The Metros @ Social for NG

Hotel staff across the country should have their fingers crossed that The Metros don’t stroll into their lobby, as this London based five-piece are doing their best to live out a stereotypical rock and roll lifestyle littered with equipment smashing, booze and reckless rebellion.

Last October, these teenage upstarts were kicked off The Coral’s tour for increasingly raucous behaviour which apparently didn’t go down that well with the Liverpudlians, and they have also received a nationwide ban from Holiday Inns. Oh dear.

This sort of behaviour is slightly more tolerable when the band in question are fairly big news, but there are sod all people at the Bodgea Social when I arrive shortly before the beginning of the set. If the numbers were any less then I dare say it would have been one of those Social gigs where you can get in by heading through the bar and going up the stairs at the back.

However this doesn’t deter the lads who swagger around the stage with cocky confidence, safe in the knowledge that other people their age are probably stacking shelves in Tesco. They don’t look the sort of kids who would smash up a hotel room – two members are wearing Hawaiian shirts and the drummer sports a vest – but they still convey a blasé ‘we don’t give a s**t’ attitude.

Lead singer Sauly Adamczewski in particular enjoys the occasion, getting progressively drunk on bottles of Becks and pints which are handed to him mid-set, and repeatedly scratching his head as if he can’t believe his luck. Their arrogance means they are the sort of band who many people would like to see fail, simply to wipe the smug looks of their faces, but tonight fans of schadenfreude would have been left disappointed as the Metros’ performance was astonishingly good.

They are an exceptionally tight knit unit, and the guitars are particularly good, catchy and delightfully infectious. People start dancing at the front and suddenly the place isn’t empty but full of happy gig goers – just where did all this lot come from?

In many ways the band are a southern equivalent of the Arctic Monkeys, with Adamczewski proudly showcasing his cockney vocals in the same way Alex Turner does with his Yorkshire twang. The songs too are of similar themes and full of wry observations on growing up and the world we live in. Where the Arctics had their taxis to Hillsborough, the Metros have their train from Victoria; effectively doing for London what Turner & co did for Sheffield.

So come out the cupboard you boys and girls because the The Metros have well and truly arrived. They are cocky yes, but there is more than enough evidence in their music to back this up. Loud, brash and in your face – the Metros coming at you faster than an underground train.

Review: Dan Palmer

Images: Adrian Pancucci

http://www.ng-magazine.com/Diary/Music/The_Metros:_Live_Review/

NME New Noise Tour @ Rescue Rooms for NG

One place I wouldn't want to be after the hottest day in ages is a small, dark room which is fit to bursting with other sweaty people. It was therefore unfortunate that tonight's NME New Noise Tour took place at the Rescue Rooms, which again was far too small for the job it had been asked to do.

The place resembled a sauna and with towels not provided I got the impression that I was in for a long, hot night of general discomfort. It's a relief to report then that some top class music from four up and coming acts made the night fly by and the inferno-like conditions were made far more bearable.

First up were White Lies who strolled onto the stage at the ridiculously early hour of 7pm. With a lead singer that sounded like Brandon Flowers from The Killers, this foursome produced a decent enough set which included some powerful, anthemic music as well as some satisfying guitar riffs. Their set was short however, and they didn’t address the crowd or move about at all. It almost seemed as if they couldn’t be arsed, which can't be said about Team Waterpolo who followed them onto the stage.

"Alright! Hello! We're Team Waterpolo, how is everybody doing?" yells their lead singer as if he’s warming up a crowd at Butlins. Their opening number, which includes the lyrics: "Welcome to the Team Waterpolo show" does little to dispel the feeling that we are stuck in a kids TV programme but the lads are able to recover with a feel-good set which fitted in with the recent summer weather brilliantly.

There is dancing and headbanging galore and loads of 'yeahs!' and 'wooos!' to let us know that Team Waterpolo are just that little bit mental. They look absolutely knackered at the end and you'd be hard-pushed to find a more enthusiastic band; this pop punk outfit are definitely a band to look out for.

Next up are Friendly Fires who a fair number of the crowd seem to have come to see. Their music is a delightful mixture of pop, indie, funk and dance and they get the crowd moving for the first time all night.

