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Moonrider EP  The Feds

Formed back in June 2003 and still firmly in their teens, Sheffield's The Feds debut four track EP sees the band pursuing contemporary soundscapes that belies their meek years. Perhaps this was always going to be the case with lead singer/guitarist Louis citing influences including socialist activism, Conor Oberst (who?), Yello Biafra and real ale. Musically, the EP gives more than a nod to the likes of Starsailor, Coldplay and Muse. Lofty ambitions indeed. And while lacking a bit in the tightness and production department, the EP's shot through with a genuinely creative seam that brims with ideas. Pick of the bunch is the melancholic, dreamy opener "Casablanca" where Louis showcases the versatility of his not inconsiderable vocal talents - however the wailing chorus of "Desert song" is perhaps best forgotten. Major progress, then, for a band still in their infancy. Contact: [link] Tue, 16th March 2004... Review by Denzil Watson

Fiery Furnaces  Fuzz Club

It’s inescapable these days that when a band consists of a brother and a sister, White Stripes comparisons are made, and that’s exactly what’s happening to the Fiery Furnaces.    With this pair, this isn’t strictly justified - for a start the sister’s up front and playing guitar while the brother mucks around with fantastically naff-sounding synths, and there’s no suggestion the two of them are actually married (yet at least). They're also backed by a couple of additional musicians to beef up the sound, which you can't imagine the Whites doing.    It’s a sound that won’t be everyone’s cup of tea, there’s a certain forced cutesiness to to them at times that’s a bit reminiscent of a less vulgar Moldy Peaches, and the keyboards do sound very very rubbish at times, like Hot Hot Heat armed only with Casios. But to this reviewer this nose-thumbing attitude to credibility makes them all the more endearing.    Cute and daft single ‘Tropical Iceland’ is a highlight of the set, a great song that should get the kids shuffling at the most discerning of indie discos. Some of the songs suffer from meandering a bit and seeming to go at musical tangents, but it's generally good stuff. This is a band who aren’t likely to reach the higher echelons of the indie elite, but are an interesting and charming group none the less. Wed, 3rd March 2004... Review by Pete Mella

Chuck / Ormondroyd  Deep End

Wednesday night off the Deep End and surfs up! The perfect venue for Sheffield's Chuck to purvey their authentic take on garage/punk Americana. Donned in regulation black collar shirts and dark rimmed glasses these good ole boys not only sound the part but look the part too. Riding of the wave of success of their debut single on our own Sheffield Phonographic Corporation there's a swagger in their step. Chuck main-man, the Buddy Holly-esque Darren personifies the Chuck manifesto - enthusiastically gurning his way through the set. And while there's little in the way of deviation from their musical blueprint, there's no filler nor fat either, just nine garage-epics that hit the spot. Standout tracks have to be the three single tracks. "Do the Math(ematics)" has the lyrical barb/guitar rifts of prime-time Dead Kennedys, "Wetsuit" shows Chuck at their wordy best ('He took his Dr Zoom sex wax and began to rub it vigorously up and down the length of his stick'), giving an approving nod in the direction of Electric Six. Show closer "No not Ahhh" is already a cut classic. Rob Chuck, donned in a sombrero, takes up lead vocal duties, leading the crowd in a mass arm-waving finale.     And on to the band intriguingly named after the gangling ex-Derby and Bradford centre-forward, Ormondroyd. Far more graceful than their footballer namesake ever was, the Droyd majestically ebb and flow through their headline set. Orchestral synths wash over a dual guitar assault as their songs swell and brood in a manner not dissimilar from My Bloody Valentine, Mogwai or Spacemen 3. Contemporary influences indeed. However, unlike the shoe-gazing bands of the late 1980's the po-facedness is replaced by a beautiful almost childlike innocence and sense of fun. A one point the drummer Gareth starts a song off by hitting a cowbell mounted on a hard hat on his head. Surreal or what? With vocal duties shared between guitarists, keyboardists and clarinet players the range of vocal talents on show is as equally as varied as the songs. We get a selection from their John Peel acclaimed EP's "1-0" and "AET" plus a handful on new songs including the excellent 'Eyes on the road' to show us that their unquestionable song-writing talent is far from standing still. With a bit of luck 2004 should be the year that this lot make the transformation from promising local band to national indie success. Tue, 24th February 2004... Review by Denzil Watson

Whatever I Did (I Won't Do It Again)  Dead Like Harry

Another slab of 80’s-drenched melodrama from the DLH kids. They’ve continued to hone their wilfully unfashionable songwriting, that eschews everything everyone else is copying, and instead taking on board the likes of Fleetwood Mac, Runrig, Jim Steinman and no small amount of amateur dramatics. The last track sounds disconcertingly like Texas as well, but don’t let that put you off…    As always this inherent untrendiness and theatrical nature means DLH just won’t appeal some listeners, but there’s no denying this lot know how to write a tune, the musicianship gets better and better, and the production is faultless. Good stuff, but I must admit to preferring the giddy pop of the last demo’s ‘Secrets’ track.  Thu, 29th January 2004... Review by PJN

