretty perfect way to bow out with its almost clifftop drama and climactic swathing. But it's 'Change' that is called for this duty: suddenly all pianos and a duet with Allan's own mother. She dismisses a son's worries: "The monsters have gone" and with almost heartbreaking bluntness - "So let's earn each other's love; and never until it's something unconditional", before finally imploring "before you change for me, change for you".

They seem to have gone down the route of distancing yourself from the debut so as to avoid the risk of running out of ideas and playing up to disappoint your initial fans. Whilst this record threatens to alienate some previous fans, it's a fresh new page for the band and it's one that's actually moved me to say I like them. The French word vitesse would be a nice way to describe the album - it's got as much speed and energy as their debut but there's something more vital here, more emotional; a fine replica of the complexities and vivacity of dreams that is as raw as it is constructed.

Rating: 9/10
Highlights: Change, I Feel Wrong (Homosexuality Pt. 1), Shine Like Stars, Dream Dream Dreaming
Avoid: n/a