Glissando @ Wee Red Bar, 6 Feb

Accent dominates The French Quarter (**). An imposed Scottish intonation, clinging to the heels of the Twilight Sad, is a mere gimmickry, and determination is required to tolerate heavy reliance upon it. Glockenspiels and chord changes that tick all the post-rock boxes are curbed by predictable song structures, and their tunes fail to rise above the ordinary.

However, accent has no bearing upon Glissando (***). Despite speaking with a West Yorkshire brogue, when front woman Elly May Irving sings, her grandiose bank advert falsetto is absent of any specific lilt. The sextet are wonderfully romantic, in that each song's subject takes on greater emotive gesture. This slight post-rock, aside from the trappings that sucked in our support band, is full of dark and unpredictable developments that rarely resolve to outright bombast, preferring a slow-burning expansion of theme and imagery. Under their insistence that the audience remains silent, their set is long and draining, but not without moments of great distinction. [Jamie Scott]