Archie Bronson Outfit

Having first set eyes on The Victorian English Gentlemens Club some four-and-a-half years ago, it would be fair to say at the time they left little by way of a lasting impression. Awkwardly shambolic in every way, their frenetic art school punk pop seemed to coast along with the rest of the class of 2006 and their hand me down Gang Of Four albums, rather than set any standards for the future. Fast forward to 2010 and they're an entirely different proposition altogether. While still focused around the core songwriting duo of dual vocalists cum guitar and bass players respectively Adam Taylor and Louise Mason, there's a more vibrant, incisive air of cohesion emanating from their onstage persona these days. If most recent album Love On An Oil Rig hinted at a harsher and overtly clinical sound, then the newer material on offer this evening hints at an even wider development since, partially aided and abetted by new drummer James Griffiths, whose throbbing pulse beats behind the kit literally guide their songs to a much more fulfilling place. The penultimate 'Ban The Gin', by far the oldest song on offer, demonstrates the point in question, its sentiment revitalised by the pulsating earthquake that shakes the floor from the back of the stage. 'Bored In Belgium' sounds like The B-52s covering Adam And The Ants (or vice versa) while set closer 'I Say What I See' is structurally closer to US post punk stalwarts such as Erase Errata rather than the UK brand, and as a result, The Victorian English Gentlemens Club carry an air of accomplishment about them.

Despite being on celebrated independent Domino Records pretty much since their conception, it's been a long haul for Archie Bronson Outfit in terms of attaining the widespread recognition their melange of styles and sounds so richly deserves. While their first two long players both received a modicum of critical acclaim, this year's Coconut has really set the cat among the pigeons so to speak, highlighting their versatility as musicians and songwriters while almost certainly ensuring its place among the end-of-year lists for 2010 is guaranteed. For those only too aware of their promise - and as tonight's turn out on this cold Sunday evening proves, Archie Bronson Outfit already possess a loyal fanbase, some having driven all the way from London just for this show - the sudden spate of attention from all angles of the media will come as no big surprise. Indeed, their performances at this summer's festivals, their explosive late night show at Bestival being one that springs to mind, already bearing the hallmarks of a band ready to move up to the next level.

Resplendent in their now familiar onstage get-up of multi-coloured robes, the trio plus live keyboards player/effects wizard Kristian Robinson have emerged as one of the most stimulating outfits (pardon the pun) on these shores. Although the word "eclectic" is often bandied around to little or no effect, it only covers half the ground Archie Bronson Outfit take up for the hour they're on stage. Echoes of Captain Beefheart, Einsturzende Neubaten and Clinic fill the air with random abandon, punctuated by dazzling bursts of full throttle garage inspired punk rock with a dash of pure pop simplicity thrown in for good measure.

Although the material off the new record undoubtedly resonates with a large proportion of the audience, it's when they delve into their back catalogue that Archie Bronson Outfit's tendency to sound like no one else on the planet rises to the fore. 'Dart For My Sweetheart' could be the halfway house between Pebbles influenced nostalgia and techno inspired krautrock while 'Kink' is infectiously balanced between errant psychedelia and subversive pop. Rarely played oldie 'Pompeii' even gets an airing tonight, a dedication to one of their devotees that raises the decibel count a little higher in the process. The chemistry between all four players, particularly the rhythm section of Mark Cleveland and Dorian Hobday reaches the height of intensity during a magnificent 'Wild Strawberries', while an extended trawl through 'Harness' thoroughly captivates from beginning to end.

Overall, this evening's show is nothing short of triumphant that in time, both bands may reflect upon as being of significant importance as they progress onwards and upwards.