Electro-clash proponents found themselves jolted with euphoria to the new-wave of bleeps and beeps that pulsated through the Met Lounge’s frangible, hallowed walls.
Peterborough’s young upstarts A Girl Called Kate opened the night with ardour heralding a whole host of topical in-bands that have adorned popular press, charts and dance floors for the last six months. What their set lacked in originality they overcame with a zealous performance; embracing something that could be going somewhere with a little direction and maturation.
Post War Years’ abrasively disorganised electro resulted in a sound swaggering between the audacity of David Bowie-influenced electronica and Talking Heads-esque disorientation. The set was either laden with ethereal piano and synth or jaunting with cut-and-paste disco-prog-pop notation of angular guitars that varied in pace, direction and intensity.
Oundle’s Fenech-Soler modestly lack the pretension that would usually be associated with such an astounding set of French-electro inspired synths and chemically enhanced beats.
Scenes and sounds that more commonly found in the trendier areas of London induced euphoria, as the crowd swooned to waves of peaks and breaks reminiscent of early-90s rave culture.
If there was a party to be had after Fenech-Soler, Does It Offend You, Yeah? would surely be the gate-crashers most likely to set fire to any surface going. Rambunctious in both performance and sound, DIOY,Y? have shown how Daft Punk inspired electro nonchalance has kicked down the bedroom door of opportunity with Kasabian-esque baggy arrogance along with the aid of a laptop and synthesiser as loud hailer mediums.
Tracks such as ‘Let’s make out’ and a cover of Devo’s ‘Whip it’ left the atmosphere riotous and wanting for the electro-clash delight that is ‘Rockstar’; speakers snarled and proportions of the ceiling met the floor, but we all were left, arms raised, loving it.