Seagulls or Eagles? No, it's the bloody Eagulls from Leeds

The story goes that at a drunken holiday camp karaoke the lyrics to a Shaggy number, Angel, mistakenly came out as  'Girl, you're my Eagle'. True or not, in 2010 four Leeds lads became Eagulls and started a band that took no prisoners when it came to media-bashing or shandy-drinking southerners. Their debut album is about to be followed by Ullages, and a short pre-launch tour calls in tonight at Norwich Arts Centre. There are three support acts. It's going to be a busy evening.

Leaning against the edge of the stage with just a guitar and sequencer, together with the biggest pedal and effects board this side of Ed Sheeran's lock-up, and all fed through a tiny amp on the auditorium floor, is Eagulls driver Stuart Smith, aka 99 Watts. Performing in a darkened hall with just two side spots providing illumination, a small crowd gathers, mesmerised by the ambient looped guitar sounds coming from this inauspicious performer. It sounds at times like a 21st century Mike Oldfield, but without the tubular bell distractions. Part improvised and part complex melody patterns, this is no 'wheels-on-the-tour-bus-go-round-and-round' indulgence, but an unexpected delight with which to start the evening.

By way of contrast, Soyuz Rats are a fearsome guitar and bass combination that knows no fear. Primal shouting and screaming makes way for a swirling crescendo of noise and effects that paint a dystopian landscape of Orwellian proportion. Their music could become the re-make soundtrack to '1984' or equally Gilliam's 'Brazil'. Intensely atmospheric, especially when bathed under blood-red spotlights, this felt as much a soundscape installation as it did a gig performance. And, they are from Norwich. Yay!

Soyuz Rats

Flipping into yet another parallel universe came Brighton-based Fear of Men, commencing with lead singer Jessica Weiss performing underneath a white muslin shawl. There are immediately reminders of the first incarnation of School of Seven Bells, with a dreamy atmospheric vibe helped along with a rhythm of almost hypnotic proportion. The shawl is eventually discarded, and the mood progressively lightens like a sun rising over an Eastern horizon, until the auditorium is bathed in a gloriously warm ambience. I like these a lot.

Fear of Men

Eagulls created waves early on by being almost antagonistic to everyone and everything in the media residing south of Watford Gap, as if only gritty Northerners knew what it was like to be out of work and hungry. Not true, my friends, and with the imminent release of follow-up album Ullages they now appear more conciliatory to our non-clog wearing way of life.

Lead singer George Mitchell, complete with curtains-bob haircut and full length duffle coat, is now looking uber-cool, and whilst the rest of the band still look more like salesmen from the Hagley Road, Birmingham branch of GuitarGuitar than actual rock stars, one gets a sense that we may be witnessing an evolutionary progression in their outlook as well as their music.

The playing is still as intense and aggressive before - new tracks like Euphoria and Blume leading the way after opener Lemontrees, but the original angst of Tough Luck, Yellow Eyes and Nerve Endings remind us of the anger that preceded. But whilst Mitchell moulds the delivery of the lyrics in a mix of Robert Smith disdain and Joe Strummer urgency, and struts around stage, the rest of the band are happy to keep to their marks and simply play their woollen socks off. The crowd are enthusiastic and react with some boisterous surging and embracing bonhomie.

The entire performance is backdropped by a screening of the original version of Fritz Langer's Metropolis, overlaid with the band's bannered logo. Together with Mitchell's microphone enhanced effects from a small table-mounted tape-recorder in centre-stage, Eagulls are beginning to appear almost art-house in their dynamic.

Who would have bloody thought it?

There is no encore. I'm not even sure if the planned set reaches its conclusion. It's half past eleven and a quick 'Good night' is followed by a swift exit and the houselights come up. Have we climaxed? Is this the two-fingered 'farewell, Norwich' ? Or is it simply that the plug has been pulled upon reaching the venue's curfew? We may never know. But we embraced the new Eagulls with all our Norfolk hearts.

https://99watts.bandcamp.com/releases

https://www.facebook.com/soyuzrats/photos_stream?tab=photos

https://www.facebook.com/fearofmen
http://www.fearofmen.co.uk/

https://www.facebook.com/eagulls/?fref=ts
http://www.eagulls.co.uk/eagulls/

British Rejects at 'The Cut' - Lowestoft Comes to Norwich. Yay!

