Why is it so great being 16? It’s an angsty, uncertain time in which you doubt everything, struggle with a bunch of new and confusing ordeals and inevitably puke down your top talking to the guy/girl you like at an underwhelming party. But we largely remember it with total fondness.

You needed to work your problems through to their logical conclusion, no matter how labyrinthine they seemed. You’d not yet developed the coping strategy for later life - blithely shrugging, saying “well, them’s the breaks” and getting on with it. We can all agree that that’s a far simpler and more practical way to deal with things, but Jamie Lenman of Reuben is stuck in adolescence. His last thought is his best, and he’s going to yell it at you. This is thrillingly vital. I worry for him.

Slightly overweight, borderline ugly, he’s preaching to a small and dedicated throng. It’s a metal crowd – everyone is either unfathomably young and infectious or crusty and old enough to know better. It’s like being back at your first ever gig. An unexpected obscure song, a friendly moshpit, loud, people screaming.

Lenman’s band expends tangible effort, like the best air guitarists. Drummer Guy Davis reaches Canty-like levels of inventiveness, buried under a relentless propulsive drumstorm. He sits up throughout, a skinny Rollins, if he shaved his head he’d be a nutter. Bassist Jon Pearce does a textbook tall man, long instrument, purposeful sway thing. The three of them look moments away from combusting.

They tick lots of my boxes. Inventive, heavy, melodic, loud, fast, screamy, catchy. These are mostly the wrong boxes for 2007. ‘Some Mothers Do Ave Em,’ with a gargantuan riff that Josh Homme would divorce Brody (remember her?) for, is tossed away, apparently unaware of its own greatness. ‘Let’s Stop Hanging Out’ is their pop hit - a problem, because like almost everything they’ve done, it’s structured as if written by an Asberger’s sufferer. It lurches from A to B via, like, 37, each section marginally better than the last.

This analysis is all very silly and waaaay too glowing for a band you could fairly dismiss as dunderheaded nu rock – big riffs, often-daft words, sometimes cheesy tunes. But there’s something elusive, weird and brilliant at work which makes it seem completely unfair that Reuben are playing a half-empty goth club rather than enjoying Biffy-like love and adulation at the Astoria.

Their tour DVD, documenting life in a band too poor to give up jobs at supermarkets, is the saddest music film you’ll see this year, including ‘Control’. There’s a purity to Reuben, because you feel deep down they’ve realised they’re never going to “make it”. They’re getting as much out of nights like this as they possibly can.

They will surely disappear within five years, but Lenman will be back, I assure you. He’s a genius, that kid at school who was amazing at everything he tried but strangely awkward. His songs, once you’re over their ever-so-slight similarity to a bunch of nu metal we all wish hadn’t happened, are like nothing else in 2007.

I emphatically resist that getting older means you need to listen to cerebral, reflective music. It’s patronising, and a denial of where you’ve come from. Reuben are funny, but they’re also extremely earnest, and that seems to be a dirty word these days. But why should we forget what it’s like to be earnest? Why are we ashamed of being heartfelt? Why is it ok to call directionless, indulgent “folk” beautiful and intelligent when loving heroically crafted “rock” gets you laughed at? By your early 20s these are questions that seem too unanswerable to worry about

Dan Deacon will survive the media hype thrown at him in recent months because he knows he's a space brain from Wham City, USA (or Baltimore, Maryland to be exact). He knows what he likes; obsolete synthesizers, multiple effects pedals and the Looney Tunes. And he more than likely knows he’ll be compared to the original rock n roll space brains, Devo, at every opportunity.

But while the mass of similarities between the two rekindle happy memories, I’ve always loved Devo records for Mark Mothersbaugh’s social commentary-come-overall vocal bonkers-ness. And while Spiderman of the Rings comes close with Deacon’s own brand of chipmunk delay, he has decided to take the head crushing drum machine and synth route even further. And it works.

His Looney Tunes fascination is cemented after only 10 seconds as opening track Wooody Woodpecker loops the famous cartoon bird’s signature laugh over a dramatic build up of synth pulses and xylophones. This combination sets the tone for the whole record, immediately giving way to the best two tracks; The Crystal Cat and the epic 12 minute long Wham City. The first, beginning like an 8bit cartridge racing game, repeats one synthesized note with a steady bass drum until it explodes into a euphoric melody any pop producer would be proud of. Rolling Stone placed the track #84 on their list of the 100 best songs of 2007, and it’s easy to see how when a song clocking in at almost four minutes feels like it’s over before you’ve even had a chance to get up and dance. Wham City comes on like the first ever electro opera, flowing from calm xylophone loops and muted chords to pummel drumming and siren squeals headed by a choir of militant troops chanting a new age fairy tale over and over before fading to a down-beat game of drum ping pong and computerized harmonies. By the time an a-capella rendition of the chant kicks back into all out electro-popathon the listener is ready for bed. Big Milk provides the much needed rest but then comes the problem. There are still 20 minutes left of the record and you’ve peaked too early.

Much of the second side of Spiderman of the Rings carries the same traits as the first. A lot of synthesizer and drum machine driven computer music and a glut of high pitched vocal effects begin to take their toll. That said there are some great bass driven grooves in Okie Dokie and Snake Mistakes. The latter’s bass and shaker combination, reminiscent of the infectious Tom Tom Club, brings a welcome change of pace. Shades of Daft Punk form a strange interlude but Deacon pulls it back with the beautiful Pink Batman which allows a MIDI harpsichords and guitars to mix with organs and oscillators in a far more successful way than you’d imagine.

Running at nearly 46 minutes Deacon’s vision of an epic electro-pop showpiece almost comes off. The record is perhaps, just too long, but a definite grower. At first it may seem like you're hearing the same song in 9 different ways, but once you notice the subtle dabbles with sine waves, vocoder blasts and discover his palette of garbage retrieved weapons (instruments), Spiderman of the Rings is a mini masterpiece in one man bandship.

Would it be wrong to call Emmy the Great’s new single lovely? Well, in the simplest sense that’s just what Gabriel is and unfortunately this review will be full of polite (anti) folk clichés, for this I apologise in advance.

Here Miss Emma Lee Moss continues in a similar vein to her debut EP My Bad, keeping production to a minimum and allowing her greatest strengths - her voice and prodigious song writing skills - take centre stage. The song itself was written and recorded in a matter of days; and this kind of DIY, back to basics approach is very much evident in her sound, as Emmy’s music is best served live and here she successfully brings all the encompassing atmosphere and low-key effectiveness of her gigs to this latest release. Lyrically, she is head and shoulders above many of her scene counterparts; intelligent, considered, poetic, no whimsical ‘slice of life’ musings or kooky intonation, thankfully choosing to instead creating something a little more left of center, otherworldly in places.

