IS BRIGHTON NEXT?

We’re not entirely sure if a bonafide music scene can actually exist in a city anymore. Since that damn Internet thingy got invented it seems that everyone’s “into a bit of everything“, so tribes don’t properly exist in large numbers like they used to in decades gone by, and scenes -where lots of bands share a sound, a fashion or a culture – don’t generally gather much momentum in the modern era. These days, what we seem to have in their place is simply a bunch of bands, from all ends of the spectrum and a multitude of genres, that appear from the same geographical location, but that’s all that seems to link them.

A few years ago you had Manchester, with the likes of Everything Everything, Egyptian Hip Hop, Hurts, Delphic and Wu Lyf all appearing over a short period of time, sending A&R men up north into a clamouring frenzy. Soon after you had Oxford, with the bands that revolved around a kind of creative scene called Blessing Force, but that was more of a scene mainly because the protagonists were mates, some living together and lets face it Oxford’s so small that it would be easy to unify. Still, it brought us the likes of Trophy Wife, Fixers, Jonquil, Pet Moon and our favourites, Chad Valley.

Not to be outdone, that scene’s subsequently been followed up by Newcastle, no doubt earning a moan by those poor A&R men, who must have felt like travelling salesman in recent years. Out of the North East came Polarsets, Lanterns On The Lake, Let’s Buy Happiness and Mammal Club, among others. All of these are blindingly good, but like all of the other cities scenes these bands share virtually nothing in common in their music or choice of genre. If everyone is into “a bit of everything” these days it’s perhaps no surprise that so many disparate artists can co-exist.

And so to Brighton. Are we next? For such a small city there’s a surprisingly large number of new bands existing at any one time. Perhaps it’s the city’s famous youth culture, or the popular Brighton Music College, or the plethora of small and mid-sized venues, or perhaps it’s the proximity to London? Numbers vary depending on who you speak with but we’ve heard there’s a approximately 300-400 bands floating around at any one time. So why would we consider 2011 any different from any other year? Well, it seems that this year there’s been a sharp rise in quality. Coverage of Brighton artists on the likes of NME and the tastemaker blogs has been widespread as well as radio plays and industry excitement.

Once again they share zero in common other than the place they call home, and many of them weren’t actually born here, but Brighton can claim them as their own. The genres are spread so wide that even if you are into “a bit of everything” it would still be hard to like them all equally. However, the quality is outstanding and the buzz from the underground impossible to ignore. We list below a small selection of tracks from the shortlist, and although it’s not definitive, as there’s plenty of other bands that are arriving all the time, it should give you a decent idea of why we think Brighton is ripe for a new scene. Let us know your thoughts in our comments and we’d love to know if you believe we’ve missed any obvious bands? (MB)

CURXES

REGAL SAFARI

BLANC

LITTLE LOUD

GROSS MAGIC

PHORIA

RIZZLE KICKS

CAVE PAINTING

FEAR OF MEN

POLARSETS

As some of you may already know, a couple of The Recommender’s writers are involved in promoting new music, having gained worked at two of Brighton’s best-known clubs, Audio and more recently Digital. These clubs vary in size, so at Audio, which is still proudly the home of the regular Recommender showcases you are likely to see fresher talent trying to fill it’s main room. At Digital, which has been one of the UK’s best clubs for many years, there’s a step up in the size of bands, in order to pack the larger main room.

Being involved at both venues we are sometimes able to see first hand the rapid rise of a new band as they appear at Audio one month, only to return to Brighton a matter of weeks later to fill the larger Digital. It’s usually following a charting hit, some Radio One coverage, a handful of NME articles and a bit of major blog hype – you know the typical swingometer factors.

Why are we telling you this? Well, we suggest that Polarsets, a trio from the North East, are showing the kind of key signals that tell us we will be seeing their Audio-Digital transition happen pretty quickly. The reason to back up this prediction is that they bring to the table all the right ingredients to lure that swingometer.

They make the kind of joyous, cowbell indie pop that’s not been this complete since The Sunshine Underground or even the Klaxons, although this is less experimental than the latter and more pop than the former, making them so perfectly radio friendly Zane Lowe may as well sign them himself.

Add in parts of Two Door Cinema Club and their knack for a singalong chorus, before finally injecting a drop of Fenech Soler, with all their brightly-lit power and you will have the teen market going crazy. They’ve played support shows for the likes of Ellie Goulding, the aforementioned Fenech Soler, Egyptian Hip Hop and Everything Everything, so you see what we mean when we suggest they’re on the right path.

Their latest single, ‘Morning‘, follows the synths throughout which play a set of bouncing trance chords, as guitars bubble around and upbeat woodblocks twinkle over it’s pounding drum.

Just Don’t Open Your Eyes Yet‘ bangs and crashes with energy and holds a wonderful chorus that’s guaranteed to get the crowd frothing at the mouth, but it’s another track, ‘Bonfires‘, that shows us they have more tricks up their sleeves. On it they’re found following that same consistent path, with more dance themes over some beautiful pop, but this time it begins with a more mature and sparse soundscape, allowing Rob Howe’s vocals to shine as they hit such heights they turn to ice. The song climaxes wonderfully in a powerful, electronic storm.

However, the best and most obvious hit single of the lot has to be their first release, ‘Leave Argentina‘. It’s got more cowbell than Gene Frenkle could handle and the synths are turned up to eleven, in a balearic burst that Faithless would be proud of. Add in a shout-it-out chorus and you get the big tune that all the fans will be waiting for during the show and the payoff won’t disappoint with this born set-closer. We wonder how soon we can witness that very moment at Digital. (MB)

POLARSETS – LEAVE ARGENTINA

POLARSETS – MORNING

POLARSETS – LEAVE ARGENTINA (THOMAS SAGSTAD & MIKE HAWKINS REMIX)