First an apology to both Chalky Seas and to Mila Falls. It's not that I didn't want to catch your sets, I really would have done so if I could have made it to Open in time. 'The Cut' is a marvelous opportunity to showcase this region's musical talent - a physical manifestation of the fantastic work done in promoting local artists by the event's co-organisers BBC Introdudcing and Outline Magazine. Even if I could only catch one of the three acts tonight my £3 ticket would still be a bargain in anybody's book.

I therefore have to rely on feedback from those present and a little bit of internet research of my own to find out what I missed. Currently there's only one track online that I can find from Chalky Seas, and its a mid-tempo indie-folk affair that goes by the name of Plastic Friends. Pleasant enough, and I love the idea that their new single Cavalier was actually inspired by an old Vauxhall estate car. Probably much more worthy of seeking out for a listen than their name suggests. Unfortunately Chalky Seas sounds far too 'murky-North Sea' and not enough 'West Coast sunshine' to potentially attract the casual passer-by.

Norwich-born Mila Falls has carved out quite a name for herself in the world of house and electro, and played at our own Sundown festival last year. Tonight's set at Open is a more pop-based performance with new material displaying a definite nod towards 80's Disco. She is backed by a live guitarist and drummer, but apparently let down by an intermittently malfunctioning backing track. I only catch the last song of her set, which sounds great, but I almost wish that, for a small intimate venue like the Open Club stage, she had treated us to an acoustic set. Having heard unplugged versions of songs like Radio on YouTube it would have been really cool to have experienced that great voice up close and personal.

As a Lowestoft boy myself it is always a pleasure to see a band from my own hometown (even The Darkness), and British Rejects is a great name with which to sum up the dis-affection of an entire generation from the faded glory of a once great fishing port and seaside town. My authenticity-alert therefore goes off immediately when I see a tousled guitarist sporting a Jack Wills t-shirt. However, that aside, the four lads really put on a spirited show to those still remaining (and it really is a shame at these local showcase events that the friends and fans of the initial acts don't always stay for the entire show). Ryan Redwood makes a great front-man, bursting with enthusiasm and energy. They are not nearly as punk or heavy rock as I was expecting - I would put them more in the camp of Foos-referencing-Undertones - but Owen, Andrew and Sam together put in stirling performances to make British Rejects look and sound like a properly tight band. If they sounded as good as this on their recent UK tour they will have proved great ambassadors for their home town. All in all, this was a great climax to this, the second edition of 'The Cut'.

 

https://www.facebook.com/chalkyseas/?fref=ts

https://www.facebook.com/cayte.webber?fref=ts

https://www.facebook.com/BritishRejectsFanPage/?fref=ts

The next edition of 'The Cut' is scheduled for April 15th, and features Franko Fraize, Claws, and Maya Law. Full details at :
https://www.facebook.com/events/1553029204994491/

Telegram, Warm Brains, and Painted Heathers at The Waterfront - Oh, and let's not forget the football either.

It has been something of a challenge to make it to The Waterfront tonight. I have had to forego a volunteer meeting for this year's Norfolk and Norwich Festival (mind you, I did manage to submit my online application form earlier in the day), and had to get myself over to Oak Street to finally collect my Piaggio scooter which had been in dry dock for the last two weeks having a new fuel injector fitted. Add to that the huge influx of traffic into the city for tonight's Premier League football clash between Norwich and Chelsea, and you can imagine the disruption to normal travelling times throughout the city.

Anyway, I've made it in time, got my scooter back (which has saved me the frustration of having to search for a car parking space close to King Street) and have arrived at The Waterfront with minutes to spare. And all because of a band I first saw at Festival No6 in Portmeirion two years ago. Telegram were one of a number of bands I saw for the first time that weekend, and was really impressed by their tight retro sound and their stage presence. It is perhaps surprising, therefore, that it has taken this long for a headlining tour and a debut album to follow.

Opening tonight is a local band who performed their first gig back in October of last year at Norwich Arts Centre. Painted Heathers consist of Brandon Jacobs on guitar and vocals, Lauren Rose Smith on bass, and James Lloyd Kerry on drums. Then, they were giving away demo CDs to the audience, tonight they are launching their debut single Little Steps.

