For those of you lucky enough to be going to the ATP curated by Portishead, we’ve got the stage times so you can plan your viewing accordingly:

FRIDAY - 7TH DECEMBER 2007

CENTRE STAGE Doors 4.45pm
Fuzz Against Junk 5.15pm - 6pm
Francois Breut - 6.30pm - 7.15pm
Glenn Branca - New Works for Guitars - 7.45pm - 8pm
The Gas Giants - 9pm - 9.15pm
Portishead - 9.20pm - 10.45pm
John Parish - 11.15pm - 12am
Chrome Hoof - 12.30am - 1.15am
Silver Apples - 1.45am - 2.45am

PAVILLION STAGE Doors 4pm
Kling Klang - 4.30pm - 5.15pm
Sparklehorse - 5.45pm - 6.45pm
The Horrors - 7.15pm - 8.15pm
Thurston Moore - 8.45pm - 10.15pm

REDS STAGE
Jerry Sadowitz - 11.15pm - 12.15am
Fuck Buttons - 12.45 - 1.30pm
Gonga - 2am - 2.45am

————————————————-
SATURDAY 8TH DECEMBER 2007

CENTRE STAGE Doors 4pm
Autolux 3.30pm 4.30pm
GZA/Genius performing Liquid Swords 5.00pm - 6.00pm
Glenn Branca & Paranoid Critical Revolution - 6.30pm 7.30pm
The Gas Giants 8.30pm 8.45pm
Portishead - 8.50pm - 10.35pm
The Heads - 11.00pm 11.45pm
OM - 12.15am - 1.00am
Aphex Twin - 1.30am 3.30am

PAVILLION STAGE Doors 1.30pm
Oneida 2pm - 3pm Malcolm Middleton - 3.30pm 4.30pm
A Hawk & A Hacksaw - 5.00pm - 6.15pm
Julian Cope 6.45pm - 8.15pm
Seasick Steve - 8.45pm - 10.15pm

REDS STAGE
The Jukes 12.30pm - 1pm
Don Mandarin - 1.30pm - 2pm
Rosie Red Rash 2.30pm - 3pm
Polar Bear - 10.35pm 11.15pm
Thought Forms 11.45pm 12.30am
Jah Shaka Soundsystem 1.00am 3.30am

———————————————-
SUNDAY 9TH DECEMBER 2007

CENTRE STAGE Doors 1pm
Joe Volk 1.45pm - 2.30pm
Oren Ambarchi 3pm - 3.45pm
John Cooper Clarke 4.15pm - 5pm
Boris - 5.30pm - 6.30pm
Earth - 7pm - 8pm Sunn o))) - 8.30pm 10pm
Crippled Black Phoenix 10.30pm - 11.30pm
Team Brick - 12.00am - 12.45pm
Aphex Twin -1.30am 3.30am

PAVILLION STAGE Doors 2pm
Lucky Luke 3pm - 3.45pm
The Blessing - 4.15pm - 5.00pm
Damo Suzuki - 5.30pm - 6.15pm
Black Mountain 6.45pm - 8.00pm
The Madlib Medicine Show - 8.30pm - 10.00pm

REDS STAGE
Malachi - 10.00pm 10.45pm
Atavist 11.15pm 12.00am
Blood Island Raiders 12.30am -1.30am
TBC - 2am - 3am

Anton Barbeau hails from Sacramento but is clearly an anglophile in influences (Beatles, Syd Barrett, Julian Cope, XTC) and style. There’s an early-Bowie meets Lennon twang to his vocals, and most of the hazy, acid-quirky music comes straight out of a secluded weekend away in North Wales with the Maharishi. This is a UK release of his last-but-one 2006 album, and the ironic title track muses on the problems of being creative without chemical assistance: “I lost the will to write, to strum and to sing”. I couldn’t quite decide if this is a loving pastiche of Lennon in the sky with diamonds or more of a Rutles ‘Cheese And Onions’ mickey-take. I wasn’t able to take it too seriously myself, which became an overriding feeling for the greater part of this release - there may be problems listening without chemical assistance.