Supposedly written with ‘a cute boy from Myspace’ in mind (ok, I know, I know) it soon becomes clear that the spirit of the song lies somewhere else entirely, in fact the lady herself refers to it as a period drama, ‘about selling out, but in the 19th century..’, an altogether more convincing description. Written as a farewell letter, Emmy tells the story of a young woman set to follow convention and marry into money, leaving behind her girlish innocence, optimism (and Gabriel himself) for a life of security and predictability; and hey, I’ve seen my future in an evening dress and I’ve been walking to her step by step.

Performed and written with an incredible lightness of touch, Emmy isn’t interested in bludgeoning you over the head with stories of tragedy and lost love, preferring instead to present the intricate and melancholic wrapped up in the sweet, uncomplicated package that is her astonishing voice and way with melody.

The music was getting louder and louder, and everyone was onstage bar the extravagant woman herself. The excitement in the crowd was palpable. When the beats felt like they were going to blow the speakers, Lady Roisin finally emerging from the rear dressed in a simple coat and pink beret, oozing sex appeal.

The volume was up so loud that the speakers were thudding and shuddering, making for messy sound. At that point I was beginning to think that the show would be lacking. And fortunately for me, it wasn’t the case at all. Aside from showcasing tracks from her new album to epic effect, its Murphy's mastery of theatrics that sprinkles musical stardust onto her latest live outing. With her feet still firmly rooted in experimental electronica, the new songs take a much needed foray into decidedly pop territory. From the hypnotic, aching throb of Overpowered to the retro-dance-sophisti-pop of Let Me Know, Roisin's live interpretations lift the songs out of the album and throw them squarely onto the dance floor where they hit the ground throwing shapes. The energy in her performance eked its way through the audience infecting each and everyone of us, right up until the point when she teased out the intro of Moloko classic, Forever More. When it finally dropped, there was a serious case of hands-in-the-air-itis going around.

Moloko's Roisin Murphy filled the show with her intensity and energy. Her rampant sex appeal and style were both used as weapons of mass dance-truction; surreptitious costume changes with every new song kept you wondering what kind of outlandish accessory would be next? With little crowd interaction, Murphy still managed to connect brilliantly with her audience. The disco queen won everyone over with her flamboyant disco dancing moves. At the peak of one of the tracks, Roisin to the floor with the rhythm of the music.

If there is such a thing, French comic art karaoke is no longer Moloko…it is Roisin Murphy. She can overpower me any day.

After seeing Joe Lean and the Jing Jang Jong up all over the place on the Levi’s One To Watch posters being touted as ‘ones to watch’, hearing they were playing Wembley supporting none other than Babyshambles was impressive. They have a Kooks-esque kind of feel about them; with their trendy looks and sounds – they’re catchy, but since someone else has done it first (second, third, fourth....), not particularly a stand out.

And onto the main event: He turned up! Surely an accolade in itself after his infamy for all the no-shows. Maybe now EMI are behind the non-shambles that is Babyshambles Peter Doherty has to put his money where his mouth is. And he has – selling out Wembley Arena (or nearly selling it out – whatever, it’s packed and everybody is wearing rosary beads in homage to their God) is perhaps a testament to this new-found direction whereby the band turn up, play a tight set and then leave.

It’s great. Everybody loves it and knows all the words to every Babyshambles song that is played (only ONE Libertines song is played during the whole evening – ‘Music When the Lights Go Out’ – and I don’t even hear any hecklers requesting anything from Up the Bracket, weirdos). But whilst this sleek professionalism is all well and good, I’m looking for a bit of mess - you can’t have the word ‘shambles’ in your band and turn up wearing pin-striped suits and acting all civilised. But this is how it is. And while part of you thinks, “Good on you, Pete.” You’re left feeling rather distanced by the whole experience.

Ah London - cobbled streets, spooky fog and Dickensian urchins around every corner. That’s what I expected when I moved to the big smoke. Not monsoon style rainstorms that make me look like a drowned rat and smell like a wet dog. But that’s enough about the effects of global warming, my point was that I got rained on when traveling to the Swarovski press day and I wasn’t too happy about it. Especially when it was held in the achingly hip Sanderson Hotel whose elegance was more than matched by the designs in the Swarovski suite. If Marilyn Monroe were alive, she would have been cooing over the contents. Crystals were strewn over Marios Schwab designs, evoking both frailty and defensive armour, whilst Hussein Chalayan’s crystal dresses refracted light in a futuristic boudoir. Hot on the heels of Fashion Rocks, Swarovski have continued their commitment to nurturing the hottest new designers. As well as working with Schwab and Chalayan, highlights of the Swarovski collaborations include crystal skullcaps designed by Giles Deacon and encrusted bangles by Jonathan Saunders. Perfect for magpies (last animal analogy, I promise).

The Drawing Rooms is one of those rare salvations in deepest Dalston. True beauty amidst lofty tower blocks. Their current exhibition Every Eye sees Differently as the Eye, has taken words spoken by William Blake to present what is almost certainly the most elegant body of art you will see in East London this year. It is truly stunning drawing. It sees existing visionaries expressing true imagination through their drawing for an exhibition that marks Blake’s 250th Anniversary.

Ernesto Caivano perhaps represents the most contemporary approach to folklore inspired narrative drawings. His long panels convey a story of a love that cannot be shared between a knight and a princess. Their paths are dogged with twisted trees, toothed plants and increasing branches and conveys their 1000-year separation. In his heartache the knight and the wood’s inhabitants struggle together incapable of movement. All off which meticulously drawn on an epic panoramic panels. Medieval in spirit but with present-day signifiers, Heiko Blankenstein’s works on light boxes and paper cite humanist metaphysics and systems of chaos. The cognitive principles conveyed in his works are equaled in his drawing style, which is architectural. Augmented landscapes with depth and feature no figures, heightened in dynamic by being back lit. Charles Avery's work is finely researched and philosophical in approach. He has twice been nominated for the Jerwood Drawing Prize and cites PG Woodehouse, Jorge Luis Borges, Joseph Beuys and Joseph Kosuth as influences. He work is extremely well observed and passionate and absorbs you. And you are left feeling like you have read a novel. Work by Dirk Bell and Kerstin Kartscher is also featured to make up a show of pure and striking hand rendered works that is truly inspirational, that I plead you to go see.