Painted Heathers

I liked them then and I still like them four months on. Brandon is clearly the driving force, and the most accomplished musician of the three. He looks a little bit like a young Terry Hall, and the music has that same 90's feel - melodically in the same camp as Colourfield but with a far riffier guitar sound. Lauren plays bass well within her capabilities and James keeps the pace steady. It all sounds good, although at times it would be nice to just crank the tempo up a notch, although this is still only gig number three. Watch these grow and flourish.

Now I'm not much of an offal eater, and I have to admit that Warm Brains came across as a bit of a budget dish. Frontman Rory Atwell gives good value for money with some effective guitar work and rock and roll posturing. He is still remembered from his time with Test Icicles, and has since turned his hand to engineering and producing with artists like Palma Violets and Yuck, as well as tonight's headliners. However, tonight his own vocals sound at times a little flat, and whilst his colleagues may not look quite as Camden High Road as he does, they definitely make a valid contribution to the band's energy. With an album to promote, and track titles like Languid Tarmac kick-starting our imagination, Warm Brains may well appeal to those dining off the trendier musical specials boards. For the meantime though, I prefer mine chilled or piping hot. And, lets not forget, we have our own Teen Brains to tickle our taste buds in Norwich.

Warm Brains

Now, whether it was the glorious autumnal sunshine of 2014 Festival No6 that put me in such a receptive mood for new bands, or the magical setting of Portmeirion village, or simply the copious quantities of local ale, but Telegram tonight failed to ignite for me like they did that weekend. Which, for a band that has only just released their debut album Operator, comes as a bit of a surprise. Perhaps, in re-working the songs just a little too much prior to the recording process, they have lost some of their initial charisma. I remember them drawing proudly in influence and style from the glam-era, and serving up a seventies musical bouillabaise - their were fine lumps of Bolan, Bowie and Roxy Music floating around in a swirling cauldron of guitars and Chinnichap beats, yet they had their own identity and contribution to add by way of seasoning.

Now, the roles seem to have reversed, and their own ingredients are fighting for domination in a watery minestrone of tribute band pastiche. Only the Bowie cover, Heroes, saved it for me tonight, despite the leather jacketed coolness of vocalist Matt Saunders. The remainder of the set, although tight and played with gusto, never regained the previous ground lost. In striding out to become contemporary they have in actual fact shuffled several steps back. Sadly, they may have discarded the very thing that made them initially sound so fresh. Ironic for a band that has named themselves after a means of communication that today's audience may not have even heard of, let alone used.

Telegram

And, as if that wasn't bad enough, Norwich City lost  their football game as well.

 https://www.facebook.com/paintedheathersband/?fref=ts
https://paintedheathers.bandcamp.com/

http://www.warmbrains.com/
https://www.facebook.com/warmbrains/

https://www.facebook.com/teletelegramgram/

Girls Names on a Sunday - Well Worth Remembering

I very nearly didn't make it to Norwich Arts Centre last night to catch Belfast band Girls Names' return to Norfolk (they played at Epic Studios about eighteen months ago). After a lunchtime session in Cromer, followed by bidding the son and his wife a bon voyage back to Hampshire, it would have been so easy for me to merely curl up on the sofa in the company of a glass of wine and a DVD. With the glorious benefit of hindsight, and having since been totally blown away by Girls Band, I am now gratified that I made that supreme effort to grab a coat and get myself down to St Benedicts Street for what has become my 'gig of the year' so far.

To be honest, the motivating force and deciding factor for my coming out was probably the presence of Norwich punk renegades Dog's Dinner as opening support. A band that is still exploring and identifying their own abilities and direction, this was the third set I have seen them play and their confidence and maturity is blossoming triffid-like as singer Josh, along with Tom, Tod and Jacob, achieved a reactionary yet moody stage presence enhanced under a blanket of blood-red lights. This is post-punk pop balanced with youthful awareness that is refreshingly poised ready to fight back at consumerism and the establishment. If you are looking for a local band to adopt as your own personal 'next big thing' you won't go far wrong by claiming the Dog's Dinner as your own.