‘Leave It With Me, I’m Always Gentle’ is more identifiably individual and all the better for it, having a busking strumming, whistling, and handclaps lilt that rounds off with harmonised vocals in the gently melodic hummable chorus. One that does stick in the mind. More full-bodied power-pop forceful is the following ‘Just Passing By’ - fuelled by incessant maracas (a good thing) and piercing guitar. Then things go decidedly late 60’s Eastern hallucinogenic, and unfortunately, in a late 60’s hallucinogenic pear-shaped sort of way. ‘Alphalpha Bhang’ has vague mystical imagery and a chanted chorus that George Harrison would have been proud of, as he would the stalwart of all things transcendental - the backwards guitar loop. But it left me cold (turkey). ‘Disco Dress’ is a shortish throwaway musical collage of a ditty mixing Manfred Mann’s ‘My Name Is Jack’ flutes with a disco break and nonsense lyrics. But it is a breath of self-deprecating fresh air - what follows is another slice of overly serious strangeness: ‘Boncentration Bamps’. There’s good marshalling of instrumentation around a decent ramblingly atmospheric tune, but I made no connection with the cryptic lyrics. Ditto ‘Magic Little Apron’ (“Mango chutney, pompadom/your order’s ready, carry on.”) and four following tracks that average around two minutes. However, in the middle of these is the eleven and a half minute megalith that is ‘In A Boat On The Sea’; the first four minutes of which build delightfully before it morphs into a forgettable elongated mellow Krautrock (oxymoron?) jam fading into a psychedelic sunset.

What might have been intended as loose, playful, eclectic, and possibly experimental comes across to this listener as sloppy and self-indulgent more often than not. Barbeau can be inventive and demonstrates the capacity to be a very good tunesmith, but the overall impression is that of an out-takes album, lacking the focus to really hit home. For someone for whom each CD purchase is a measured item of expenditure, I think I’ll be waiting for a ‘Best Of’ album before making any kind of commitment.
52%

Links
Anton Barbeau [official site] [myspace]

Serj Tankian, not exactly a name which would provoke immediate recognition amongst the masses, but Mr. Tankian is the brainchild behind the magnificently deranged heavy mentallers System of a Down. He has taken flight on his own for his debut solo effort backed by his band the FCC (apparently the Flying C*nts of Chaos. Quite). 

Would the Lebanese born, Armenin-American depart from the well trodden SOAD path of kooky vocals, bizarre time changes and all out bonkers noise? With song titles such as “Honking Antelope” and “Beethoven’s C*nt” it was a safe bet that he had stuck to the SOAD blue print. Elect the Dead takes a more punk approach and ditches some of the heavier moments but this solo effort would sit nicely amongst the SOAD back catalogue. 

Occassionally a more delicate side is glimpsed, the opening bars of “Money” evoke Travis(!) in all their pomp, before the blistering refrain of the chorus disturbs the slumber. As the album develops, a piano effect is added to the mix in greater quantities, so much so that “Lie, Lie, Lie” could almost be Keane(!) for all of thirty seconds. However closer attention to the lyrics reveals a much darker undertone “Take my hand and lets end it all, she broke her little bones on the boulders below,” complete with mock screams. It’s not something you would expect from Tom Chaplin.

The political motivations of Tankian are never far from the lyrical content; “We are the cause of a world thats gone wrong, Nature will survive us human dogs after all” (surprisingly serious for a song called “Honking Antelope”) and “You’re not-so-gentle persuasion, has been known to wreck economies, of countries, of empires” (”Sky is Over”). Tankian is not a big fan of war and upset Sony by posting an essay about the 9/11 attacks on the SOAD website….it was promptly removed.

Elect the Dead is unlikely to win many new fans but anyone looking to investigate SOAD would be wise to start here and work back. This album is a gentle introduction to what, at times, can be a difficult back catalogue to appreciate. It’s not as good as SOAD at their best but is a worthy effort in what has been a slow year for decent metal albums.
65%

Links
Serj Tankian [official site] [myspace]

On walking through the doors of lovely old Bush Hall, there was immediately a decision to be made. For there in the middle of the audience space, barely raised a couple of feet above the floor, were a grand piano and three microphones. On the real stage were a battered old upright piano and a few other mics. In this cosy venue there was barely fifteen metres between the two set-ups, so I opted for a corner of the main stage, which could also be used as a handy seat for a good view backwards when necessary. Others choose to sit around the grand piano, as if waiting for a camp fire sing-a-long. Little did I know that would be exactly the feel of one part of what would happen this memorable evening. Continue Reading

From our friends over at The Music Slut, we’ve heard that The Verve are to reissue their 2004 “Greatest Hits” package, This Is Music, complete with a DVD of all their videos. It’s out just in time for Christmas on 3rd Dec.

