Eastern Promise, Platform, Glasgow

Photo Credit: Michael Gallacher (twistyfoldy.net)

It’s the second night of the second year of Eastern Promise and Ex-Delgado Alun Woodward (now Platform’s Music Programmer) continues his mission to bring experimental and alternative music to Easterhouse.

After last year’s successful event (which brought the likes of Nils Frahm, Josephine Foster and Rachels to Platform) 2011’s programme includes experimental German duo Tarwater, Nordic jazz band The Thing, Edinburgh troubadour Withered Hand and folk singer Nancy Elizabeth.

Saturday night’s line up starts with a hail of radio interference from Norwegian singer and multi-instrumentalist Silje Nes. She builds loops and blips into a layered un-resolving cacophony, then pulls back with understated songs accompanied by her delicate, effects laden electric guitar.

The other stage, located in the bar, offers a challenge to Animal Magic Tricks (a.k.a. Frances Laura Donnelly). Despite her combination of samples and keyboard being drowned out by the noise of the room, she seems determined to push the boundaries of our tolerance for vocal histrionics.

The most indefatigable haircut in Glasgow indie scene must surely belong to Stephen Pastel. His bowlie is something of a local icon and tonight it makes a rare appearance on stage.

Together with founder member Katrina Mitchell on drums and a line up that now includes Teenage Fanclub’s bass player Gerard Love, The Pastels play a selection of songs including Secret Music and The Wrong Light which embrace their endearing idiosyncrasies. A couple of instrumentals harness the presence of trumpet and flute as part of their charity shop Morricone aesthetic and find them almost rocking out.

There is a shy romanticism about the touching Thru Your Heart and a hint of their trademark amateurism (their set lists are written on paper plates). Baby Honey proves a surprisingly muscular closer; these self effacing people in stripy T-shirts are perhaps not as fey as they first appear. Stephen creates feedback with a beer bottle against his guitar strings and latest guitarist John Hogarty plays a riff that would make The Modern Lovers proud.

At the bar stage, Conquering Animal Sound’s glacial ambience is rendered distant by the noise of the crowd. After the celebratory nature of the Pastels’ set, the mood is not quite right for their barefoot balladry and icy electro.

To Roccoco Rot highlight the awkwardness of staging an eclectic gig like this in a seated venue. Their bass driven instrumental post-rock features drummer Ronald Lippok (also a member of last night’s headliners Tarwater) and combines driving rhythms with constantly shifting electronic textures provided by his brother Robert. He adds layers with a Tenori-on and a packed effects box while bass player Stefan Schneider is responsible for the musical core of their sound.

An enthusiastic four man dance-off breaks out at the side of the stage, and the strange combination of elements that could only happen when a trio of Germans stage a rave next door to a library begin to take hold.

A song named after Steve Peregrine Took, drummer from T-Rex, provokes an audience member to demand Lippok deliver a drum solo, after which they end with an encore that gives the ravers one last jazz-tinged workout.

Bringing music that could be considered to be from the fringes of popular taste to a venue at the fringes of the city is an audacious move but one that rewards both those willing to travel and locals who seek something new on their own doorstep.