Gross Net - I'm really sorry, Phil but I should have done my homework and realised that you are also the man that makes the tortured guitars come to life within Girls Names. When you walked onto the stage at Norwich Arts Centre, kick-started the sequencer and start singing I initially sucked in a lungful of air and braced myself for thirty minutes of self-indulgence. How wrong I was.

 Philip Quinn is indeed none other than the talented guitarist with tonight's headline band, and Gross Net is his side project / alter-ego. Once he picks up the guitar and begins to coalesce with, and gradually overwhelm, the programmed track, I realise that we are setting off on an entirely different trajectory. With Nick Cave looks and growling neo-Teutonic vocals, his performance assumes a life of its own with the guitar's soaring dynamics and intricate layering before being cast aside again for a barrier-defying communion amidst the audience, bringing the set full-circle yet introducing an intimacy that contrasted dramatically with the isolated figure that initially greeted us on stage. Crescendo-like tracks, screaming vocals and great atmospherics all leave me gasping for more.

When Girls Names do take the stage Quinn's cover is blown for those who were not already in on the secret, but it is now the turn of Cathal Cully to take centre stage on  guitar, Korg and vocals. Quinn retreats physically to stage left but maintains an indomitable sonic presence. Gib Cassidy takes up drums to provide a consistent and marauding beat that anchors both guitar parts firmly together and Claire Miskimmin provides the most dynamic bass playing that I have experienced in ages. At times she pulls out riffs the like of which take me back to the very early Stranglers albums.

The cumulative effect is a blistering assault on the eardrums, and even the Norwich Arts Centre 's usually muted stage lights are breaking out into sporadic outbursts of funneled strobing. We are on a psyched-out journey through the industrial landscapes of Bowie's Berlin and New Order's Movement, whilst combining energies and atmospherics reminiscent of Cooper Temple Clause from the first throes of the 21st century. This is a musical representation of Europeanism which somehow seems wholly apt for reminding us of the fight against growing nationalism. Girls Names are vibrant proof of the individual powers harnessed and unleashed through symbiosis and collaboration.

This is also an example of how a band's stage performance is capable of taking on a life of its own, extrapolating itself beyond the realm of the studio tracks. This is a throwback to a bygone age when the live performances defined a band's reputation. Girls Names are brimming with live creativity, weaving their material into a co-operative cacophony that blows away the cobwebs of the day, leaving a glorious rock and roll glow in the soul as we leave the venue and make our way home. A rare quality, but one that is wholly welcomed.

So thank you to Dog's Dinner, not only for another great set, but acting as the impetus that tipped the scales and got me out here tonight. I owe you guys one!

https://www.facebook.com/Dogs-Dinner-1492369117648984/?fref=ts

https://dogsdinner1.bandcamp.com/

https://www.facebook.com/grossnetband/

https://soundcloud.com/grossnet

https://www.facebook.com/GirlsNames/?fref=ts

http://www.girlsnamesband.com/

Hinds at Norwich Arts Centre - Oh Deer!, Oh Deer!!, Oh Deer!!!, Oh Deer!!!. Let me explain...

I so, so wanted to love Hinds. I earnestly desired them to blow los calcetines off the world of rock and roll - not just for Madrid, not just for Spain, but for the benefit of the whole Spanish speaking world (400 million voices incidentally, making it the second most widely spoken language on the planet). I love the Spanish culture, its food and its beautiful linguistic fusion of Iberian and Celtic cultures.

What we needed was an authentic Spanish rock and roll band. Someone who could do for Soberano what Jack Daniels had done for Tennessee. Someone who could champion Spain on the musical map of the world in the same way as The Rolling Stones had done for Great Britain, The Doors had done for California, and Lordi had done for Finland. Perhaps Hinds were destined to be that Iberian rock and roll act?

Unfortunately not. Not yet, anyway. But perhaps we are expecting too much, too soon?

Hinds had started off promisingly enough in Madrid in 2011 as The Deers. Then, in January 2015, an un-named, but phonetically-and-similarly sounding, band from Canada cried "Foul!" (not, fowl) and forced them, via a writ, to re-name themselves.