CD:
‘This Is Music’
‘Slide Away’
‘Lucky Man’
‘History’
‘She’s A Superstar’
‘On Your Own’
‘Blue’
‘Sonnet’
‘All In The Mind’
‘The Drugs Don’t Work’
‘Gravity Grave’
‘Bitter Sweet Symphony’
‘This Could Be My Moment’
‘Monte Carlo’

DVD:
‘This Is Music’
‘Slide Away’
‘Lucky Man’
‘History’
‘She’s A Superstar’
‘On Your Own’
‘Blue’
‘Sonnet’
‘All In The Mind’
‘The Drugs Don’t Work’
‘Gravity Grave’
‘Bitter Sweet Symphony’
‘Lucky Man (US Version)’
‘This Could Be My Moment’
‘Monte Carlo’

The Sargasso Trio are, perhaps unsurprisingly, a trio, hailing from the East Anglian metropolis known as Norwich. Having met as members of a 40 piece marching Samba band, they split off and whittled down to develop their love of all things contemporary. On the same label as one of our favourites Turner Cody, this 4-track EP doesn’t share the same twisted folk meanderings of that American, and it’s altogether worse because of it.

The main problem with this EP is that it sounds so much like all the other, slightly twee, folk influenced bands doing the rounds at the moment. There’s the perfect female vocals of Monkey Swallows The Universe, the sinister and slightly perverted lyrics of Belle & Sebastian topped by the jangling percussion of the Mystery Jets. It doesn’t quite break out from its influences into its own shining voice.

The Latin rhythms of the title track suggest their roots, but it doesn’t really take and develop these themes which would make it a little bit different. “Sandy” starts with vaguely sinister “You know your ass is something else” delivered in a syrupy female vocal. But that’s the only memorable part of it, the gentle accompaniment is plain and drab. “Why Do Birds Fall In Love” is similar except you’ve got some droning male vocals instead.

I don’t like to dump on new bands, but this really does lack anything to set it out from the crowd. In this day and age where there’s so much music out there, bands need to do something a little different to stand out and get noticed. I fear that the Sargasso Trio will soon be following the way of the Dodo.
40%

Links
Sargasso Trio [myspace]

I have to admit to being a little surprised that one of my favourite albums of the year has come from a three-piece wielding an accordion, ukulele and flugelhorn, not to mention a chicken organ and a fake trumpet. But while the Marseille Figs list of instruments reads like a mail order catalogue for a joke-come-junk shop (I didn’t mention the buzz organ, juju guitar and monkey mouth), there’s good old-fashioned percussion and guitars too, and a truly heavenly old school ragtime bar busking sound that manages to beautifully emulate Violent Femmes and The Bad Seeds in just the first two tracks. And as it goes on, you realise The Dirty Cannon really does have everything; upbeat swamp pop, dour and earthy storytelling, heart-stopping ballads and a wicked sense of humour, all played with skill and dexterity across a dizzying array of styles and tempos.

If you’re a fan of the likes of Violent Femmes and Shoulders you simply have to check out Marseille Figs. They have a slightly misleading tag as avant-garde amateurs, due mainly to following the songwriting ethics of punk and folk traditions, but the result is an infectious mix of American and European folk played with a freedom falling somewhere between jazz showing off and punk abandon. Not bad for a trio who rarely reside in the same country at once and tend to gig when they happen to be in the same place at the same time.

Special mention too, for the lyrics. Like The Broken Family Band, they effortlessly occupy both ends of the spectrum, making you laugh one minute and dragging you down a dark alley for a good kicking the next. “Caesar’s Revenge” is a biopic of an angry motherfucker built around the line, “But I didn’t give a fuck about it anyway”. When frontman J. Maizlish delivers the line, “Absolutely goddamned right my friend” you picture Nick Cave every time. But then, in the next track, it’s all jolly, have-to-get-up-for-a-boogie nonsense with “Honey How You Like Your Eggs”. My personal favourite, though, is “Dirty Little Monkey”; the first time I heard the line, “He’s a dirty little monkey and his mammy don’t wear no draws” I was on a packed tube. I may have looked like a total twat giggling away to myself like a schoolgirl, but hey, them’s the breaks. And frankly, anything that gets you through the daily commute with a smile is a bonus.