Pleasing electronic noises mingle with guitars and these guys have a real presence on stage; energetically leaping about the place and generally running themselves into the ground. All of the songs are well structured and the band display a talent for music which is impressive for their young years. Run of the mill they are certainly not, so expect to see more of this St Albans-based three-piece in the near future.

Things then go a little insane as the night finishes off with Canadian electro group Crystal Castles. Flashing strobe lights and smoke build the crowd up into a frenzy and at times it feels like we are at an underground rave. They create a unique, futuristic, alien sound using all sorts of different gadgets and it’s very entertaining indeed.

A manic mosh pit developed up the front which at times devoured lead singer Alice Glass like quicksand, and security have to step in on a couple of occasions to keep things under control. It's a hectic and fitting way to end a thoroughly good night, which showcased some of the names we could be hearing about in the not too distant future. Watch this space.

Review: Dan Palmer

Coldplay: Violet Hill, Review for Newsweek & NG

When a huge band releases a comeback single, the day of the first play is always hyped up as a massive event. The music press and radio stations count down the days like they are using some sort of advent calendar, constantly reminding us when we can hear the precious track for the first time.

Examples of this madness include D'You Know What I Mean, the first release from Be Here Now, the much anticipated but godawful third album by Oasis and Beetlebum by Blur, the rather downbeat single which followed the glory days of Parklife and The Great Escape.

The problem is, these comeback singles rarely live up to the pandemonium surrounding them. As the track fizzles out to an end, people are usually left feeling underwhelmed and unsure why they were so excited in the first place. The sense of an anti-climax is also heightened if the band in question have decided on a change of style and a major direction shift from the previously heard stuff.

This is the case with Coldplay's Violet Hill, the first single from the pretentiously-titled new album Viva La Vida or Death And All His Friends, which is more edgier and experimental than the songs we’ve have heard from them before.

Released as a free download on the band's website on Monday, the demand for the song caused the site to grind to a halt shortly after its 12.15pm release. It is a darker tune with pounding, heavy guitars and there's even a hint of electronic music in there. It seems far less radio friendly, in the sense that if moves away from a poppy like sound towards something a bit more prog like Radiohead.

It is one of those songs that Coldplay fans will have to learn to love, just like followers of Blur would have had to do with Beetlebum. The differences are apparent, but after a few listens it could be one of those songs described as a 'grower'. Give it enough time and Violet Hill could perhaps stand alongside other Coldplay anthems. For now though, the jury is probably still out.

The free download is available for another week if you wish to judge for yourself. Otherwise it is released as a conventional paid-for download on May 6th.

Review: Dan Palmer

http://www.ng-magazine.com/Diary/Music/Coldplay:_Violet_Hill/

Half Man Half Biscuit @ Rock City for NG

If you've never heard of Half Man Half Biscuit then track titles like Bad Losers On Yahoo Chess, Lord Hereford's Knob and National Sh**e Day should give you an inkling about their style.

This manic Birkenhead four piece don't take themselves too seriously, writing songs about anything and everything that happens to pop into their heads. The end result is extremely fulfilling, a beautiful concoction of brilliant lyrics and wacky performances that you can't help but enjoy.

I doubt that there is a more likeable band than HMHB; they slap a smile on your face which is difficult to erase and the utter randomness of their stuff makes you wish that you hadn't abandoned your own fledgling music career quite so early.

There was a song my band created about fighting with shoes which was unfortunately axed for being well....too stupid. But HMHB are living proof that we should have stuck at it, as more than twenty years after forming they are still playing to adoring masses at established venues like Nottingham Rock City.

A bizarre motley crew of people from many generations await the band, proof enough of their wide-ranging appeal. Seasoned gig goers mingle with grey haired souls who have probably never been to a place like this before, but one and all are left thoroughly entertained.

HMHB are hardly the world's best musicians, but it doesn't matter as their quintessentially British style produces numerous singalongs and general merriment. Lead singer Nigel Blackwell happily engaged with the crowd and took part in all the banter which was flying about the place. He gets several laughs, meaning that this is not just a gig, but a comedy performance as well.