 Whilst female deer are known as 'doe' ( as in Julie Andrews' immortal "doe, a  deer"), The Does certainly does, and would, cause certain problems as an alternative band moniker, even when a doe's a deer, a female deer. Re-naming themselves Hinds to distinguish themselves from the male deer, stags or harts, was a clever move. The name has both the punch and kick in quantities that these four Madrileñas could have only wished for, and would surely need.

And so to 2016, and the UK tour of Hinds, prior to setting off for the United States. The album, Leave Me Alone, is out, and we are three dates in as the band roll in to a cold and foggy Tuesday night at Norwich Arts Centre.

Opening act are New York band Public Access TV, not to be confused with J.Willgoose Esq. and his space-racing Public Service Broadcasting outfit. This four-piece, formed less than two years ago have already created quite a ripple on both sides of the pond, and over here have been picked up by Zane Lowe, NME and a couple of the broadsheets. To be honest they sound a bit too much like The Killers a bit too much of the time, but they play and sing with a spirit and a coolness that makes it all forgivable. The lead singer John Eatherley struts his stuff in squeaky clean sneakers, and looks like a biopic actor playing Mark Zuckerberg playing a rock star. The Ramones they ain't, but they have the confidence and the swagger to impress our Norwich crowd (even if they did call us Nor-wick).

There's quite a boisterous male element in the audience tonight, so Hinds are guaranteed an enthusiastic welcome from the moment they walk on stage. Vocalist Ana Perrote senses the whiff of testosterone in the air and milks it from the start. Her coquettish smile and sexy wiggle of the hips has the young menfolk of Norwich in the palm of her hand from the opening bars of Warning With The Curling, and she knows it.

Unfortunately, to be real rock and roll superstars you also have to have the songs to back up the stage presence, and that is where Hinds perhaps let the side down. To be fair, they actually sound better live on stage than they do on the debut album, Leave Me Alone, and songs like Bamboo and Trippy Gum become glorious pop anthems when sung back by an enthusiastic audience, although the latter still steals that same riff from The Killers' I've Got Soul But I'm Not a Soldier. Fat Calmed Kiddos sounds like Cliff Richard's Living Doll and when, on Chili Town, Perrote sings "I'm flirting with this guy 'cause all your friends are shy" there are frissons of Arctic Monkeys lyricism from I Bet You Look Good On The Dance Floor, as well as having the effect of racking up the alpha-male sexual tension.

And, of course, that is what this entire set becomes. One enormous prolonged anthropological exercise in flirtation and sexual ritual. Girl smiles at boy. Boy struts and postures. Girl is impressed. Boy does more. To the point that these poor late-teenage/early twenty-something males are so pumped up by their own testicular secretions that they are bouncing over the safety barriers and having to be restrained by security. And the band is loving it!!!

Certainly Hinds have all the ingredients (apart perhaps from their songs and their musical ability) to energise an entire army of conscriptable age at every gig they play this tour (It will be interesting to hear if they did actually make it down to The Mischief for after-party tequilas as they promised from the stage). For me they were wholly adequate entertainment for an après-ski party in the Sierra Nevada, or a teenage TV series - their music and their band-wagon is certainly far more Josie and The Pussycats than Savages.

But, for a large part of the audience here tonight, they came, they played, and they conquered. And, for that, I salute them.

http://publicaccesstv.tumblr.com/
https://www.facebook.com/PublicAccessTV/

http://www.hindsband.com/
https://www.facebook.com/hindsband/?fref=ts

http://www.spain.info/en/consultas/deportes/esqui.html

Re-arrange the following words - ROPE, STORE, PONY, UP, SECOND, SINGLE, LAUNCH

Well it's a trick. You don't actually need to re-arrange them, but it would probably only make sense as a headline had you already known the following :-

1) ''Rope Store' is the name of a popular contemporary yet retro-infused band based in Norwich,

2) 'Pony-Up' is the name of a regularly promoted music night at Norwich Arts Centre featuring exciting new bands and artists, and with very reasonably priced admission.

3) A 'single' is what bands would release in the days before i-Tunes, MP3, and Spotify. It was a 7" vinyl record with one song on each side. Sometimes a second, or even third, single would precede the release of the 'album' -  up to six songs on each side of a 12" vinyl record. Nowadays any new song receiving extended promotion or enhanced radio play can be referred to as a single without need for any form of physical product to be made available for purchase.

