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Miaoux Miaoux, King Tut's, Glasgow

It's the first Sunday night of the year and, as if to protest before the world returns to work, King Tut's New Year's Revolution is staging one last epic dance party.

Last-minute line-up addition Machines In Heaven are only three shows old but they start the night confidently – a rhythmic, bass-heavy instrumental four-piece on keyboards and guitars. Listen closely and that melodic riff sounds almost like something off a 1990s Eurodance chart hit buried beneath layers of noise. It all goes a bit freestyle jazz in the middle as they fight to find their musical feet, but it's a promising set.

Roman Nose could be the rave/industrial Slipknot; yes, because of the monstrous masks they wear on stage but also because of the ominous wall of noise they create with laptops and drum machine. Skilful strobe lighting and enough dry ice to burn your corneas off means that for much of the set all you can see are brief flashes of terrifying, hooded creatures to a backdrop of electro-techno. They sound like a gang of neighbourhood thugs setting a police car on fire with occasional bursts of euphoric, sampled vocals to break up the intensity of their performance.

After that Miaoux Miaoux, with his synth and guitar and a couple of pedals, seems almost minimalist despite the loops and layers of his carefully-crafted electropop songs. Kicking off with an instrumental version of the giddy Sweep Clean, the opening track to his Light Of The North album, this is my kind of dance party. There's even a new one – euphoric melody, glitchy backbeat and heartfelt "I don't know what I'm doing" lyric that is the closest Miaoux Miaoux has ever come to a torch song.

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