Com Truise - Broadcast, Glasgow, Sun 14 Jul 2013
- Colin Chapman
- 29 July 2013
Seth Haley's 'mid-fi synth-wave, slow-motion funk' is the perfect soundtrack for a summer weekend
Making a return to Glasgow in the midst of an unusually long heat wave, Seth Haley is barely minutes into his set and already his self-styled brand of 'mid-fi synth-wave, slow-motion funk' feels like the perfect soundtrack to close a hot summer’s weekend in the city.
A twist on the name of Hollywood actor who first found fame in the eighties, his Com Truise moniker seems somehow apt given that his synthesizer-heavy productions owe a debt to the kind of electronic musical backdrop so often found on films from the era.
Indeed, the New Jersey-based producer’s down-tempo opener is suitably atmospheric, conjuring up images of sun-kissed beaches as bodies pack into Broadcast’s dark, cosy basement, quickly transforming it into a sweat-sticky heat box of a space.
While, save a few vocal samples, Haley’s work is largely instrumental electronica, he manages to inject a human touch thanks to some humorous adlibs between the tracks he performs ('getting here was such a trip' he tells us, later introducing a new tracks as 'probably my favourite thing I’ve ever written; it’s like some French shit or something'), seeming to show his confidence and relaxed demeanour as an artist.
Drawing largely from material found on debut album Galactic Melt and last year’s collection of older, previously unreleased material, In Decay, the crowd are eagerly receptive, swinging bodies and nodding heads to his combination of rubbery, Joy Division-esque basslines, shimmering synth lines, shuffling drums and vocodered vocal snippets.
Formerly a drum & bass DJ, Haley’s reappraisal of the genre (revealed in a recent interview) may well have had an impact on his latest work; some newer tracks have been given an unfamiliar, breakbeat injection, with one recalling early nineties 808 State.
However, the best responses of the night go to the more familiar ‘VHS Sex’, which with its loping, high sheen groove, aches and oozes the feel of a lost eighties film soundtrack and the flickering synth line meets heart-melting melody of finale, ‘Flightwave’.