I could witter on about this for ages, but I won’t bore you any longer. For example, did I mention the foot-tappin’ mouth organs on “Boxcar Charlie”? The clever, lilting close to “Don’t Fall Asleep at the Wheel”? The… oh, sorry. Just go listen to it.
90%

Links
Marseille Figs [official site] [myspace]

Nina Nastasia is an American folk influenced singer/songwriter, she is endorsed by Steve Albini, who seems to have produced every album she’s ever done including this year’s You Follow Me, and also John Peel (well was endorsed, anyway). Jim White is from Australia and is the drummer for the instrumental rock band the Dirty Three (Nick Cave associates). They’ve both worked with each other prior to this album on some of Nastasia’s previous releases, but You Follow Me is presented as an equal collaboration.

I think it’s a stunning album, Jim White is an unbelievably good drummer, his contributions are equal to that of Nastasia’s, despite only playing drums. He, along with George Hurley of The Minutemen and Bryan Devendorf of The National, have managed to turn this year into the Year Of Understanding Why Drums Are Important And, Indeed, Fucking Amazing or YOUWDAIAIFA as I’m calling it for short. White has such an expressive and nuanced style throughout the album, really expanding songs that would be less without his involvement.

The songs themselves are things of beauty, Nastasia is so focused and delicate in both lyrics and guitar, narrators hark back to the old times in dusty sepia and a Depression weighs down on the world around the relationships and situations she explores. My previous experiences of her were of light and whispery songs whilst accompanying herself on acoustic guitar. So light and whispery, in fact, that it was hard to grasp the songs before they finished. On You Follow Me, however, she manages to retain that delivery and yet amplify it to match the drum’s loudness. This is definitely going to be in my top 3 of the year, here’s an mp3 of my favourite track and a good ol’ youtube of another track, scintillatingly performed.

mp3:> Nina Nastasia & Jim White: “There Is No Train”
[From You Follow Me; Out now, Fat Cat]

Hvarf / Heim is something of an oddity from Sigur Ros. It’s been billed as a companion piece to their film Heima, a double disc package which has a limited run. The Hvarf disc is a five track electric studio record which has collated mainly unreleased songs from their back catalogue but don’t appear on the film. The flip side, Heim, is a six track live acoustic record which is, for all intents and purposes, a “greatest hits” disc but none of which have been performed in this manner before.

Now that we’ve got through the technicalities, what about the content of this package? Well, it’s a mixed bag. It’s hard to see this as anything other than a stop-gap. It’s hard to tell whether Hvarf is a sign of things to come or just a means of drawing a line under everything that has been before. The music is all we’ve come to expect from Sigur Ros. The sprawling aural soundscapes rolling and thundering over the listener, bringing to mind something rural and breathtaking. “I Gaer” is as close to prog-rock as they’ve come, the epic guitar riffs and building menace wouldn’t have sounded out of place on Pink Floyd’s The Wall, it’s only those peculiar, ethereal vocals that make it sound like it’s something from another world. The real stand out track is “Hijomalind” which distils all that’s great about Sigur Ros into one five minute opus. It’s close to taking the place of Explosions in the Sky’s “Birth and Death of the Day” as my favourite piece of music of the year. It’s gently swaying bass guitar is the centre-piece off which the grand, epic majesty of the music hangs; from xylophone to electric guitar to strings to vocals. It sends tingles down my spine every time it reaches its rolling climax.

The most surprising part of this collection is how well the Heim disc works. For a band that relies on bombast and grand arrangements, when their music is stripped back to its plain acoustics, it works surprisingly well. The true beauty of their songs becomes apparent and their talent as songwriters shines through. There wasn’t a greater example of this than on their recent Electric Proms performance for the BBC. Watching it I was completely mesmerised by the sounds, it was almost as if the absence of music was used to help create the atmosphere. This feeling and performance is echoed on Heim. The perfect piano of “Samskeyti” echoes around your head, the strings gently underlying it and giving it weight. The epic “Agaetis Byrjun” is transformed into an almost tender ballad, the brushed drums and, once again piano, take main stage around the piercing vocals. The whole song just breathes. It’s as if it’s been brought to life in this new and fresh arrangement.