Giant bow necklaces. There are not enough accessories that make me feel like a 5 year old kicking about nowadays. I’m not one to favour delicate jewellery, and maybe that says a lot about my Peter Pan like refusal to grow up, but if brands like Neurotica have jumped on this idea then I guess I can get away with it (until my next birthday). Neurotica’s Spring/Summer 08 collection, Dark Heart/Grinning Soul, has been inspired by sci-fi culture including Ridley Scott’s Blade Runner and Pink Floyd’s Dark Side of the Moon, but the part of the collection I’m most interested in is the accessories. Complementing the prismatic designs are giant bows hanging on silver chains, neon fireworks on black fabric. It’s all very futuristic and fun, and what better time of year to dress up like a Christmas present? When taking the photos of Jess wearing the bow, there was an old man larking about in the background wearing a boiler suit with what looked like a jet pack on his back. Maybe the world’s gone mad with sci-fi influences, but I wouldn’t mind running into Harrison Ford trying to save the world from old men cyborgs the next time I leave the house.

Daniel Johnston has bi-polar depression. He has a unrequited love for Laurie Allen. A girl he met whilst at Art College and whom he idealizes and uses as his muse for his music. He also sings of Christianity, Captain America, Casper the Friendly Ghost, the Devil and has fixation with number 9. He was born in 1961. He was there when MTV boomed and in 1985 they did a special on Austin, which brought Johnston to a broader consciousness. Record shop started selling his cassettes which he had largely given away. He was hospitalised when he wrestled the controls form his father who was flying the plane in which they were travelling. In 1991 whilst hospitalised he was able to air his music where he sang of Mountain Dew and requested Yoko Ono produced his music. Kurt Cobain loved him. Wore his t-shirt on TV and his live performances are the most emotional and affecting you will ever witnessed, with each line you feel like you are watching some crumble. He is an unassuming genius.

Johnston never intended for drawings to be sold. They are his cartoons about his personal battle between good and evil, like missing frames of a much longer story. So the fact that they are now adorning the walls of galleries far and wide must be bemusing for him. Like when he painted the "Hi, How Are You?" frog, also known as Jeremiah the Innocent on the Austin Sound Exchange music store. It was initially going to be torn down when the shop closed but public outcry meant that $50,000 was spent to save it. His work is enjoyed. They are witty cartoons with characters like Joe The Boxer with his head cut off. He references from Greek sculptures that have been defaced though time in art books he get from the library. He doesn’t want to insult girls too much though, so he draws them with heads. He is Joe The Boxer. He is battling Vile Corrupt in his drawings, Vile Corrupt being is his alter ego. He is all of America’s ideologies residing in one effected fellow. His life in part hiding and consuming of comics and popular America culture combined with poetic and intuitive nature has made art wholey pure in intent but riddled with excessive certitude and fundamentalist rigor. I am not arguing that Johnston’s drawings convey the purest most infinite beauty but like Johnston once said ‘--if you're not entertained, depression will get you.’

Alongside Daniel Johnston’s work in this exhibition is that of James Unsworth, I suppose a rather more together version of Daniel Johnston, whose work is darker than Johnston’s visually, dense and macabre. He uses print to develop his pen and ink drawing into something even more forceful. He is destined for seminal. His work is honest, dark and gruesome, which although some won’t admit is work we can all relate to sometimes. In short go see this show.

Johnston's drawings were also featured in the 2006 Whitney Biennial. His artwork is shown in galleries around the world, including exhibits in London's Aquarium Gallery (April 28-May 20, 2006) and New York's Clementine Gallery (March 16-April 15, 2006). Unsworth has had previous shows at Crimes Town Gallery, Atlantis Gallery, The Boys Hall and NOGgallery.

Reckon you’ve got Sons and Daughters sussed? Think again. Over their successful five year career, the Glasgow foursome have released two addictive albums of lusty, ragged blues punk, but they are set to blow expectations skywards with forthcoming effort This Gift, out in January, which finds their trademark, dark and ferocious sound rubbing up against 1960s girl group stomp and straight-up pop with magnificent results.

Tonight in the normally clinical surroundings of the Islington Academy we are treated to a preview of this latest material as they mix songs old and new throughout a fiery and captivating set. But before they take to the stage, Foxface work their folky magic on an initially uninterested smattering of people, followed by an intense performance from Victorian English Gentleman’s Club who arrive sombrely to the sound of a single clanging bell and climax with ear-shattering howls, menacing basslines, scratchy riffs and the colossal impact of two thundering drummers when Sons and Daughters’ sticksman David Gow joins the Cardiff trio for a dramatic finale.

The crowd is clearly unsure of the second support act, but not so by our headliners who whip up a storm as soon as they kick into rhythmic opener Broken Bones, provoking a sea of flailing bodies and lobbed pints. The dapperly dressed band make for a striking sight - the boys boasting quiffs, braces, colourful shirts and skin-tight jeans and the girls in glittery gold tops and short skirts – and they have immensely grown in confidence since they last played the capital as they attack their instruments unabashedly, while bassist Ailidh Lennon skips and hops in time to the music and Adele Bethel prowls the stage, switching effortlessly between sweetly sung vocals, soaring choruses and blood-curdling shrieks.

Gilt Complex is a highlight, as are warmly received newies like Rebel With A Ghost, The Nest, House In My Head, The Bell, Darling and Chains, however, the most frenzied reactions come in response to the airing of fan favourites Taste The Last Girl, Dance Me In, Red Receiver, Rama Lama and finally Johnny Cash which sees the quartet bathed in flashing red and white strobe lights and ends with guitarist/vocalist Scott Patterson screaming into the front row astride an amplifier. Explosive stuff indeed, and on form like this, Sons and Daughters seem unstoppable.

With recent solo exhibitions at Rotterdam's Witte de With Gallery and the Palais des Beaux-Arts in Brussels, one might imagine Tris Vonna-Michell; who has spent the last few years zigzagging across Germany and Europe, making and performing his work, would be in the throws of nervous collapse. But with future appearances scheduled at Performa, New York (2007), the Berlin Biennial (2008) and judging from the energy and dynamism with which he delivers his performance it would seem not.

Act three of Tris Vonna-Michell's performances in the "Tall Tales and Short Stories" series will be showing at Islington's Cubitt gallery on November the 24th. Those patrons of performance art who favour public nudity, blood and guts need not look this way however, as an all together more understated idiom of performance prevails.

