Jed Shepherd
21:49 23rd February 2005

DJ Scotch Egg comes as something of a revelation. Looking like a GLC reject, with what looks to be a modded Nintendo Gameboy in hand, he launches into his set without introduction and within seconds we all realise we have something special here. Like a hostage situation in a drum machine factory, the "songs" hurtle by at a million BPM while our new hero DJ Scotch egg screams into the microphone, swearing and shouting the name of a popular fast-food chicken outlet. If Liam Howlett had the guts to make music like this, we would probably still respect him now. No doubt the guy is stark raving bonkers, but it's probably this very attribute that endears him to the whole crowd. His last song, which also involves swearing and shouting against a backdrop of slaughterhouse drumbeats, gets a bit audience interactive. Living up to his name, DJ Scotch Egg opens a pack of mini scotch eggs and pelts the crowd with them. One smacks a teenage girl square in the face, she feigns a smile as she's narrowly missed by another which hits a rather bigger looking chap behind her. As he leaves the stage after about 15 minutes, the boys and girls shout for more, but like the enigma he so obviously is, he doesn't reappear. Maybe we dreamt him, maybe we just willed someone of that calibre into existence. As the crowd head to the bar, the carcasses of scotch eggs lie all over the sticky ULU floor and remind us it did really happen. Wow.

I really don't need to tell you about Redjetson. You should already know that their album, 'New General Catalogue' is the best debut album of 2005. You should already know that their capacity for creating audio emotion out of the tiniest musical nuance is better than any of their contemporaries. What you might not know is just how good their live performance is. Clive
Kentish
(vocals) acts as narrator to the story that is unfolding
around us. Layers and layers of musical epiphanies explode against lyrics any songwriter worth his salt would die for. Set-opener 'Divorce' (which also opens the album) plays like the soundtrack to a post-apocalyptic world where music is
traded as a commodity and only the intense will survive. The band have chosen a slightly less obvious set tonight, with 'America Is Its Only Friend' and '...The Sky is Breaking', sending the crowds of students and die-hards into fits of euphoria. Like Ian Curtis without the illness, Clive's understated vocal sets them apart from the post-rock nouveau bands on show tonight. He is the only "real" singer in an instrumental led subgenre, but thats okay, as when he climbs atop the speaker stack for closer 'Pieces Go Missing', his position is justified. Redjetson are simply the most interesting, passionate, talented band currently doing the rounds.

Lets not use all the superlatives just yet. Lets save a couple for Youth Movie Soundtrack Strategies shall we? Yes. YMSS are not one to be left behind, and mark their territory with 'A Little Late He Staggered Through The Door And Into Her Eyes' which starts where Redjetson left off. Bodies jerking like epilepsy personified, YMSS bless us with 'The If works' which makes for easy listening. If to you easy listening is riffs traded back and
forth violently and dynamics you need a calculator to keep track of. By the time 'Spooks The Horse' rears its equestrian head, you are already convinced that their credentials as everyone's-favourite-band-that-havent-quite-made-it-yet are fully in check.
Playfully, Andrew (vocals) asks the audience if they know anyone can play trumpet and more importantly if someone  wants to join YMSS. It almost makes you wish you paid more attention in music class. Sometimes a catchy sing-a-long chorus wouldn't go amiss, but if anyone were to suggest that, they would probably be burned at the stake or stoned to death with e-bows.

65daysofstatic are dubious looking bunch, can a band who look so much like Sum41 (they even have the requisite number in their name!) sound as beautifully daunting as on record? 'The Fall of Math' is such an accomplished album, it almost sounds too difficult to reproduce sufficiently in a live setting. That's the problem with creating epic Explosions in the Sky-esque genius; you've got a lot to live up to. People expect. All doubts are quenched though when the the first strains of 'Retreat!, Retreat!' kicks in. What is it about this song that instigates beautiful imagery in your mind? Is it the chiming riff that falls into the tongue-in-cheek sample stating "This band is unstoppable?" Is it the moment the glitchy guitars kick in punctuated with old-skool drum and bass loops? It's all of it! In fact the entire set leaves you in complete awe. To describe '65' would be to pigeonhole them, and that would be wrong. There isn't a category yet thought up that they'd fit snugly in. "We sounded like your local post-rock band just there…" No you didn't. 65daysofstatic sound like a riot in a robot's mental institution sponsored by Mogwai. Each digital symphony brings them closer and closer to the success they deserve. Now if they just did a duet with DJ Scotch Egg…