Highlights include F**kin Hell It’s Fred Titmus, Blue Badge Abuser, S**t Arm, Bad Tattoo, and Twenty-Four Hour Garage People which is probably the best song about a petrol station that I’ve ever heard. Another number which goes down tremendously is Vatican Broadside, a short sharp ditty with the classic lyrics: “The lead singer of Slipknot went to Rome to see The Pope/and The Pope said to his aide/who the f*****g hell are Slipknot?”

Credit is also due for the length of the set, a bumper affair lasting the best part of two hours. Veterans they may be, but this band can still last the distance on stage, an example other acts would do well to follow.

So all hail Half Man Half Biscuit, a wonderfully eccentric band who show that if you spend your money on guitars, you don’t have to write songs about your broken heart. Now if you’ll excuse me, I’ve got a music career to resurrect. Just how did that shoe fighting song go……

Review: Dan Palmer

Images: Richard Battye

http://www.ng-magazine.com/Diary/Music/Half_Man_Half_Biscuit:_Live_Review/

The Ting Tings @ Social for NG

The Bodega Social is stupidly busy tonight, and why the hell not? Hot Mancunian double-act The Ting Tings have arrived in Nottingham and the masses have turned out in force to see what all the fuss is about. Quite a buzz has been generated about these guys after a third place finish on the BBCs Sounds for 2008 poll, a chart which annually predicts household names of the future with a great deal of success.

The Ting Tings describe their music as garage pop but to be honest it is very difficult to classify their sound. The stuff tonight varies dramatically with a mix of different genres thrown together, each a contributing factor in making their performance extremely original.

Elements of funk, indie, electronica and waltz are thrown into a musical cooking pot with the end product being extremely satisfying indeed. It is as though the Ting Tings have ripped up the rulebook and started again from scratch in a determined effort not to conform to more recognisable musical styles. And somehow this unorthodox approach to music seems to work beautifully. It really shouldn't, but it does.

You never quite know what to expect and the Ting Tings take us on a journey which is exciting, infectious and utterly absorbing. At some gigs songs can often sound the same and blend into one, but there is absolutely no chance of that here and the crowd seem to love every minute of it.

Popular track That’s Not My Name is a perfect example of this and is a real stand-out moment. Starting off with brash, in your face rap style lyrics from singer Katie White, the song develops and White's vocals become softer and more harmonic. There is almost a sense of surprise as both parts gel together perfectly, producing a damn fine song with the most unlikely of components.

With only two members on stage, electronic wizardry is relied upon to ensure that all parts of the songs are heard. White is enthusiastic on stage, leaping around energetically while colleague Jules De Martino is like a man possessed behind the drum kit. Fears that only two people on stage will leave things feeling a bit light are quickly dispelled and White's contributions on cowbell and bass drum add to the delightful randomness of the performance.

Other highlights include Traffic Light, which sounded like it could be played in a dance hall, and the futuristic sounds of Great DJ which were so catchy that you couldn't help but dance. The only criticism was that the gig lasted a disappointing forty five minutes, but this is a purely selfish gripe as I could have done with hearing a bit more of the quality stuff the Salford duo were producing.

As I drift out, I hear a disgruntled Arsenal fan complaining about his sides' Champions League exit tonight. However, he says that the Ting Tings performance makes everything a little bit better. And if that isn't a ringing endorsement, then I don't know what is.

Review: Dan Palmer

Images: Tara Vickers

http://www.ng-magazine.com/Diary/Music/The_Ting_Tings:_Live_Review/

Sam Isaac Interview for NG

The multi-talented Sam Isaac is surely destined for big things but almost incredibly still remains an unsigned act. Dan Palmer from NG Magazine talks to Sam and finds out all about life as a budding superstar, from car break-ins and high petrol prices to playing in people's front rooms.

NG: A year or so ago you were in Nottingham for a gig, and you had some merchandise stolen from your car! Is this your first trip back since then, and do you now bear a grudge towards the city?

SI: I think this is my second trip back since then! I've had some good times in Nottingham, and a lot of my friends are here. Although it was one of the lowest points I've had when the stuff got nicked - we were at the beginning of a pretty big tour and I just didn't need it! But don't worry, I don't have any grudges....

NG: Did you ever get any of it back?