Of course, the biggest disappointment about this set of records is its lack of anything new. Sure, it’s nice to hear some old favourites given new life, but we all want to know where they’re going to go next. Takk suggested something altogether bigger, more majestic and, not necessarily, better, but with news of them working with famed producer Flood and moving out of their comfort zone, something new and dynamic might appear. As I mentioned at the beginning of this piece, perhaps this can be seen as a means of drawling a line under everything that’s gone before. The slate has been wiped clean.
78%

Links
Sigur Ros [official site] [myspace] [buy it]

Digitally restored with a newly created 5.1 soundtrack, the recently revived, critically acclaimed Beatles’ feature film ‘Help!’ will debut on UK television, November 25th, 7pm on BBC4. The first ever TV broadcast of the renewed classic, it follows the eagerly anticipated DVD that was released earlier this month.

The story follows The Beatles as they become passive recipients of an outside plot that revolves around Ringo’s possession of a sacrificial ring, which he cannot remove from his finger (only in the 60’s…). As a result, he and his bandmates John, Paul and George are chased from London to the Austrian Alps and the Bahamas by religious cult members, a mad scientist & the London police.

The DVD release is available in two formats - a standard digipack and a deluxe boxed set, containing a reproduction of Richard Lester’s original annotated script, 8 lobby cards and a poster, plus a 60-page book with rarely seen photographs and production notes from the movie. Both the deluxe book and the standard booklet feature an introduction by Richard Lester and an appreciation by Martin Scorsese.

For a teaser, we have exclusive streaming video for the promo of “She’s A Woman” below.

Click for Quicktime, Real Player or Windows Media Player.

We’re not normally one for remix albums here at TLOBF but this one sounds pretty intriguing. The genre hopping sounds of Love Is All’s 2006 debut Nine Times That Same Song has been given the remix treatment by a diverse range of artists. Due out on 21st January, Love Is All…Mixed Up will feature reworkings by The Bees, Hot Chip, Maps and my personal favourites Chicken Lips.

The full tracklisting for Love Is All…Mixed Up:

Felt Tip - Fryars Remix
Spinning & Scratching - Metronomy Remix
Busy Doing Nothing - An Optimo (Espacio) Mix
Make Out Fall Out Make Up - The Bees Version
Turn The Radio Off - Maps remix
Busy Doing Nothing - Tapedeck Remix
Make Out Fall Out Make Up - A Chicken Lips Malfunction
Turn The Radio Off - Remake by Studio
Felt Tip - Hot Chip Remix

Our resident photographer, Valerio Berdini, rejoiced at the resumed train link between London and Cambridge by visiting the Scala and witnessing the post-rock of Mono and the shoegaze metal of Jesu.

Continue Reading

I’m generally not one for bands tipped as “the next Arctic Monkeys’” for obvious reasons. British indie music has been in the doldrums for some time now, with rehash after rehash of the post-Libertines sound (sorry if I sound like a miserable sod). But there was something about The Brightlights new single “Inspired By” that flicked my switch. Hailing from Grimsby, birthplace of The Verve, this four-piece deliver their ballsy sound with so much panache, it’s quite difficult not to fall for it. Continue Reading

As most TLOBF readers will be aware, The Raveonettes are a Danish duo, featuring Sharin Foo and Sune Rose Wagner.  They have been recording together since 2002, and this is their fourth full-length release.

And quite a tricky album to review it is, too.  As I write this, I have listened to it perhaps 7 or 8 times, and I’m still struggling to form my opinion about it – good or bad.  Many of the reference points used by the band are in the arena of the Very Good Thing: Jesus and Mary Chain being one of the most obvious, along with other dark-twisted-melody-merchants like Black Rebel Motorcycle Club, and a Spector-esque wall of sound production gloss.  

The problem lies in the album’s pace, and the lack of variety in their sound.  Initially the tuneful, yet slightly disembodied, vocals coupled with the aforementioned full sound sit well with the weird air of menace.  Opener “Aly, Walk With Me” nods to David Lynch’s Fire Walk With Me, and the album’s imagery is dark and a bit twisted, with lyrics such as “In this tomb / I call out” (Hallucinations), “I fell out of heaven / To be with you in hell” (Lust) and “Covers me with all her black / Satin dress takes me aback” (Black Satin).  