No Not Ah/Wetsuit/Do The Math[ematics]  Chuck

Info: Thee Sheffield Phonographic Corporation There is absolutely no doubt about it, a CD can have any type of pull out inlay gubbins or fancy packaging, and it can never be such a beautiful object as the humble 7” single.    In fact a CD would have to have all manner of crazy-assed and expensive stuff done to it to make it a fraction as cool-looking as this, the debut triple A-side from Chuck. It looks bloody amazing just because it’s a fantastic shade of translucent blue and pressed on gloriously thick Czech vinyl. Nice!    The first track is a gem, a live favourite that has a cult of arm-waving audience participation, and sounds like Sergio Leone and Dick Dale getting pissed on tequila and recording the ensuing chaos.    The other tracks are also typically madcap surf-tinged Chuck tracks, daft without being stupid, and the sound of a band having a rare old time without excluding the listener from the joke.    Hopefully this record will get as much of a mini-cult as the ‘I’m a Fucker’ single by labelmates The Motherfuckers (it got in the Face, you know…), because it’s at least as good. Grand stuff indeed.  Thu, 29th January 2004... Review by Pete

New Year's Resolution  Headup

Heavy chugging guitars from Headup, and a deep throaty rock growl that can’t quite decide whether to do an American accent or not.    Competent enough, but for some reason I can’t quite explain it does sound quite comical when the singer goes ‘piss, sweat and blood’ on the first track, and you can’t get the feeling it’s a group trying to be something their not, that is American RATM-style guitar heroes.  Thu, 29th January 2004... Review by PJM

The Money Shot  Fast Lady

Info: Bubblegunner Doncaster’s Fast Lady had a previous incarnation as a rather good band called Machine Rock, that made very pleasant Kraftwerk-style bleeps and chirrups.    From the start of the drum loop nicked off ‘We Will Rock You’ and the karaoke Axl Rose impression it’s not hard to think of where the inspiration for this transformation came from. Those lycra clad chancers The Darkness have a lot to answer for.    Tracks on the album have titles like ‘Sex Crime City’, ‘Hooray 4 Rock’ and, um, ‘Living Life With One Arm’, which say more about the songs than I ever could. It’s quite funny for a moment or two, but a whole album of electro pisstake cock rock? Um…    Anyway, very clever lads. Now put ‘Permission To Land’ away, get ‘TransEurope Express’ out and get back to work, cos This Is Spinal Crap.    Thu, 29th January 2004... Review by PJM

Moonlight Driving  The Repomen

Info: RepoRecords A trip back into time to the days of 80s indie with this lot, and I really hope they don’t take that as an insult. First track, ‘Moonlight Driving’ is a giddy track with a shuffly rhythm section and piano riff, and is very nice.    The next two tracks bring to mind the word “jangly”, and are pleasant if forgettable indie love songs, and the last track ‘Delta Blues’, well, does exactly what it says on the tin.    These tracks fall well short of bettering ‘Lauren Bacall’ off their last EP, a track that’s up there with my favourite local tracks of the last few years, but it’s a good stab. What I really look forward to is a Repomen demo which encapsulates the energy of their live show, where singer Denzil takes over the stage like a whirling and bespectacled ringmaster.  Thu, 29th January 2004... Review by PJM

Jagged Line  Atraiou

This demo from the unpronounceable and even more unspellable Atraiou, is quite lumpy but competent indie rock music. The singer sounds a bit shy, he should belt it out a bit more really otherwise it falls a bit flat, and some of the more over the top guitar solos end up sounding quite Darkness-esque, which doesn’t work in serious songs.    A typical young-sounding band really, some good ideas, some all right playing, but little to drag you in. Not one to write off though, they sound like ones to grow with age.   Thu, 29th January 2004... Review by PJM

Franz Ferdinand  Fez Club

It’s a double-edged sword is NME hype. It can elevate a band to almost god-like levels, but simultaneously make them automatically loathed by a good section of the audience, just to prove the inkies wrong.    Sometimes, of course, the NME gets it right, and I really hope people realise this with Franz Ferdinand. Named after the Archduke whose death sparked World War One, these Glasgow-types are (oxymoron alert!) unpretentious artrock. The songs are nicely angular, some impressively mixing Fall-type guitars with Human League-style synths. One even sounds a bit like Suzi Quattro, but still sounds good. Which requires skill.    It’s good stuff, and a packed Fez Club lap it up, knowing it’s probably one of those gigs that everyone will wish they’d been at, just like the Datsuns at the Barfly, the Hives at the Casbah and Travis at Tin Pan Alley.    Oh and, the keyboard fella looks like Jim Carrey. Sorry, but he does.  Thu, 25th September 2003... Review by Pete