On my way to the venue, the heavens didn't so much open as collapse in a torrential downpour of biblical proportions, and I turned up soaked to the internal organs. Even my fingers were pruned as I fumbled with my soggy wallet to pay for my first pint. Uncomfortable and miserable-feeling, tonight's bands were going to have to be damn good to lift my mood and convince me that the soaking was worth it.
Testtone 3 have been knocking around York for a while, but this was the first time I had actually seen them play. I liked what I heard. They describe their sound as 'eclectic dance-fused rock; a formula of blistering guitar riffs, insane bass lines and infectious vocal hooks, mixed with pounding drum machines, classic breaks and phat synthesisers.' More simply, though, they're an indie rock trio who use samples, synths and a drum machine, and as such, the 'dance' element of their sound is rather more subtle than the kind of awful dance rock produced by various Nu Rave acts. If anything, they remind me of early Mansun, and I mean that as a compliment.
The energy they exude is quite something, and while the synth player, Rich, spends much of the set busting moves like he's in EMF and air-guitaring in a decidedly uncool way, it's forgivable because it all adds to the sense of enjoyment that the band show through their lively performance. Pity, then, that they should end the set with such a disappointing song, an Oasis style indie-plodder that predictably goes uptempo and dancey at the midway point. Otherwise, a great set.
The Federals took the energy up another notch from the outset. Not through leaping around or crazy antics, but with a full-throttle barrage of guitars, cranking out high-octane garage indie rock. Initially, I was unsure about the slightly strained-sounding vocals, but before long they'd convinced me that everything worked perfectly. The Federals slot into a rock heritage that begins with MC5 and The Stooges, and incorporates elements of contemporaries like Black Rebel Motorcycle Club to create a sound that scuzzy yet solid. Small wonder they've been attracting a lot of attention and winning themselves some high-profile fans (Fearne Cotton has been seen sporting their T-shirts, and they've managed to impress Steve Lamaq too). A genuinely outstanding live act, they were worth the entry fee alone.
If The Federals look like exploding in the coming months, the same applies tenfold to The Officers. Having said that I was beginning to tire of the whole dark 80s inspired synth 'n' guitar thing, I'm being forced to reconsider, as The Officers are one of the most exciting bands I've heard in a fair while. While I was at the bar for just a few minutes, the venue has suddenly become packed, and there's a tangible sense of anticipation. They come onstage to the moody, pulsing synth intro of 'Counting My Guns', dressed all in black. The two guitarists are cowelled by hoodies, and the lighting is stark and minimal. The songs are tight and tense and dense, shimmering and shiny, radiating atmosphere.
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Unusually, they have no bassist, singer Matt centre stage with a bank of synths and laptops stage left producing the pulsating basslines and other incidentals. These guys aren't big on banter: their stage presence in complete contrast to the chirpy, chatty style of Testtone 3, as they cultivate a sullen aloofness. This only adds to the atmosphere and the sense of performance: this is artful moodiness executed to perfection. Yes, The Officers are the very embodiment of cool. Best of all, they have the songs to match (although with no set list and a frustratingly audio-free MySpace page I can't give any titles).
Drawing comparisons is difficult, and will only sell the band painfully short: my initial reaction to the first number was that they come on like Interpol only with more weight, but then as the set progresses, I find myself thinking of She wants Revenge's second album and Nine Inch Nails, or the album that Editors should have made 'In This Light and On This Evening,' but lacked the conviction and the ability. Given that I like all of these acts, you can perhaps get the measure of the standard of performance and quality of material we're talking about. Not since NIN or The Young Gods have I encountered a band meld electronic and conventional rock elements to such powerful effect.
There's no encore. Clearly, they've learned that it's always best to leave them wanting more. Blown away, I pick my jaw off the floor and stumble out into the night. More than worth taking a soaking for, The Officers are going to be huge.
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