SI: Nope, so that means that somewhere in Nottingham there is probably still a bag of Sam Isaac t-shirts lying around! They wouldn't have meant anything to whoever took them.

NG: You play a lot of 'living room gigs' in people's lounges. How did this idea come about?

SI: Yeah I did a lot of these throughout last year. When I was booking my own gigs, I'd often have a day off between shows and it seemed like a nice idea to play someone’s' house. With these gigs, you knew that people would get a few of their friends round and it would be a nice atmosphere, as opposed to venues when sometimes you don't know what things are going to be like. At houses you don't have to load in or load out any equipment, you don't have to do a sound check and you usually get drunk in the evening after you have finished playing. It was like being on tour and going to a party every night!

NG: Did you have any bad experiences with these though? Surely not everyone was nice....

SI: A couple of times we just wanted to get it over with and leave, but I don't really want to say why! Most people were lovely, and I made a lot of friends.

NG: I guess that as you become better known, the lounge gigs will become a thing of the past?

SI: Yeah, I want to get my music out to as many people as possible, and at the moment touring at traditional venues is a much more effective way of doing that. It would be a shame to drop them altogether though, maybe one day I can come back and play in people's houses for a couple of weeks or so.

NG: You seem to work ridiculously hard and it appears that you are always on the road, having played a whopping 200 shows last year! Don't you ever feel like taking a break? Your petrol bill must be pretty high for starters.....

SI: No, not really. I enjoy touring, and I'm still unsigned so this is the best way of getting myself known. I don't believe in constantly adding people to MySpace like some acts seem to do, I prefer to play live and to become known like that instead. I have over 5000 MySpace friends, and most of them have added me! The petrol bill is a bit high though, and yeah money is constantly an issue! If my car breaks down, or I need to repair my guitars, or if I have to book rehearsals, then I have to pay for it myself. I'm not saying I want to have loads of money or anything, but it would be nice not to be living on the edge of my overdraft all the time.

NG: How was your recent tour with folk sensation Kate Walsh?

SI: Yeah it was ace, we played lots of really nice theatres, and the audiences were really quiet and appreciative. They listened to the songs - sometimes people talk over the top of you! Kate was really nice and down to earth, and the tour was really just about the music. There wasn't much going out or debauchery or anything like that!

NG: New single 'Fire Fire' is out on the 24th March. What's it about then, and how do you reckon it'll do?

SI: Well, although it is quite an up-beat, high tempo song, the subject matter is actually quite dark. It's about me being really bad at coping with family dramas and issues, and generally not dealing with stuff! It addresses running away from problems and situations. I don't think I will chart just yet, but hopefully I'll shift a few hundred copies.

NG: And you will be going on a full band tour to promote the single. Do you prefer playing with a group, or on your own?

SI: It's really good to be able to both. For example, at the end of a tour with the band my ears will be hurting and I’ll want to return to playing on my own, in quiet, more intimate venues. However, if it's the other way round then I'll be itching to get on stage with everyone and just rock out you know? I play different songs when I'm on my own to when I'm with the band, and it's great to be able to mix it up like that. Hopefully I'll be able to keep doing it this way, it's a good combination.

NG: You seem to have become a pretty big deal lately, playing at the BBC Electric Proms, Glastonbury and the Maida Vale Studios among others, and you've had airplay on BBC Radio 1. Do you feel as if things are happening a bit quickly?

SI: It may just be that I am pushing my career along pretty quickly as well. I played 200 shows last year, a record for me, which is as many as some bands will play in two or three years. So I'm playing a load of shows in a short period of time, so perhaps all the publicity is coming fast as well. It was great to play all of those events but I should say that there is no guarantee that I'm going to make it big!

NG: So what's coming up next for you, and where do you see yourself in a year?

SI: Hopefully my first album will be out, which I'm going to record in the summer. The aim is to be a full time musician, I don't want to get another job, it would be much better to do this full time instead! There will be a few songs brought over from the Sticker, Star & Tape mini-album on the new record and the rest will be new songs.

NG: And finally, what's your favourite joke?