Incorporating, slide photography, moving image, documents and found objects Tris's performances are essentially stories, albeit with meandering and non-linear narratives. What is charming about this artists work is its uncontrived nature as well as his near obsessive engagement with its subject matter. Tales of intrigue and espionage are woven around the topography of various European cities. Those big themes of the late twentieth century, the chaos in the aftermath of the Second World War and the division of Europe are touched upon too, but strangely through references to Quail eggs and through rather fragile, melancholy photographs, often concentrating on objects which themselves have something of a faded and nostalgic feeling. Curious art lovers who long to see new work with real passion and individuality should seek out Tris's next exhibition no doubt coming to a country near you.

Bonde do Role are a 3 man band, slash circus act. The relatively intimate venue that is King Cross’ Scala suits this shouty, effervescent band perfectly. With no instruments in sight – cheating a little, maybe – a rotund fella (DJ Rodrigo Gorky) bounds on to the stage and starts with a 90’s rave track (that I now cannot remember the name of, after a few beers) but it certainly brought energy to the crowd. The singers (shouters) come on when said rave track finished, and jump straight into crowd pleaser Danca do Zumbi. BDR have a certain baile sound which sounds incredible live, an attractive pastiche of disco, funk and metal. Marina Ribatski, the female lead, is a diminutive creature with the attitude and vocal capacity of Beth Ditto, but much nicer to look at. BDR fly through tracks from their debut album, mixed interestingly with a medley of past and present dance tracks. Personal favourite Davine Gosa is not showcased, which is a little annoying, but Gasolina and Office Boy are – and certainly make up for it. A small set finishes with a stage invasion from forty or fifty members of the crowd. Bonde do Role certainly know how to throw a party.

He's come a long way has Dan Snaith aka Caribou. From the purer electronic instrumental cut'n'paste soundscapes of his Manitoba guise to this: the Odyssey and Oracle goes Pro-Tools psychedelic pop of his Caribou incarnation. Summer's Andorra long player exemplifies just how a musician, given time to grow and develop creatively, can create beautiful art. That's not to negate his previous works but Snaith's most recent album is fucking light years ahead, marrying choral song-structures with a left-foot sensibility.

So, how to rock this complex and multi-layered beast in a live context. Get a bad-ass band together. Lap-tops, two drummers, vintage guitars, neck-ties, wigged out projections, Electric Prunes circa '66 haircuts...Check, check, check....Oh man, it's gonna so fucking rule. In truth, it nearly didn't. Squandering triumphant nugget, Sandy, as first number was a shame. You could hear the band finding their feet and acclimatizing to the stage as the song thundered on in cack-handed fashion. No bad thing of course, but when it's such an unabashed turntable hit as Sandy it kinda grates. Still, with Snaith finding his voice and his beautiful boys kicking up a psych-storm they lay waste to Brighton's Audio with aplomb. Melody Day does that whole scorched earth thang leaving the audience mouths agape whilst She's The One is just sublime, like Kieren Hebden producing the Beach Boys today. Desiree is heartbreaking; with soulfully strained harmonies seeping into our ears, glooping down like wild honey over a Midi-orchestra backing. Sweetness personified.

You rarely get to hear such celestial orch-pop made flesh. Vibrant, human...alive. Dan Snaith and friends know how to do retro and make it so fucking fresh. Tell that to the hordes of dim guitar slingers taking up space in this town or in the pages of the NME. This is how you do it, boys. Class dis-fucking-missed.

The way into our hearts here at Amelia's Magazine, is through our stomachs. Faye Skinner, the clever little muffin, wooed us with cupcakes hand delivered to our door - these ones in fact:

After worrying about whether they were actually meant to be eaten or not (admittedly, we were only briefly torn about it) and whether we wanted to digest the lovely little things, leaving only crumbs and paper cupcake wrappers as evidence that they ever existed, these three piglets couldn't help but scoff the lot (with Amelia's help).

In one fell inhalation, all the cupcakes were gone, so we thought we might ask Faye a few questions...

Who were the illustrations of on the cupcakes?
They were a little bit of everything that influences me, queens, victorian children, dolly birds and female musicians.

Were the illustrations actually edible?
Yes, entirely edible. I painted them onto wafer paper using food colouring which work just like watercolours. I then stuck them on with the pink icing.

How do you feel about people eating your illustrations and them disappearing into the bowels of their stomachs?
I quite like the idea of eating very pretty food, like sugared rose petals! Mary Pickford used to eat flowers when she was a little girl in the hope that she would be beautiful when she grew up. It must be very good for the soul.

Can you tell us the recipe for the cupcakes?

Right:

5 oz (150g) Butter - softened
5 oz (150g) superfine (castor) sugar
6 oz (175g) self-raising flour
3 eggs
1 tsp vanilla extract
drops of pink food colouring

1. Pre-heat the oven to 350oF (180oC).
2. Line a 12 cup cake pan, with cup cake papers.
3. Crack the eggs into a cup and beat lightly with a fork.
4. Place all the ingredients in a large bowl.
5. Beat with a whisk for 2 minutes, until light and creamy.
6. Divide the mixture evenly between the cake cases.
7. Bake for 18-20 minutes until risen and firm to touch.
8. Allow to cool for a few minutes and then transfer to a wire rack.
9. Allow to cool fully before icing.

For the icing whisk together water and icing sugar and a drop of food colouring until slightly thick and runny, then dribble onto the cupcakes, stick on the wafers while the icing is still sticky.

You can buy packs of wafer paper which you can then directly paint onto with the food colouring and then cut out with kitchen scissors ready to decorate the cakes with.

Do you bake other things? Like what?
I do make a lot of chocolate cupcakes for my flatmates when I am having a domestic housewife kind of day. When I was younger I was obsessed with baking salt-dough fat mermaids.

Tell us some of your favourite things.
Some of my favourite things include Vivien Leigh, The National Portrait Gallery, The Electric Ballroom, pub quiz and kareoke on a tuesday, Katie Jane Garside, classic children's novels, and shopping in and around Dalston's £1 emporiums with my friend Victoria.

Scrumptious. Find out more about Faye at www.myspace.com/fayedoll

Photography by Amelia
Photo 2, L-R: Jess Jayne and Christel
Photo 3: Jess

The five piece – three scrawny men, one portly man and one petite woman - clamber onto the stage. Fashion doesn’t trouble them. It’s five-years-too-late skinny jean/tie combos for the men (great for squeezing the tunes out presumably) and a trashy silver cocktail dress for the girl. They pick up their instruments and play a pick ‘n’ mix selection of all the pop you’ve grown to hate (Wham!, Katrina and The Waves, Aha), but somehow they’ve jumbled, mashed, stretched and twisted it into something kind of… well…good.

