Mar 30, 2011  Glasvegas: Euphoric Heartbreak - review. Glasvegas's first album placed them halfway between U2 and the Jesus and Mary Chain, wedding the unembarrassed passion of the former to.

Glaswegian rockers write tunes as epic and awe-inspiring as the Scottish highlands themselves. But after extensive touring for their 2008 self-titled debut album, including several tours of the US, they decided last year to begin work on their second album right here in Santa Monica, California. A coincidence that they should write their follow-up album down the street from KCRW, one of the first radio stations to support their early recordings? But we like to think they felt at home in the KCRW environs and knew they had mates in the neighborhood.In any case, the sunny climes of Southern California seem to have seeped into their new record,. Modeled after the UK brand of melodramatic pop song perfected by the likes of U2 and Echo & the Bunnymen, the glistening melancholy of Glasvegas’ breakthrough debut is strengthened by a dose of bright sonic optimism that beach living seems to help foster.

James Allan’s sometimes aching, sometimes soaring vocals anchor the shimmering guitar-and-keyboard-based tunes, keeping them from utterly drifting off into the West Coast sunset.

Scottish alt-rockers ' 2008 debut landed the brooding Glaswegians a Mercury Prize nomination. ' winning but not-so-subtle amalgamation of, late-period, and hinted at a band that was ready to make a go of it, and their simple, earnest lyrics, as filtered through the thick yet sweet brogue of frontman, had listeners swooning, despite all of the band's sonic redundancies. Written, demoed, and tracked at a beach house in Santa Monica, California before undergoing final production under the direction of producer in London, keeps the fire burning, but feeds it only the wispiest of kindling.

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Like their Welsh counterparts, have their sights set clearly on the upper bowl of the stadium, but where manage to fill that space with an unholy, hook-filled racket, tend to let the moment fizzle. At its most immediate, like on the standout tracks “Shine Like Stars,” the -era -inspired “Whatever Hurts You Through the Night,” and the soaring title cut, the latter of which would sit snugly amidst the teenage ruin of a prom scene, the band sounds ready for battle, but too much time is spent slogging through the swamps of defeat, many of which are adorned with forgettable choruses and melodies that arrive at dead ends, only to bash themselves against the wall hoping for some kind of merciful respite.