SI: Erm, I don't really know any jokes but I am trying to improve my puns. Unfortunately I'm not very good at them and usually end up presenting other people with a great opportunity for a great pun. So no jokes, but hopefully the puns will get better!

http://www.ng-magazine.com/Diary/Music/Sam_Isaac:_Interview/

Sam Isaac @ Social for NG

Standing at around six foot and sporting a large mop of messy ginger hair, Sam Isaac is a far from average looking pop-star. But as soon as he picks up his six string acoustic guitar it becomes clear that his performances are far from average as well.

This young singer/songwriter from Malvern has seemingly mastered the art of the acoustic pop song, with every number tonight succeeding in making me feel warm and tingly. Ably assisted by backing guitarist Matt Randall, Isaac produced a set at Nottingham's Bodega Social that never failed to hit the right notes.

Around forty souls witnessed the gig and they saw a man who must surely be destined for better things. Mainly playing songs from the Sticker, Star & Tape mini-album, Isaac’s vocals were particularly impressive - passionate and heartfelt, but at the same time loud and full of energy.

Lyrically he showed a talent and maturity that lies way beyond his young years, and it is hard not to relate to his raw, down to earth observations on life, love and relationships.

Highlights included Sideways, a pacy, jangly tune about growing up and leaving home, and new single Fire Fire, with its distinctive opening riff and catchy chorus. These were proof enough that Isaac can produce fast, fun, mainstream hits that wouldn‘t sound out of place on any radio playlist.

On the flipside, the more sombre What Good Did That Do? and the darker Annie Hall slowed things down a bit and showed that Sam has also mastered the art of emotion and pathos in his music. These slower numbers complimented the faster songs beautifully, creating a perfect mixture of pounding acoustic pop and gentle, quieter sensitivity.

Isaac occasionally plays with a band, and one can only speculate at how much better the songs would sound when spruced up with a variety of instruments. It is testament to him, however, that he managed to produce such an assured display predominantly on his Jack Jones. He also spent a lot of time talking to the crowd tonight, and while for some that habit would grate, it also displays a confidence that will take him far in the industry. Encouraging the small audience to get involved on Carbon Dating and I Traded My Friends For You, Isaac demonstrated that he won’t be intimidated when fame and recognition come calling.

This would be the least this man deserves, as his music strikes a chord which gets under your skin and is difficult to shake off. To put it simply, Isaac makes brilliant music without ever trying too hard and in a world full of acts trying to be too clever, he really is a breath of fresh air.

Review: Dan Palmer

Images: Jack Ladenburg

http://www.ng-magazine.com/Diary/Music/Sam_Isaac:_Live_Review/

Nine Black Alps @ Bodega Social for NG

The Bodega Social in Nottingham is buzzing tonight and it is little wonder as the Nine Black Alps have rolled into town. The Mancunian quartet have been causing a stir with their grungy rock sound and this small venue on Pelham Street is absolutely rammed in anticipation.

Second album Love/Hate has been released to rave reviews and the band have even been described as the Saviours Of Rock in some quarters. There is definitely expectation for a top notch performance and luckily the lads deliver - and then some.

From the get go, the Alps launch into an exciting, energetic and damn right entertaining set. Catchy guitar riffs and distinctive choruses mean that practically every song could be a potential anthem, played at Indie discos across the land. The crowd seem to know most of em, jumping and dancing along throughout - it's as if the Alps are already playing a greatest hits set.

Crowd interaction is kept to a minimum but this hardly matters as it gives the band time to play loads of songs from their arsenal of gems. There is a hardly time to breathe as tune after tune arrives in quick succession, the gig rocketing along at an exhilarating pace.

Bitter End and Unsatisfied induce brilliant sing-alongs and Every Time I Turn forces me to bring out the air guitar. I would have felt like an idiot but fortunately several others are doing the same.

The similarities to Nirvana are obvious and in the smoky venue it almost feels as if we are in the video for Smells Like Teen Spirit. But the band also stamp a bit of their own style on proceedings to create a hugely refreshing and original sound. A little bit of Oasis creeps in to show that the boys have not forgotten their Manchester roots.

Rapturous cheers greet the end of each song and it is clear that Nottingham loves the Nine Black Alps. And when front-man Sam Forrest and guitarist David Jones don Robin Hood hats it appears that the feeling may be mutual.