Really good actually. These geeky kids can play. And for all the cruise ship Europop melodies (they’re from Denmark) and synchronised shimmying you can’t help but move your feet with them. Your poor old heart – smacked around by dull jobs, worn-out worrying over neglected friendships and Kasabian on the radio – starts to really kick again. A weird craving for Nerdz and Curlywurly’s and Dib-dabs creeps up on you. Suddenly you want The Beano and Live and Kicking on a Saturday morning. Look around and see a dark room above a pub in North London half-full of thirty-somethings dripping from the miserable weather all lost in similar reverie.

Before you know it lead singer Anders SG is introducing the final song of a far too short set. Alphabeat scamper into a note-perfect performance of their flagship hit Fascination - sample lyric: "fashion is OUR fashion" (that'll explain the wardrobe then). Andres whoops, spins, shakes and slams his tambourine against his chest. His band skip around the stage bellowing “Super-duper!” in unison and beaming at each other with undisguised affection. Alphabeat are making that kind of giddy pop that makes you want to run all the way home and yell: “Mum MUM, I found this brilliant new band and they made me dance until my feet were sore and they sound like S Club 7 smacking the snobbery out of Arcade Fire and let me sing you their songs and I want to BE in their band and can I go and see Alphabeat again tomorrow night please please PLEASE!?”

And if she’s seen them, she wouldn't be able to say no.

He's come a long way has Dan Snaith aka Caribou. From the purer electronic instrumental cut'n'paste soundscapes of his Manitoba guise to this: the Odyssey and Oracle goes Pro-Tools psychedelic pop of his Caribou incarnation. Summer's Andorra long player exemplifies just how a musician, given time to grow and develop creatively, can create beautiful art. That's not to negate his previous works but Snaith's most recent album is fucking light years ahead, marrying choral song-structures with a left-foot sensibility.

So, how to rock this complex and multi-layered beast in a live context. Get a bad-ass band together. Lap-tops, two drummers, vintage guitars, neck-ties, wigged out projections, Electric Prunes circa '66 haircuts...Check, check, check....Oh man, it's gonna so fucking rule. In truth, it nearly didn't. Squandering triumphant nugget, Sandy, as first number was a shame. You could hear the band finding their feet and acclimatizing to the stage as the song thundered on in cack-handed fashion. No bad thing of course, but when it's such an unabashed turntable hit as Sandy it kinda grates. Still, with Snaith finding his voice and his beautiful boys kicking up a psych-storm they lay waste to Brighton's Audio with aplomb. Melody Day does that whole scorched earth thang leaving the audience mouths agape whilst She's The One is just sublime, like Kieren Hebden producing the Beach Boys today. Desiree is heartbreaking; with soulfully strained harmonies seeping into our ears, glooping down like wild honey over a Midi-orchestra backing. Sweetness personified.

You rarely get to hear such celestial orch-pop made flesh. Vibrant, human...alive. Dan Snaith and friends know how to do retro and make it so fucking fresh. Tell that to the hordes of dim guitar slingers taking up space in this town or in the pages of the NME. This is how you do it, boys. Class dis-fucking-missed.

Beauty is a concept that we never tire of debating. Whether you’re philosophising, politicising, fantasizing or simply scouring Perez Hilton for car-crash beauties fallen from grace, we are all out there searching for the secret behind the allure. One valiant attempt to unearth some truths on beauty in contemporary society is the fifth and latest issue of Garageland, a captivating magazine of substance from the editing suite of Cathy Lomax, a prolific east end painter and director of the Transition Gallery (which plays host to the launch of each issue).

On a low key, Sunday afternoon, works taken from the Beauty issue were sporadically displayed in the small yet adequate gallery and proved more than a warm welcome from the torrential downpour outside. Gentle conversation acted as an appropriate pre-cursor to the thoughtfulness and sensitivity used to explore the themes of art and beauty/beauty and art in this lovingly put together tome. Garageland is fortunate enough to boast some of the most revered names in contemporary modern art on its contributors roster, who do well to prove that their talents extend effortlessly from the paintbrush to the pen (surely this is unfair?).

The contrasting depths of commentary and insight sit comfortably side by side; Dolly Thompsett digs deep to uncover the beauty within war films, while Alex Michon looks into the effect of blusher in the childlike paintings of Stella Vine. And, what joy! To find a truly laudable article on the legendary John Waters, life-long purveyor of all that is revolting in its beauty. This article alone is well worth the modest £3.95 asking price. The true appeal of Garageland however, is that it is not solely a retrospective nor is it obsessed with deconstructing the zeitgeist; it is a serenely happy marriage of the two. Here, beauty is at times, disgusting and putrid and as such, it is a constant source of fascination. Beauty is not (as so often chimed into us by commercial mags for girls) all-encompassing and happy and glowing, it is a striking image, a brave representation of one’s self and bold step into the unknown.

My only discontent is that I now have to decide whether to rip out the gorgeous Garageland pages for my bedroom wall or archive it, untarnished in its original glory for lazy Sunday reading in years to come.

Arriving at the Finsbury Town Hall in jeans and a jumper, hair bedraggled and mascara running down my cheeks, I was initially there to help set up, but within minutes I had been roped into dancing with the band (Cut-A-Shine), drinking far too much Red Stripe and forgetting that I was at a single’s night after all… Welcome to Barndating Heaven!

We do-si-soed ‘til the cows came home, with flowers in our hair and our cheeks blushed… Amelia was carried through the cheering crowd to call some dances and following her instructions couples entwined and herds of people trampled on each other’s feet and laughed and drank and kissed and laughed and everything was bloomin’ marvelous!

If you haven’t been to the Finsbury Town Hall before I advise that you do so – it is a beautiful space with original décor and eccentric light fittings (random, I know but true). The ceilings are soooo high yet still, the place was bulging with crazy faces by 10pm - men were donning handmade bows and women wore elasticated beards and everyone was having a jolly old knees up to some rocking country sounds. In the corner of the hall was a Romancer’s Retreat (beautifully designed and manned by an East-end creative duo Lightning and Kinglyface) where couples could go to ‘gaze into one another’s eyes…’ There were a few snoggers and a certain amount of loving was most certainly kicking off but by the end of the evening a few people were having a kip in there. Notes of confession were pegged onto strings in this haven of love, a certain pencil-scribble stuck in my head and read ‘yesterday when you called, I pretended I was asleep’ – ah it makes your heart sink doesn’t it!? But others weren’t quite so romantic, and more explicit, and bloody hilarious…

The evening was heady yet relaxed and I remember I spent a lot of time twirling around in my gingham dress and probably looking slightly mad, hence I didn’t spot my nice young farmer (haha) but the night was brilliant and I hope there’ll be many more to come… Cut-a-shine – you rock. All in all a very groovy night. (Sorry – groovy, maybe not the right word) All in all a foot-stamping, dress-twirling hoe-down which left me aching and laughing for days...

