Glasvegas – Daddy’s Gone (Columbia)
2/5
And so, on rolls the hype-wagon, its crooked wheels trundling relentlessly towards the next big thing. And, as recycling is now mega-trendy, what with that hip new ecological apocalypse and all, thus music suffers a similar fate. This is going far back, deep into the depths of rock and roll history, clearly following the premise that, if the music is old enough, people nowadays won't have heard it before and will therefore consider it new.
So far, Glasvegas have based their career on bashing out one single riff, in every song, for the whole song. Over this most imperfect of perfect cadences they drape a lot of reverb, some booming Scottish vocals, and a bit of feedback for authenticity purposes. And, almost a year on from when this particular song began to prick the ears of the industry folk, they've decided to put it out again. Y'know, for good luck and money and stuff.
This time, the drums come in a bit earlier, the guitars whirl their tremolo arms, and singer James Allan has clearly been ordered to emote more. However, all of these do not turn the group into the monolith of the rock scene that they clearly attempt to become. Whilst passable, the band exhibits no growth from the last time this single was released, exhibiting a track that is as identical as it's possible to get when all you basically do in the studio is turn the knobs a bit further clockwise this time. Fans usually spend hours arguing whether the demos or the album versions of their favourite tunes are better - in this bands case, the conversation will be settled in seconds with the words "well, it's doesn't really matter, does it?"
No, it doesn't. Let's hope their game is upped for the album, otherwise Glasvegas are in danger of not mattering much either.
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