Linea Aspera, Witch of the Vale & Soft Riot @ Ivory Blacks, 10/01/20

Image credit: Barry Douglas

Despite only being active as a band from 2011 to 2013, it’s fair to say that Linea Aspera cemented themselves as an influential duo during those two years. Their self-titled debut album remains a classic for synthpop and darkwave fans to this day, so you can imagine their excitement when they announced their reunion last September. Luckily for us, it resulted in a highly anticipated show in Glasgow with support from two of the most interesting alternative acts the city currently has to offer.

First to take to Ivory Blacks’ stage with his trademark 80s fashion sense and the hair to match is synth artist JJD, AKA Jack Duckworth. Originally a member of the Canadian post-punk band Radio Berlin in the late 90s/early noughties, he’s since carried on making experimental and cinematic synthpop with a dark, disco twist under the name Soft Riot. If you’ve ever listened to his solo work you’ll know that it’s the definition of quirky, and the same goes for his recently released seventh album When Push Comes To Shove - whereas ‘Taking Off the Edge’ automatically gets you moving with its new wave groove, ‘It’s No Laughing Matter’ hints at the way Jack uses clichés like an inside joke while making satire out of themes like anxiety and paranoia.

Thankfully my personal favourite songs from the new album make it onto the setlist too. Initially describing the boredom of rain coupled with social isolation, ‘The Lost Weekend’ ends up positively bursting with life as the line “Just let me buzz you in” becomes an invitation to enjoy yourself; ‘Don’t Get Yourself Bent Out of Shape’ meanwhile produces the same psychedelic effect as Soft Riot’s music videos as futuristic synths make you feel as though you’re drifting through time and space. Some of the finer details do occasionally get lost in the mix due to certain synth sections lacking volume, but most of us are too distracted by Jack’s deranged dance moves and head-banging to notice anyway. There’s an inherent joy to all Soft Riot shows in that respect -  seeing him continuously tweak away at his setup is like a watching a mad scientist tinkering away in his lab, giddy with his own genius.



From one unique act to the next, tonight’s second performance comes from Witch of the Vale. An unusual addition to any lineup, this gothic electronic duo have been going from strength to strength since they made their debut in 2017 – as well as a string of gigs supporting the likes of She Past Away and a notable appearance at last year’s Infest Festival, they currently have three EPs to their name and recently collaborated with industrial producer MATT HART. You’d think they’d risk becoming overfamiliar in their local scene by now, but Erin and Ryan Hawthorne prove themselves to be just as deserving of the spotlight as ever. Replacing ‘Fever’ as their traditional opening song, brand new track ‘Crash’ catches us all by surprise, and it’s inspiring to see how much Erin’s confidence continues to grow with regards to her vocal ability.

The production sounds more advanced too, yet underneath it all remains the same ethereal song-writing that put us under their spell in the first place. Erin’s crystal-clear voice and Ryan’s piano melodies are utterly enchanting and devastating in songs like ‘The Ghosts Won’t Know’, and it’s one of several moments that causes the room to fall silent and listen in awe despite being an otherwise chatty crowd. Elsewhere, the two of them summon an impressive tribal atmosphere with the help of programmed drums in another new track that rounds out their pagan aesthetic. Then, of course, there’s a cover of Lana Del Ray’s ‘Gods & Monsters’ which they never fail to make their own - when Erin sings about “innocence lost”, you believe it. Although Witch of the Vale may not be ones for over the top stage antics, they don’t need to be; their music simply speaks for itself in a way that is beautifully haunting.



Eventually, it’s time for the headliners we’ve all been waiting for. From the moment Ryan Ambridge and vocalist Zoè Zanias (AKA Alison Lewis) take to the stage, it’s clear they belong there, and it takes no time at all for people to start dancing to their distinct electronic soundscapes. Whatever doubts I might have had about Linea Aspera’s popularity are instantly dispelled as they are also welcomed by an incredible amount of hype that endures from start to finish; in fact, barely a single song goes by where some random member of the audience doesn’t shout out “This is a tune!” like they genuinely can’t help themselves. By contrast, Zoè and Ryan are cool, calm and collected throughout the entirety of their set, retaining an air of professionalism and mystery to the point of existing as their own separate entity.

If tonight’s show confirms one thing, however, it’s that Linea Aspera are one of those rare pairings that were almost meant to happen. As Ryan creates a dense atmosphere of minimal beats and tantalising synths that you can lose yourself in, Zoè delivers intensely confrontational lyrics that seem to pierce right through and cut to the core of your being. It’s all-too easy to become absorbed in, especially when tracks like ‘Preservation Bias’ put the image of dissolving bones in your head. In a strange way, though, such graphic references to biology and archaeology feel like an inevitable part of the experience, and there’s even more eeriness and melancholy contained in the ‘Eviction’ with the phrase “Everything that breathes has to die”.

From the “anxiety and elegance” of ‘Syncretism’ and its restless pace later comes monotone vocals full of scorn in ‘Malarone’. Through it all, Zoè is a total ice queen, no more so than during ‘Attica’ with its sinister EBM pulse as she reminds us that she’s in control and declares “Don’t you dare” in a scathing tone that conveys palpable hostility. Moving freely within her space alongside Ryan and his Roland synthesizers, the two of them are perfectly captivating to watch as kaleidoscopic lights and smoke machine mist offer a visually stunning backdrop that adds to an overall feeling of catharsis.

It’s always a surreal moment when you hear the song that introduced you to a band live for the first time, and ‘Synapse’ is no exception either. Everything from the unmistakable synths down to the way Zoe utters “It’s a curse, it’s a curse” is practically identical to the original recording, and with a song like that, you can’t ask for more. Equally as surreal is when the night finally ends with one last display of defiance in ‘Reunion’ featuring the line “It was never revenge, it was self-defence” - eight years later, the words still carry their sting, and it just goes to show that Linea Aspera are well and truly back with a vengeance.