It's always infuriating when you hear about a band, roughly about your age, from the same country as you, who suddenly grab everyone's attention in the best possible way.

Now this is one of those things that's just about possible to deal with if the artists in question are untalented and/or a flash in the pan and/or play thrash metal. Elle
S'appelle are fortunately none of these things. Having only been together for less than a year, they are a wonderful mix of bouncy guitar pop with perfectly fitting lady vocals over the top. With beautifully worked in melodies, they're just as catchy as one could want.

Little Flame is a perfect debut single, with the silliest lyrics this side of a Decemberists B-side, about a cheeky little flame who burns his way through a neighbourhood. The vocal harmonies of girl (Lucy) and boy (Andy) are delicate, sweet and sing-songy in equal measures. B-Side She Sells Sea Shells is perhaps superior even to its bigger sister, with layered keyboards on organ setting, it's as chirpy as one
would hope for, and with a boy taking the main vocal line, it is a nice variation from Little Flame.

It's only a matter or time before you see Elle S'appelle filling the more Death Cab inclined indie dance floors across the country, limbs will flail, feet will stomp, beer
will be spilled.

It's the end of the show already and the stage is dripping in red light. From where I'm standing, the perspiration in the room looks like blood. Two Gallants have just been on for over an hour, so the perspiration on the walls feels like blood too.

They have wrecked this place. Their blues, rock, folk, punk, loud, quiet, angry, sad mayhem has blown the place to smithereens. Adam Stephens’ voice is cracked, rasped and broken. His heart is heavy, his songs are long, his words are laced with the worn down dejection of a hard life. The mouth organ can barely hold up for the rust and rot.

Tyson Vogel bashes his drums like he’s making up for a past deed. He has no crash cymbal, just high hat and ride. He provides the drama, the beard, and the mystery. There’s just the two of them. Named after a James Joyce short story, as you know, they are literate. They tell tales: “I shot my wife today/Hid her body in the ‘frisco bay”. That’s a tough gig. They repent: “If you got a throat/I got a knife”.

But they’re not depressing. They’re painting a picture, writing a novel, making you think. Amidst the almost White Stripe-y rock-outs and the down beat Americana they’re doing rustic graffiti on the side of an old wooden cabin. They’re drinking whisky and opening their heart to a best friend because things haven’t worked out how they planned and they don’t know what to do about it. And they do it every single song.

Long Summer Day is as controversial and opinion-splitting as ever, the Gallants belting out Moses Platt’s lyrics as if they were their own: “And the summer day make a white man lazy/He sits on his porch killing time/But the summer day make a nigger feel crazy/Might make me do something out of line.” It raises an eyebrow, provokes, and stretches boundaries. But as reckless and offensive as some might see it, that, compadres, is what it’s all about.

When one thinks of Washington DC's musical scene, it evokes images of right-on punkers kicking up a politicised, Converse clad riot. Loud guitars. Soap box sermons between songs. Well, meet Washington's Mark Charles, a.k.a Vandaveer, and prepare to swoon to a different beat. Or lack of beat…

There's no shortage of neo-folkers right now and some might say we need another one like the world needs another epidemic of the Black Plague. But Vandaveer is something else. What he has is soul; and that genuine, bohemian restlessness that characterises truly great singer-songwriters. Seeing him play to six people in Brighton the other week did little to diminish his aura and captivating stage presence – it oozed into every nook and cranny of the venue.
Vandaveer's debut album is a sonically stripped down affair that serves to melt the listener's heart in slow motion. Its minimalism renders Charles's voice the main weapon here. A good thing given that he sounds like a most pleasing bastardisation of Dylan and Donovan. These are appropriate musical and lyrical references too but, at times, Vandaveer seems even more archaic, beamed down from another place and time. The harmonies that caress the chorus of Grace and Speed are almost pre-Beatles in their innocence while the tumbling chords of Parasites and Ghosts will make the hairs on your neck stand up. Dark humour, too, abounds on Out Past The Moat, its mellifluous melodies couching disconcerting lyrics: "Got my guns, I got 'em both/Now's a good time as any, tell my brothers I love them both…"

There's more to meets the eyes and ears then. All human life is here and then some. Not bad for a dude with a guitar. Clear all that Homefires Festival endorsed shit and make way for a talent that demands a place in your life.

It’s a Friday night and I’m in the SEOne club situated beneath London Bridge Station for an Evening with The Rakes. An interesting line up of new musical ‘talent’ including the likes of The Metros, We Start Fires, Ghost Frequency and various DJ sets seems to have drawn in a mixed crowd for a Friday night knees-up south of the river.

Strolling between the two stages/bars (separated by a DJ room in which I thoroughly enjoyed some old school reggae) I caught bits and pieces of the support acts; none of which left a real impression on me - they weren’t bad, just not quite my cup of tea.

Not massively impressed at the new music on display, my ears pricked up when I heard the rumor that the special guests had “good shoes”. True enough half an hour later the Morden boys made an appearance on the second stage and ripped through the majority of their debut album Think Before You Speak as well as a new song for good measure. The fact that not only were they on top form but that all the scene kids were at the other stage awaiting The Rakes and guarding their “spot” only widened the grin on my face. That was more like it. With my clothes suitably ruined and my beer everywhere it was time for the main event (via the bar of course!).

Having been a fan of The Rakes first offering Capture/Release and a critic of their second, far more commercial album, Ten New Messages, I was both excited and apprehensive to see what was on offer. Opening with lesser-known songs from the second album and a few new ones left the crowd somewhat bemused. However, The Rakes soon riled us all into frenzy performing riotous renditions of Strasbourg, 22 Grand Job and Retreat. The front of the room seemed to erupt into chaos as tune after tune from Capture/Release got a much-deserved airing. With Alan Donohoe twitching and jerking around the stage like he’s the secret love child of Ian Curtis on speed and the band drilling through their best material, I stumbled home with my grin still firmly in place...

Dearest Anarcho-Hillbilly Barn Dance Compadres,

Cut-a-Shine are at it again, hosting another rip roarer at the glorious Finsbury Town Hall. It's going to be a bonafide hoe-down; themed as a Barn Dating night, with plenty of lil dawgie roping, partner swapping, do-si-do-ing, gingham neckerchiefs and yeehaw-ing.