We eagerly await their return, but one feels that they may be playing somewhere slightly larger next time. It was a privilege to watch them at somewhere as intimate as the Social, because if they are not playing bigger venues pronto then it will be a great injustice.

You Know You're Right: Dan Palmer

With The Lights Out: Lisa Mayfield

http://ng-magazine.com/Diary/Music/In_Bloom:_NG_Magazine_reviews_Nine_Black_Alps/

Maroon 5 @ Notts Arena for NG

“If there are any critics here, go f**k yourself!” announces Maroon 5 frontman Adam Levine midway through their set at the Nottingham Arena tonight. Well, that's just charming isn't it? As the crowd roars in approval, I suddenly feel like the pantomime villain as heads turn to look back at the guy sitting down with a notepad.

“What this? Nah, I'm not a reviewer, I'm just er, taking drinks orders!"

Luckily I make it through the night without being lynched, but perhaps this review should be written under a fake name to avoid any reprisals? Devine's outburst came just after he said: “We're not liked here” and I'm afraid that I will have to add my own insults to what is apparently a growing list.

Die-hard fans of the Los Angeles five piece clearly had a good time but for me the performance was just a bit flat. Too many songs tonight dragged on unnecessarily, so much so that it began to feel like we had gate crashed a jamming session at times. Slower numbers fizzled out to nothing and just seemed a bit dull. It was the first night of their UK tour, so maybe the lads will need some time to get into the swing of things. But I for one would have been pretty disappointed to have forked out thirty-odd quid for tonight's performance.

It didn't help that crowd favourites Harder to Breathe and It Makes Me Wonder came relatively early in the set, leaving big gaps in the middle with nothing to get really excited about. Even This Love, their big tune, failed to get things pumping as I might have thought. There were high points but these were disappointingly few and far between in a sea of mediocrity. There is no denying that the guys are top class musicians, with Levine and James Valentine wowing the audience at times with their skills on their guitars.

Crowd interaction was good with Levine instructing the fans to wave their mobile phones aloft, creating a sky of shiny white light. An intimate version of She Will Be Loved during the encore was also a highlight and Levine's vocal range was pretty impressive. It's just that a lot of the set simply seemed like filler while we waited for the good bits.

There was a lack of oomph and the gig didn't provide the levels of excitement and entertainment that you would expect in an arena. It also finished disappointingly early at just after ten, and I wonder how many paying customers left feeling a tad ripped off. So I'm going to put 'must do better' on the Maroon 5 report card I'm afraid. And I'm also going to give Mr Levine detention for swearing at journalists. Naughty boy.

Red Or Dead: Dan Palmer

Seeing Red: Chris Wray-McCann

http://www.ng-magazine.com/Diary/Music/Dont_Look_Back_In_Anger:_NG_Magazine_reviews_Maroon_5/

Hot Hot Heat & The Thirst @ Rescue Rooms for NG

Hair Today - NG Magazine reviews Hot Hot Heat

Things don't start too well for me at the Rescue Rooms tonight. My first mistake comes when I spend £2.80 on what turns out to be a quite frankly awful pint of Worthington's. I'm no sandal wearing CAMRA member but this was just really, really bad. It left me desperate for a proper drink, or at least for something that wasn't 90% water, but unfortunately I didn't have any more money with me. That, as you may have gathered, was my second mistake. Right, this music had better be good then.

First on are The Thirst, who in a world full of mundane guitar bands are a breath of fresh air. Apparently ex-Rolling Stone Ronnie Wood saw them once and signed them on the spot and I can't say I'm surprised. The Brixton trio are on a bit of a roll at the moment, having recently supported the infamous Sex Pistols, and they produce a set which is loud, fast and full of life.

It is a highly original performance which sees fast paced vocals mingle with guitars, and in the main it works. Piercing riffs allow for some extremely catchy and funky music, with elements of soul and hip hop creeping into the sound. It is a pity that the crowd don't really respond. At times the set was too frantic, and you could hardly hear singing over the wall of guitars. But in the main it was a great performance which certainly quashed memories of dodgy pints of beer.