So, if you put the three together, you would understand that we had 'Rope Store' appearing at a 'Pony-Up' night on Saturday to launch their follow-up single. And yes, as they are a retro-influenced band, they do still release 7" vinyl records. Simples.

But, because this is a 'Pony-Up', we still have two support acts to enjoy before 'Rope Store' take the stage.

Mr David Viner

First up is the very formal-sounding Mr. David Viner who sits on a chair and sings, whilst at the same time playing an acoustic guitar. He was originally spotted back in 2003 whilst selling merchandise for The Von Bondies. Their front-man, Jason Stollsteimer, heard his songs and signed him to his own record label. His songs appear to cover the darker side of life, like love, death and drinking, so when his song for Valentines's Day is introduced as 'I Love You', we have already worked out that it will probably cover death and drinking as well. It is. It's actually called 'I'd Love to Kill You'.Seriously though - David Viner's songs have a dark wit and lyricism that holds our attention for the full thirty minute set. Nick Cave meets Jake Thackeray.

SuperGlu

Essex band Superglu have already played at Norwich Arts Centre on several occasions over the last year, and we love their energy and enthusiasm. They've even bought along a Go-pro camera to record tonight's audience and performance, but haven't worked out how to make it work. It doesn't spoil our enjoyment one iota, and there is also a big new backdrop featuring the new logo and colourway. Their best known song Diving Bell is saved for last, but new song Latvians is showcased alongside tracks from their EP Horse.

 

Rope Store have again played Norwich Arts Centre before in the last year, as well as gigs at The Murderers and an initial single launch at The Brickmakers last December for All of You ( http://www.outlineonline.co.uk/music/live-reviews/rope-store-b2 ). They write all their own material, and take inspiration from everything retro from the Shangri-Las to Style Council. And they release proper singles on proper vinyl, which they record themselves on analogue equipment in their own studio. How's about that then pop-pickers? Not 'arf.

Tonight's launch is for That's Not Good Enough and even if the pressing plant again have again failed to deliver the goods in time for the launch, Jason, Gemma and the band run through another magical set that takes inspiration from the sixties, seventies and eighties. Dominic and Ciarán from local funk jazz and soul collective Lobster join in for the second half of the set, adding even more richness and depth with the extra saxophone and trombone added into the mix.

Rope Store

So, even if we couldn't buy either of their singles (at least it gives us time to save up for a record player) we can at least troop through into the café-bar of the Norwich Arts Centre and let Jason entertain us on the decks until it's time to go home.

NORWICH, ROPE, STORE, SATURDAY, LATE, NIGHT, SMASHES, RECORDS.

'Like' Mr David Viner at https://www.facebook.com/iammrdavidviner/?fref=ts

'Like' Superglu at https://www.facebook.com/supergluband/?fref=ts

'Like' Rope Store at https://www.facebook.com/ropestoremusic/?fref=ts

Norwich's Next Big Thing 2016 - the rundown on this weekend's two semi-finals

Over 100 local music acts applied to be a part of this, the 11th annual Next Big Thing competition, organised by Future Radio with the support of  Outline Magazine and Open Live. From these, fourteen were chosen and invited to compete in two semi-finals with three acts from each semi-final, (together with an extra 'wild card' winner), going through to compete in the final on March 5th for a £500 cash prize provided by Access to Music. As well as the cash, it is the kudos of winning such a prestigious local competition that attracts such a high standard of entrants, meaning that both semi-finals become showcases for the variety of musical talent currently based in this region.

Acts were invited to upload a maximum of three original tracks with the applications for entry, although at what stage one becomes primed as being ready to be considered as the 'next big thing' and at what point one's level of recognition and success precludes you from entering the competition is not quite clear. Certainly previous winners of the competition would not be expected to re-apply, hence the reason why a certain Mr Sheeran did not send in his three tracks this year.

I arrive for the first semi-final having only seen two of the acts previously perform live, and whilst each act has its own entourage of friends and family in the audience, it will be the judges that have the final say in who goes through to the final, and their decision will consider the submitted tracks as well as the live performances. For the purposes of this blog, I have therefore included the internet links as made available via the Future Radio webpage, together with my brief notes from each evening and some rather dubious quality photographs.