Couples, trios, doubles, groups, gay straight bi, tri, or try anything, come on down. Single as sliced cheese? You might just meet a sweet thing to take you off to the love parlour for a roll in the hay. If you're feeling really lucky, you might receive a gingham beard (for the girls) or a pretty bow (for the boys), with a saucy love note attached. If you’re from the house of jealous lovers though, maybe stay at home, as it's gonna be a mixing and mingling good old fashioned time, and we don’t want no fighting shenanigans going on.

Opening up the evening will be The Bona Fide Family Band, promising some hillbilly mountain music on a wealth of odd instruments like mandolins and banjos.

Cut-a-Shine are on 9pm-11pm with Amelia calling some dances, if you fancy meeting the lady herself.

After all that there's Fat 45. Jump jivin', jitter buggin', rock’n’rollin 11-piece swing band.

Can’t get any cooler than a shindig like this one. And whilst you're cutting a rug out there on the barn dancing floor, spare a thought for the poor old band stuck up there on the stage, and send us some love too (cider will do).

So long now, see you at the shindig this here Friday!

Despite their credentials and that Robot Man song, the Aliens just aren't cutting it. Black Affair, Steve Mason's new incarnation, is at once audacious and amazing but probably won't please the faithful. So what are those once enamored with and still lamenting the demise of perhaps the only British band of the last decade to actually be any, er, good, to do? I'm mean fans of the Beta Band, of course. Easy now. You'd do well to investigate this stone cold gem of an EP by Peter Hedley a.k.a. Beneath Fire and Smoke.

Sounding not unlike a Romanian folk band free-styling over the best bits of the Beta's first three EPs, this has much to commend. No surprise then that Hedley is a sometime collaborator with whacked-out-folk genius, Voice of the Seven Woods. His music is shot through with the same rustic romance and bleary eyed wooziness...but it's so much more. Opener, Smoke and Flames, is the finest cut. It uncurls, ebbs and flows over euphoric flutes and strings, electro-acoustic beats, monastic, loved-up vocals and down right cheeky Fairport’s style bass. Hot damn! Songs from a Slipway is how A Hawk and A Hacksaw wish they'd sound whilst The Iceberg Waltz deals in the same desolate and disconcerting piano led melancholia last heard on a Beach Boys Smile bootleg circa December 1966. Closer, So It Came To Pass, contorts celestial psychedelic string parts over minimalist bass and heart broken lyrics of unrequited love: So it came to be/That you and me will always be/Apart...

Beautifully packaged vinyl courtesy of the bespoke Battered Ornaments label, this is what it's all about. No downloads. No guerilla PR campaign. No hype. Music for music's sake. And don't doubt it, pal - this is fucking music.

Oh the anticipation! Toe twinkling, shoulder shivering, hand tingling excitement; the kind that reminds you of waiting for Christmas, or going on a ride in a hot air balloon. Though my evening shuddered to a start by being in a decidedly bad mood, the infectious promise of the night ahead soon took over, imbuing the pilgrimage to The Roundhouse with impatience at all manner of minor public transport issues (like waiting nine extra minutes for the tube – well I never!).

The crowd at the Roundhouse was eclectic, and as excited as I was; waiting anxiously for Beirut to get onstage with the boy wonder Zach Condon at the lead. When they ambled on, there was a warm roar of approval as the raggle-taggle gypsy mob began to play.

Zach has the quiet self-assured confidence of one having been around for a little while and knowing what he’s doing. With his brass (a flugelhorn to be precise) slung over his shoulder, baggy white tee-shirt and tousled hair, he is a rather unassuming figure…until he begins to sing. Condon’s undulating voice soars over the joyful raucous of the other nine musicians who make up the collective that is Beirut.

It is a gorgeous din they make, warm and fresh. Their music manages to make the most jaded cynic feel like there’s still the endless possibility of many journeys to be had. Incongruously mature, yet still curiously innocent, the atmosphere that Beirut creates is simply a happy one. Uplifting and beautiful, the wide-eyed optimism of youth conveyed with well-travelled worldliness that is addictive to listen to. You just don’t want them to stop playing; even though the whole set sounds sort of like one long song with different variations on the theme – this is irrelevant, just like their image or whether they ‘put on a show’. Because it’s simply their sound, the purity of the music that absolutely holds you in rapt attention. Beirut is robust and swirling, just like snow and makes you feel like you’re seeing such a phenomena for the first time. Every song is epic, the soundtrack to the homecoming scene after the kind of adventure told in folktales, with a kind of refreshing joy and resolution that is ultimately satisfying.

For my virgin experience at the Roundhouse, I couldn’t have asked for a nicer time. And then came the after party in central Camden. The free bar made this buoyant Beirut fan a little more buoyant. The only vaguely eye-rolling thing was the opening few songs from the Djs – who I observed had a little trouble getting in at the door –making Liz (yet another tall companion of mine, who has the advantage of not having to crane to see ANYthing ANYwhere) and I raise our eyebrows. Ambient house at the Beirut after party? Hmmkay.

So we decided to make an exit a little while after the free bar dried up. Our timing was canny, as Beirut decided to make like trees (and leave) also. I caught Nick, the Beirut drummer, on the way out the door to tell him – like countless others had in the past no doubt of course – how much I enjoyed the gig. After a happily tipsy chat that I can’t actually recall very much of besides the fact that I flashed some blood (TRUST, click this) at him, my stomach grumbled and the best egg and bacon baps in London called my name. These are so good in fact, that Liz broke FOUR YEARS of vegetarianism to scoff a bit of my bacon a week ago. OH YES.

Nick decided that he too, could hear bacon calling him, and came with us. The lovely chap then proceeded to buy me an egg and bacon bap with BARBEQUE SAUCE! I had lost all hope that this condiment existed in the UK, and this event restored my faith in both rock stars and British condimentation. On that note, it was the perfect night…

…And the bus ride back into East London was free too, innit. Hollaaaa.

{Somewhat dodgy) Photography by Christel Escosa

When music editor Christel told me I was on the guest list for this gig, she was greeted with a week of agitated over-enthusiasm and stupid Devendra-related questions. Not only was I smitten for the Banhart, I was a recently converted Laura enthusiast too, after weeks of listening to her soothing melodic tones in Amelia’s kitchen. To say that she has featured on every one of my recent mix tapes is an understatement. (She’s made it on to each one twice.)

