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In a recent PopMatters post, I highlighted the importance of the Glasgow music scene – and its historical relevance to the world of music. Like musical hotspots, Seattle and New York—Glasgow possesses the wet weather of one, and the greased-up urban spontaneity of the latter. As such, it should come as no surprise to find that another up and coming Glasgow-based band is rekindling the flame of the 1970s NY punk music scene in 2009.
In particular, I am referring to the quartet, known as Isosceles. A member of the Art Goes Pop music collective, Isosceles’ sound is emblematic of the collective’s moniker. Rickety guitar work is interspersed with a spattering of drums, and lead singer, Jack Valentine’s yelping vocal execution – all of which help position the band nicely between Television and The Modern Lovers.
And just like their forefathers, the foursome is keen to experiment with ironic, self-referential songs. Their second single (and perhaps their catchiest) entitled, “Kitch Bitch” is like a post-modern version of Pulp’s “Common People”, churned out at high speed. While their first single, “Get Your Hands Off’ is a tongue and cheek number that flips the notion that men are sex pests on its gender-bending head, suggesting instead that women are the ones hungry for the bump and grind. However, when Valentine begins to sing, “I said honey, don’t use your sexuality on me”, one starts to realise that his voice is laced with the equivalent of a wink and a snigger. For all of the song’s candour, it is still clear that the boys approach their subject matter with a sense of humour.
Having already supported Scottish stalwarts, Franz Ferdinand on a previous Scottish tour, the boys have already developed a healthy buzz in the area. Personally, my interest in the band grew out of trips to a local coffee shop (referenced in their second single). When I overheard the strapping young gentleman mutter something about his musical career, I felt such a strong compulsion to investigate them. In the year since then, the band have continued to develop their following in the Glasgow music scene, whilst maintaining their humble and erudite personas—saving their energy for their fervent, audience-pleasing shows.