The five members of Hot Hot Heat arrive on stage led by singer/keyboardist Steve Bays, who sports a simply amazing perm. The Canadian rockers have not really hit the big time on these shores, with Bandages being the only song that most people have really heard of. I remember dancing to it back in my undergraduate days (*sigh*) and it is no doubt a corking tune, but for one reason or another it never propelled them to superstardom [Ed’s note: try the fact that Radio 1 banned it from their playlist.]

In tonight's set the song is the highlight by a country mile, sending the mosh pit into an over excited frenzy. The only problem is that most of the other songs seem tame in comparison. The lads are accomplished musicians, and they play a pleasing selection of indie-punk pop, but few of the songs could be considered groundbreaking. With nothing to back Bandages up, it perhaps becomes clear why they never broke through in this country. No Not Now and Harmonicas and Tambourines are obvious high points, but the rest just seems to blend into one and could be described as good, but not great.

You can’t fault the band's enthusiasm and energy though. Bays is a busy man, playing keyboard with one hand and holding a microphone with the other, but he still tries to play the frontman role by dancing all over the stage. He regularly surges towards us, but with one hand permanently glued to the keys it looks like he is playing a game of Twister with himself.

If I'm sounding a little harsh then it must be said that a lot of people were enjoying it. An army of teenage fans towards the front of the stage enthusiastically lap up everything the band does. Bays energetically plays the crowd, and most of them think he can do no wrong. He shows no qualms in posing for pictures on the cameras which are frequently thrust in his face, and at one point he dips his head into the front row to allow a lucky few to play with the perm.

With so many people having fun, Hot Hot Heat begin to enjoy themselves, and even I begin to let up. It's hard to be critical around so many happy people, and when they launch into Let Me In, a powerful track, I'm tempted to dance along with the rest. I left with a smile on my face, but it is important to remember that tonight’s gig took place in the relatively small Rescue Rooms. I would hazard a guess that everyone who wanted to be here tonight probably was and that Hot Hot Heat would struggle to fill bigger venues. In this country at least, the Canadians have found their level.

Gone Tomorrow: Dan Palmer

Images: Matt Birhanzel

http://www.ng-magazine.com/Diary/Music/Hair_Today:_NG_Magazine_reviews_Hot_Hot_Heat/

Young Knives @ Rescue Rooms for NG

Supporting the Young Knives tonight are the wonderfully-entitled Ungdomskulen. They hail from Norway and by all accounts have more than a few screws loose. This theory is confirmed when their front man promises to: “blow our underwear off!" Er, steady on mate! They launch into a chaotic set where their enthusiasm cannot be doubted.

They clearly enjoy playing and the energy rubs off on the crowd as they leap all over the stage. Rarely pausing for breath, the sound at times simply resembles a wall of noise but they also produce some pleasing high pitched riffs and the drumming is a real highlight. Cowbells and wooden blocks adjourn the kit to give their performance a refreshing sense of originality.


And so to The Young Knives who stroll on looking exceptionally dapper in shirts and ties. As years go, 2007 hasn't been half bad for the indie-punk three-piece. A UK headline tour, appearances at Glastonbury, Reading and Leeds and a critically-acclaimed album that was nominated for this year’s Mercury Music Prize. Is it just me, or does that seem a tad greedy? The question now though, is whether they can keep up this phenomenal level of success. The Knives are currently recording that tricky second album, and it is one that promises to make or break their career. So many bands come and go after only the briefest of moments in the sun, so will Ashby De La Zouch's most famous export have what it takes to stick around?

The Rescue Rooms crowd eagerly await them and it seems strange that they are playing in such a small venue, giving their recent success (Rock City anyone?). A fair amount of new material was showcased tonight, mingled with tracks from that Mercury-nominated album, Voices Of Animals And Men. Predictably, the older songs go down better.

Recognised favourites such as Here Comes The Rumour Mill and The Decision get the crowd dancing at the front; the Knives' piercing guitars and in-your-face brashness goes down superbly. It is a highly energetic performance and the crowd cannot help but be swept up in the flow. New single Terra Firma is one of the highlights. Every band needs an anthem to push them to superstardom and this may well do it for them. It rockets along and the chorus promises to be instantly recognisable, expect to hear this on a TV advert, or at the very least, an episode of Hollyoaks.

