Rah!  This is the future, my people!  Pinhole have just disproved the Theory of Relativity – so it seems that not everything in the Universe has its equal and opposite reaction, because this local – and somehow still inexplicably unsigned – exciting young band are like no other around.  Whilst sometimes veering too close to the Feeder framework for comfort, their tunes are, thankfully, much more the punk-pop that Feeder have eschewed (or perhaps just forgotten), as shown in the sun-kissed harmonies that mark the chorus of ‘Passerby’.  And if there was ever a band who looked the part more than these little chaps, I’ll eat my own chastity belt, because they are all drop-dead gorgeous.  Watch this space, because a band this polished in their live gigs does not go under without a half-decent stab at the big time.  Young, gifted and good-looking.  Some bastards have all the luck.

Speaking of which...

Vex Red – the British band that Ross Robinson, the biggest name in metal, and producer of Amen, Slipknot and At The Drive-In has decided to work with – will also go more than far.  Whilst not being the standard Ross Robinson output (as if there was a standard anyway), Vex Red are much more miserablist indie than they are nu-metal, although sometimes appearing so overwrought in their angst that they mutate into Silverchair aping Pearl Jam.  Which, lets face it, is about half a decade too late.  However, they have the vibrancy and the talent – not to mention the songs – to match the growing expectation that is increasingly being levelled towards them.  ‘Can’t Smile’, with its electronic beats and Korn-esque guitars provides the highlight, but is just one of many moments of sheer anguish that Vex Red manage to muster.  Again, watch this space.

By all accounts, Crackout should round off a night of superb music.  Yet however much it seems like touring like a bitch will make this band, it would be wiser to perhaps just give up and admit defeat.  There is a patent lack of songs, along with the kind of normalised levels of forced intensity that indie-rock bands are expected to produce these days, making any real vigour irrelevant.  Apart from being far too bass heavy, Crackout should realise that they don’t have far too fall in indieworld™ and that playing the Lomax to a handful of people that are probably all here to see Pinhole anyway means diddlysquat.  Watch this space.  That is, if you think watching paint dry is getting too interesting these days...

Collen Chandler