Ben Male - 20 years old but apparently with already seven albums under his belt, Ben has the privilege of opening the first semi-final. He's a quality act with a great voice, and his opener 'The Drugs Will Kill You' will obviously strike a chord with a pharmacist like myself. It's just a shame that he hadn't had time to come up with a title for his third song, so instead mused on the fact that he couldn't find an orchestra to play on the recording for £5 and a bag of chips. 7/10

https://soundcloud.com/benmalemusic/the-drugs-will-kill-you-pre

https://soundcloud.com/benmalemusic/my-minds-a-mess-ben-male-pre-release

https://soundcloud.com/benmalemusic/crystal-pre-release-ben-male

The Beelips - Introduced by compère Dean Tucker as Chris and Jamie who 'eek out dark electronic pop with the help of computers', the boys actually perform their three songs with a traditional four-piece guitar and drums line-up, which kind of confuses the hell out of me. Listen to them on Bandcamp, though, and it all starts to make sense. 5/10

https://thebeelips.bandcamp.com/track/green-light

https://thebeelips.bandcamp.com/track/so-i-can-meet-girls
https://thebeelips.bandcamp.com/track/all-around-you

Catnip and Claws -  Possessing without doubt the best stage name since Roobarb and Custard, electronic 'naughty-step' musician Emma Catnip is suitably attired with cat motifs on her top and jacket as well as on her laptop. Whilst some of her beats don't quite meld together seamlessly, and I had already seen the aerobics video footage elsewhere, there is some enthusiastic grooving occurring in the audience in front of me. The recorded tracks, together with the whole moggy thing going on is strangely addictive. 6/10

https://soundcloud.com/catnip_and_claws/secret-chances

https://catnipandclaws.bandcamp.com/track/ruins

https://catnipandclaws.bandcamp.com/track/your-face-in-my-hands-i-turn-you-to-the-sun

Young States - Initially mis-read this one as Young Skates, which may be excusable as their re-interpretation of good old-fashioned grunge and rock would certainly work as a soundtrack to half-pipes, bowls and decks on skateparks across the country. Really pleasing to see an all-girl rock band coming through the ranks - two of the girls have only just turned 18, and one of them already looks and moves like a female Kurt Cobain. Not sure whether they are yet ready to win the competition, but they win me over. 7/10

https://soundcloud.com/youngstates/feedback

https://soundcloud.com/youngstates/stay

https://soundcloud.com/youngstates/no-more

Clyde Automaton - My God! What a surprise. I'm not the biggest fan of electronic or sampled music, but this guy blows me away. He is the 21st century heir to the throne of Fatboy Slim, dropping dubstep beats instead of big-beat and acid-house, and absolutely loving it on stage. This is so entertaining, I just want him to carry on all night. 9/10

https://soundcloud.com/clydeautomatonofficial/go-now-instrumental

https://soundcloud.com/clydeautomatonofficial/herbal-exploration-track-3

https://soundcloud.com/clydeautomatonofficial/trevor-instrumental

Lobster - I have a lot of affection for Lobster. They have an enormous amount of stage presence, a great singer in the shape of Molly Holdom (although tonight battling against suspected glandular fever), and an infectious enthusiasm that oozes out of sax-player Dom Trevor and the rest of this nine-piece band. Any youngsters that can get it on with classic jazz, funk and soul have my vote for a great live show. Can they make the leap to being radio-friendly as well? 8/10

https://soundcloud.com/the_trevor-tron/back-to-life

https://soundcloud.com/the_trevor-tron/space-horse

Savage Island - Another act that I have had the pleasure of seeing live, the first time was supporting the Bosnian rockers Dubioza Kolektiv at Norwich Arts Centre, where they fitted in so well I could not believe they weren't also from the Balkans. There's trumpets, guitars, keyboards and saxophones combining to produce a thrilling climax to tonight's semi-final. But once again, does their charisma extend beyond a live show? 8/10

https://www.youtube.com/watch?v=YJxLXBbpD_U

https://soundcloud.com/savageisland/where-the-party-at

https://soundcloud.com/savageisland/were-not-alone

The judges choice of three acts from the first semi-final was (in no particular order) Clyde Automaton, Catnip and Claws, and Savage Island, and these will appear in the final, which will be staged in Open's main Banking Hall, rather than here in the more intimate Club Room.