However, with so few hits at their disposal the crowd are forced to calm down and simply listen to the new offerings. This is a problem the band themselves address, as lead singer Henry Dartnall casually quips: “You'll probably like this one when it's all over the telly." The band do their best to keep us entertained with Henry and his brother, the curiously named Thomas 'House Of Lords' Dartnall, constantly indulging in dry wit and amusing observations. This goes down well, ensuring that no-one gets bored and to be fair the new stuff shows a fair bit of promise.

Lightswitch and Up All Night in particular point to a bright future for the Knives and perhaps that tricky second album won't be so tricky after all. The newies display more pulsating riffs and there are a couple of slow numbers as well; the band developing and varying their style. Henry was probably right, when we get to know the new album we will be getting into these as much as the songs we already know. The encore ends with old favourite She's Attracted To which causes a frenzy at the front of the stage. One feels that there will be a few more crowd pleasers in the set when they next play Nottingham and they may not be playing such a small venue next time either.

Cutting Edge: Dan Palmer

http://www.ng-magazine.com/Diary/Music/Blade_Trinity:_NG_Magazine_reviews_The_Young_Knives/

Super Furry Animals @ Rock City for NG

Not many bands last more than a decade and still manage to remain at the top of their game, but the Super Furry Animals have. While other groups have come and gone, their records gathering dust in record store bargain bins across the country, the Furries’ show of mayhem, music and general madness has gone from strength to strength. Hey Venus! is their eighth album and the sound, as fresh as ever, is still packing out venues across the country.

The crowd at Nottingham’s Rock City is testament to that and everyone excitedly settles in to watch the unique Welsh quintet do their thing. You never know quite what to expect at a Furries gig, with space helmets, golf carts and yeti costumes all being part of previous shows. Hmm, shouldn't be boring then!

Turquoise and purple lighting combine with electro sounds to build the mood and the band stroll out, led by the astonishingly hairy Gruff Rhys. They launch into mood setting opener Baby Ate My Eightball, an infectiously catchy track from the new record, and follow it up with the rocky Golden Retriever, a popular one that gets the crowd immediately on side.

Tracks new and old follow, and it becomes clear that the Furries are a well oiled machine; their sound is polished and they play with a professionalism that other bands would do well to match. Something seems missing though and it's the wackiness and crowd interaction that I was expecting. Rhys hasn't addressed us much so far and the crowd, although rapturously applauding each song, are not dancing around and getting into it as much as I would have thought.

A Welsh flag briefly appears but this is about as exciting as the audience gets. The quick-fire opening track on Hey Venus!, Gateway Song, leads straight in to the latest single Run Away, and this raises the spirits a bit. The latter is a gem of a track which slots in alongside other Furries classics with ease, but this aside I'm starting to wonder if the boys are ever going to pick up the pace.

I was wrong to doubt them! Things are taken up a notch when the robotic vocals of Juxtaposed With U rouse the crowd into life and Show Your Hand, another new track, keeps up the tempo perfectly. Receptacle For The Respectable whips things up to a fever pitch, complete with carrot munching sound effects from Gruff, and the guys cross their guitars as they take the crowd by the scruff of the neck.

The band go for a break but fortunately manage to keep up the momentum on their return. The space helmet comes out and Gruff stands at the front arms raised, saluting his crowd. Ah, here is the craziness! Rings Around The World is stunning as is Neo Consumer, the band pulling off a stormer in the closing stages. The slower singalongs of If You Don't Want Me To Destroy You and Hello Sunshine act as the calm before the storm as the inevitable chaos fest of crowd favourite The Man Don't Give A F**k occurs.

It has everyone jumping around like loons and the helmet is back out, band and crowd as one. It would have been a fitting finale but the lads find time to squeeze in Keep The Cosmic Trigger Happy, before strutting off stage with a sign reading "Thanks Nottingham, from S.F.A". In reality, we should be the ones thanking them.

Newiddiadurwr: Dan Palmer Ffotograffydd: Lisa Mayfield

http://www.ng-magazine.com/Diary/Music/Diolch:_NG_Magazine_reviews_Super_Furry_Animals/