Local EP of the Week: Glasnost's Great Divide

Chris Gray June 1, 2009 8:55AM

[
          {
            "name": "Related Stories / Support Us Combo",
            "component": "11591218",
            "insertPoint": "4",
            "requiredCountToDisplay": "4"
          },{
            "name": "Air - Billboard - Inline Content",
            "component": "11591214",
            "insertPoint": "2/3",
            "requiredCountToDisplay": "7"
          },{
            "name": "R1 - Beta - Mobile Only",
            "component": "12287027",
            "insertPoint": "8",
            "requiredCountToDisplay": "8"
          },{
            "name": "Air - MediumRectangle - Inline Content - Mobile Display Size 2",
            "component": "11591215",
            "insertPoint": "12",
            "requiredCountToDisplay": "12"
          },{
            "name": "Air - MediumRectangle - Inline Content - Mobile Display Size 2",
            "component": "11591215",
            "insertPoint": "4th",
            "startingPoint": "16",
            "requiredCountToDisplay": "12"
          }
          
            ,{
              "name": "RevContent - In Article",
              "component": "12527128",
              "insertPoint": "3/5",
              "requiredCountToDisplay": "5"
            }
          
        ]

Glasnost

Great Divide EP

www.myspace.com/glasnostmusic

Since the '80s, bands that have dared to cross-breed rock and dance music have been all too happy to let their synthesizers do the songwriting for them - even the most successful ones like the Faint, the Bravery and the Killers. On its debut EP, Great Divide, Houston quintet Glasnost recalls all three without letting its electro impulses get out of hand - save opener "Come Alone," it's the guitars that drive these three songs forward as much as the drum machines, and the ringing riff of the radio-ready title track ought to make Brandon Flowers and company especially nervous.

"Come Alone," meanwhile, is a prime cut of widescreen synth-pop with its feet in the disco, its fingers on a laptop and its heart in the "ruined skyline" of Glasnost's hometown. Three remixes of "Come Alone" round out the EP, the best of which is probably the Kraftwerkian "Culture Prophet" remix, although the glitch-hoppy "Kids at the Bar" take isn't bad either.

With the Watermarks and Motel Aviv, 9 p.m. Friday, June 5, at Rudyard's, 2010 Waugh, 713-521-0521 or www.myspace.com/rudyards