Twenty fours hours later and we are back for the second semi-final, and another seven acts all hoping to be crowned Next Big Thing 2016, and receive that £500 prize from Access to Music.

Compèring tonight from Future Radio is Robbie Powell who whips up a frenzy with each and every call to 'Make Some Noise!', contrasting with Dean Tucker's repeated instructions the previous night to 'Go to the bar and get a drinkie-poo!' - it's a game of  'Compare the Compère'.

So these were the acts that performed on Sunday, together with their internet track-links (although some of these tracks may not be those actually submitted to Future Radio) :

Dazy Crown - The name may sound like it should be a female singer, but this is actually a four piece indie band led by Canadian singer-songwriter Thomas Little. Sounds a little bit like Vampire Weekend with neat melodies and hooks delivered pleasantly enough. 6/10

https://soundcloud.com/dazy-crown/perfect-dream-dazy-crown
https://soundcloud.com/dazy-crown/perfect-dream-dazy-crown

Luke Peter Foster - I do like Luke's gentle blend of spoken word and electronic beats, which occasionally ramp up the angst and emotion with some rap-style couplets and rhymes. The trick is to get the sound balance just right for the live show - his lyrics are too good to risk missing out on.  5/10

https://soundcloud.com/luke-peter-foster/home-when-i-must
https://soundcloud.com/luke-peter-foster/visionary-keeping

Midnight Zoo - It's been a pleasure watching this band develop throughout 2015. Forget the label of being the next Joy Division hanging around their necks like millstones - these lads are increasingly acquiring their own distinctive sound. Brave move to premier a brand new song tonight. 8/10

https://soundcloud.com/midnightzoo/addiction
https://soundcloud.com/midnightzoo/wear-her-skin

Aplah - another electronic act, but with an eye very much on the dancefloor with an anthemic set that drops the beats in just the right places. A bit too like David Guetta in places, but just right for cranking up for a banging weekend. 5/10

https://soundcloud.com/aplah/aplah-come-home
https://soundcloud.com/aplah/aplah-just-us-bbc-radio-norfolk-1012016

Maya Law - I first saw 16 year old Maya at a Sonic Youths showcase a couple of months ago, and was blown away by her voice, and the way her songs switch tempo and rhythm so effortlessly. She is so nervous she nearly descends into a fit of giggles at one point, but believe me, she absolutely smashed it here at Open tonight. 10/10

https://soundcloud.com/maya_law/at-sixteen
https://soundcloud.com/maya_law/comfort-zone

Happy Coloured Marbles - A big entourage of fans present to cheer on this rock band that rise to the occasion with a blistering three-song set that nearly takes the roof off Open's Club Room. Very much in the same vein as new boys from Essex, The Bohicas, Happy Coloured Marbles is a perfect accompaniment to a few lagers down the pub. 7/10

https://happycolouredmarbles.bandcamp.com/track/alter-ego
https://happycolouredmarbles.bandcamp.com/track/sins-are-out

Real Life Charm - This seven-piece 'arts collective' with only one guitar between them are, quite honestly, a little bit too clever and complex for my simple tastes. The sound is almost symphonic, and the vocals delivered with an intensity that demands to be admired. The real 'musos' will love them. 7/10

https://soundcloud.com/real-life-charm/desire-single-version
https://soundcloud.com/real-life-charm/no-howling-1
https://soundcloud.com/real-life-charm/freud

So after a final twenty minute interlude when the judges compared notes, cogitated and generally scratched their collective heads Kate Roma from Future Radio came on stage and announced that the second trio of acts to make it to this years Next Big Thing Final would be (again, in no particular order) Dazy Crown, Real Life Charm, and Maya Law. She also announced that the seventh act in the final would be the jazz-funk-soul ensemble Lobster, who win their place by way of the competition's wild-card.

Really looking forward now to the final at Open on Saturday March 5th, with those seven acts all appearing on the magnificent Banking Hall stage. Best of luck to all seven.


http://futureradio.co.uk/radio-projects/next-big-thing

http://www.open247.org.uk/gigs-and-events.aspx

http://www.outlineonline.co.uk/