So finally the evening arrived, and with my floral maxi-dress and lace headband in place I met up with my +1 (boyfriend Jake) for a pre-gig beer in Camden.
I thought I might be a teensy bit jealous of Laura Marling before the gig – (she’s a 17-year-old singer/songwriter extraordinaire who gets to support folk legends for god’s sake!) but after watching her I was absolutely green. How dare she be so unfailingly talented and successful at her age! And her attributes didn’t even seem to end there: to watch, she was the cutest of urban nymphs: tiny, with somewhat scene (click on this, no really) peroxide hair, an oversized hoodie slung off the shoulder and an unassuming manner that found her mumbling graciously between songs. Though she looked like she might not be enjoying herself, she was making a lot of us in the audience happy. I sang along fanatically to the ones I knew, and enjoyed hearing some new tales from her latest repertoire. Unfortunately the set was pretty much over before it began - she slunk off stage after five prettily concise tunes (alas without playing my favourite New Romantic) but left me in high spirits.

Devendra kept an impatient audience waiting for half an hour after Laura’s set, while he probably did something cool like smoke a joint backstage with his bohemian friends. We were pretty heated up by the time he stepped out from the shadows (hey just ‘cos it’s folk doesn’t mean the audience don’t push and shove a little) but oh my god did he make up for it! The most beautifully enchanting man I have ever seen, Devendra practically seemed to shine in the light of his own velvet clad aura. He opened the set with a joke song that he deliberately mimed, and just kept the skillz coming and coming, somehow managing to be funny, talented and entertaining the whole way through.

His voice sounded quite different live, and I mean that in a good way. Maybe it was just to do with getting the whole Devendra Banhart experience. It would be unfair not to mention his band while reviewing the gig because they obviously play a big part in his live performances. I couldn’t stop looking at the guitarist to his left. I swear he had actually stepped right out of ’69, complete with a shoulder-length mat of centre-parted hair and three piece flared suit. Together they made a pretty marvellous bunch.

I left the gig with an even bigger crush than I’d arrived with and a desire to pick up the guitar and learn a few tunes… perhaps next time I’ll be the supporting act.

Aaaargh UPSET THE RHYTHM. What would I do without them? They make seeing the noisy and alternative acts so easy for me. Just pick up a long orange flyer from your local east end haunt and you’re pretty set for your spiky, choice, and intercontinental for most part of the month. I got to 93 FEET EAST, a relatively new venue for UPSET THE RHYTHM, (which sound wise I am fine with, but in terms of character I’m not so sure) in time for YACHT. Active is definitely the word. Bouncy, fun, epileptic dance moves bordering on ADHD. Formerly the second half of THE BLOW it is the best music for indie kids to dance to. Jona Bechtolt’s percussion is infectious with jerky legs and shoulder thrusting all over the show. I am willing to forget the Michael Jackson sample used as an intro and his public school boy style rambling, as he was much fun.

Then NUMBERS. Trios really work! CELEBRATION, GET HUSTLE, PUBLIC IMAGE LIMITED. NUMBERS are a no-wave-art-punk band of relentless drumming. They are coarse but ultimately captivating. They make a powerful noise, which, although better in previous recordings, makes you stop and fucking pay attention. Indra Dunis on drums and lead vocals is scratchy and piercing in the best possible sense. NUMBERS claw away at you, drawing you down and throwing you away. And there is a synthesizer. Need I say more?

Huw Stephens – Radio 1 DJ (and all round good egg) have afforded the gig going hordes of the Welsh capital a real treat this weekend in the shape of a three day musical feast. It’s simple title (‘swn’) belying the riches on offer. Aside from Sons and Daughters, tonight features the likes of The Cribs, Beirut and The Duke Spirit scattered amongst a host of venues throughout the city. Over the course of the weekend there will also be the opportunity to catch anything from Two Gallants, to DJ sets by Annie Mac and Steve Lamacq – these being just a handful of acts from the impressive 120 plus assembled by Stephens for the inaugural event.

The Scottish quintet arrive in Cardiff midway through a tour in support of new album This Gift, due early next year. Rather unusually, the bands online tour blog boasts of the pre gig joys of consuming Chinese green tea in Cambridge. So much for the Rock ‘n’ Roll excess then. But in the flesh they do a stellar job of presenting themselves as strangely stylish, sexy and diverse outfit. The striking presence is most welcome.

Style aside, so to the substance – and the songs. Or rather ‘song’ as it turns out. Tonight’s performance is so repetitive in nature that it almost feels like the set is one big song. From a very early stage in the set, songs blend into one another, and the absence of differentiation is stark with the overriding effect being one of tedium for long periods.

As a unit, the band kick and splutter without really going anywhere – even if at times they manage to create a surprisingly big sound. The lack of craft however often relegates this to mere ‘noise’. But, on occasion everything does fall into place. Cathy Come Home (a homage to socialist stalwart film director Ken Loach) has the necessary chorus, and said big sound (not noise in this instance) to resonate somewhat. Whilst new single Gilt Complex – which we are reliably informed is ‘about c*nts’ – recalls the wilder moments of Echo and The Bunnymen with some zest.

It’s all a little too late, but there are glimpses of excellence right at the end of the set. Chains is definitely the best new song on offer, it’s defiant energy and bite offering hope for the new record, and they end on Johnny Cash – with a bit of Iggy and The Stooges thrown in for good measure.

So much for the green tea eh.

Gillan Edgar (yes, that's his real name) is a Scottish songsmith who has set up home in Manchester with his girlfriend, their two dogs, and an cluster of instruments. His performances tend towards the retro; reliant on basic acoustic grooves, and he has a unique, happy-go-go-lucky sound. Imagine how today's fix of troubled indie bands might sound if they actually had a smile on their face, and you're half way there.

On Monday, Gillan and his band put on a show at the Indigo2 - the new, lavish O2 arena's cooler, alternative sister venue, housed in what was the Millennium Dome. Edgar is, at the moment, unsigned; but the clock is ticking for him to find his perfect match in the music industry. Bound for the pop charts with his boyish good looks, Gillan exudes confidence and is a completely natural show-off. I'm not usually one for crowd participation, but encouragement by Gillan to sing The Greatest Gift's chorus (No no no no, no no no no) was met by myself and the crowd with excitement. This is exactly the kind of thing he promotes at his intimate gigs, which light-up the faces of his small but loyal following. In between marvellous melodies he connects with his audience with his laid back, witty persona and larger-than-life stage presence. I had been waiting for him to play in London for a while, so imagine my excitement when I heard the Bedford (the small Balham live music venue) were to host him here at the Indigo.

Edgar's music is exciting indeed - and can only be described as pop and rock sitting contiguously, providing heart warming lyrics and a musically 'up yours' to pretentious indie bands who have the attitude but