Review: High Places - Glasgow Arches

THE line-up for this year’s Glasgow Music and Film Festival promises horror film soundtracks, retro-futurist psychedelic synthscapes from a man called Simeon, a harpist and her puppeteer brother and occultist performance art rituals to come as well as the return of the literally immersive Wet Sounds installation.

First, the non-aquatic and somewhat less immersive experience of Brooklyn-bred, LA-based DIY duo High Places, whose lo-fi yet polyrhythmic mélange of samples, percussion and vocal manipulation was accompanied by professional home-made film of various flora.

Beyond this arty take on nature photography, there was little visual appeal to the pair’s unassuming performance. Singer Mary Pearson’s cool half-spoken delivery recalled the ice maidens of early 80s synth pop; elsewhere she applied effects, mainly delay and reverb, to light, pure soprano vocals to mesmeric though not especially absorbing effect.

This ambient wash was underpinned by constantly shifting rhythms, thanks to instrumentalist Ros Barber’s tireless work on the syndrums and samples.

Together, their experimental electro recalled the haunting atmospheres of trip-hop without the claustrophobic menace. Instead their found soundscapes became simply an agreeable way to pass the time, an impression confirmed by the polite applause but no demand for an encore at the end of their short set.

Rating: **