Wednesday 02/08/06 The Young Knives, The Crimea, Lorraine @ Academy 2, Bristol

As a taster session for the V Festival later this month, gig goers must tonight battle their way through the corporate Virgin Mobile paraphernalia. First obstacle is the street teamers who smile warmly at  members of “their” network while coldly, even bitterly, directing the rest upstairs with grunts of “bands upstairs”.  Climbing the stairs to the Academy 2, all are dominated by a stage-sized V Festival projection and flanked by a multitude of posters. Still, it’s worth it and the reward is presented.     

Norwegian three-piece Lorraine greets the crowd…two decades too late. Unashamedly 80’s, an electro synth undercurrent runs throughout their songs. Distorted, echoing vocals feature heavily on 'Saved' and 'Transatlantic Flight', but even these cannot save off –key notes. Lorraine possesses the cheesiness that can only be achieved when trying to recreate power ballads in a shoebox sized room. Lead singer Ole Gunnar Gundersen gets 100% for enthusiasm, but his combination of hip-thrusting and finger pointing prove purely comical. Sinking deeper into the cheesy fondue, during 'A Life Less Ordinary', the crowd look to each other in disbelief when a deep, computerised voice announces “This night could change the world.”   “Is he taking the piss? Surely he’s being ironic?!”  Unfortunately it seems neither is true. Nevertheless, the band enjoys it. Ole Gunnar says: “We really love Bristol and had a great reception.” Really?

Changing the atmosphere entirely, pained cry of despair fills the room – a calling from The Crimea which points to the mood the music will take us. The wailing guitar carries through the first song, 'Baby Boom', creating a swirling, humid feel to the music. The sound of the set is tight, almost haunting, and emotion driven. The Crimea injects a unique South Pacific flavour to covers of Fleetwood Mac’s 'Everywhere' and John Lennon’s 'Jealous Guy', as well as treating the crowd to a song that will “hopefully be Christmas number 1” – 'Eskimo Love'. In this sweltering room it seems a crazy proposition, but as the drum rolls relentlessly to the chorus, a chill weaves through the crowd – perhaps an omen of winter success. When the band played their biggest hits to date, 'White Russian Galaxy' and 'Lottery Winners on Acid', the crowd erupts. Andrew Stafford, keyboards and backing vocals for The Crimea, says: “Our best crowds are here and in South Wales, so we love playing in Bristol.” In return, Bristol’s love for the band is clear.

Finally The Young Knives arrive on stage looking like three maths teachers: lead vocals and guitar Henry Dartnall, Oliver Askew and, cult figure in the making, The House of Lords. The self-confessed “chubby Timmy Mallet look-a-like” is praised and teased by his brother Henry in equal measures, while members if the audience call his name as he plays. The Young Knives’ tunes are formulaic to a point – pounding drum beats belting through, teasing hooks with a punk richness, repetitive choruses – but the enjoyment comes from the energy, the on stage banter and musical multi-layering. The vocals show a great range of ability and complexity, particularly on 'Current Of The River'.  Towards the end of the set, the sound becomes more original and the crowd rowdier. The band plays crowd pleasers 'She’s Attracted To' and 'Here Comes the Rumour Mill', then finishes with forthcoming single 'Weekends And Bleak Days (Hot Summer)'. The music feeds the audience’s frenetic energy and desire to grab hold of The House of Lords.  He is a leader in the making. Long live the House of Lords, long may he play!