A mood is very definitely being created, although it does seem to be more one of doom and narcosis than the Lust suggested in the title.  One of the two best tracks comes four songs in – “Dead Sound” – and belies its name by being notably more animated, with particularly lovely vocals and a great chiming sound that echoes the melody.  After this, the pace begins to drag, with subsequent tracks repeating the doomy yet glossy trick so much that it is difficult to distinguish one from the next.  Things improve three quarters of the way through, with the other stand-out track “I Want Your Candy”.  [Interesting sidenote:  A little internet research tells me that the The Raveonettes’ first album was produced by Richard Gottehrer: author of the original "I Want Candy" which was a US No 11 hit in the mid 1960s for The Strangeloves, and later covered by Bow Wow Wow.]  Combining a very 1960’s, almost Motown girl-group, sound with a Jesus and Mary Chain feel (perhaps also referencing Psycho Candy), twanging guitars and a liquid bubbling synth backing shouldn’t, on paper, work as well as it actually does.

Another trick that The Raveonettes use, nicely, is the mid-song pause.  This happens two times, both after a relevant lyric:  first on “Sad Transmission” after “heartbeat stops”, then on closing track “The Bat Dies” after the word “silence” has been sung.  This is an idea that has been used many times before, but still sounds good.

After the “I Want Your Candy” highlight the pace once more begins to drag.  Ultimately, perhaps, this is a band whose ability to produce a highly distinctive sound ends up working against them.  There are a total of about three tracks here that I would want to listen to again and again, which leaves 9 that have washed over me and left no permanent impression.  Shame, as those three tracks are pretty fine.  Like I said, a bit of a tricky and confusing listen.
60%

Links
The Raveonettes [official site] [myspace]

Indie noise lovers ¡Forward, Russia! are set to play a one-off show in London next month. View it as a preview to their up and coming second album, Life Processes, which is due for release in early 2008.

They’ll play The Borderline, Charing Cross Road on Thursday 6th December. Support for the Fandango / 6Music show will be This City. Tickets are available here.

There’s been something of a resurgent interest in Japanese rock music of late. The recent publication of Julian Cope’s Japrocksampler: How the post-war Japanese Blew Their Minds on Rock ‘n Roll has sparked a re-evaluation of a country we take little interest in musically. It’s often thought that their music scene is filled with obscure, twee pop groups which are watched by thousands of school girls shrilling their delight at the top of their voices. However, My Way My Love is here to make us think again.

Joy maybe the name of the album, but its brooding hulk gives off vibes that are anything but. It’s dark, difficult and fucking loud. Their influences are numerous yet obvious; the crunching, raw riffs of Shellac and the feedback drenched guitars of Sonic Youth thrown together with sometimes delicate and introspective pieces of pop. The track “C” embodies all this. The song writhes and squirts around from overdriven guitar passages to a breakdown into something altogether mellower. Before that though you have to get through the brash mesh of guitars that is opener “Acupuncture Man” and the follow-up “Parties”, which greet not so much with a handshake as a punch in the face. Stand out track “The Wall” has hacksaw riffs swirling around echoing guitars, the vocals piercing and gruff - it’s a sonic assault without doubt. “A Day” also fights its way to the front of your mind, rippling guitars flow over thumping drums whilst some kind of pipping keyboard drills around stage right. It’s a bit like The Mars Volta if they could condense their songs into four minutes.

The Japanese rock scene might be something that few of us know much about. But My Way My Love has opened the door into a dark and empty area of my knowledge that needs filling. Sure, it’s not completely original; we’ve had bands emulate the aforementioned acts a thousand times over. But there’s something here that keeps me coming back. They have a raw, unbridled desire to breakout from the norm and challenge people’s perceptions. And for that, they can only be congratulated.
77%

Links
My Way My Love [official site]

One of our favourite of the current crop of jangly guitar pop bands, The Courteeners, are touring the length and breadth of the UK in January and February next year. Prior to that, check them out on their Myspace site.

January
16 Preston, 53 Degrees
17 Hull, Welly Club
18 Warrington, Parr Hall
19 Wolverhampton, Civic Bar
21 Nottingham, Rescue Rooms
22 Portsmouth, Wedgewood Rooms
26 Tunbridge Wells, Forum
27 Reading, Fuzz Club
28 Leicester, Charlotte
29 Cambridge, Barfly
31 Peterborough, Met Lounge

February
01 Oxford, Academy
02 Swansea, Sin City
04 Bristol, Thekla
05 Truro, L2 Nightclub
06 Plymouth, University
07 Stoke, Sugarmill
09 Middlesbrough, Arena
14 Inverness, Raigmore
15 Aberdeen, Kef
16 Dundee, Fat Sams