Long Blondes

I almost forgot to mention that on Friday night we stopped by infamous Don Hill's to check out The Long Blondes second show. Erroneoulsy thinking that Cause CoMotion was going to be the opening band again (they did open at the Knitting Factory the night before), we showed up around 10PM...

What a big mistake... There was a horrendous sounding band that imitated Limp Bizkit (however it's spelled) and not only that but they had the balls to completely destroy the coolness of Seal's song (never gonna survive... the one on Cindy's workout).

Although I do not agree with Josh when he says the show was amazing and that "every girl under 25 was taking note while every girl over 25 was feeling jealous." I must say that it sounded good and that Kate Jackson (the frontwoman) has good showsmanship skills. Her flirty high pitched voice is playful and aggressive...

but since I'm no music critic here's a real review (or preview)by Kevin Wolfe

"People think I'm being perverse on purpose / But they don't know," Kate Jackson sings coquettishly in the first moments of "Fulwood Babylon," the flip side of the Long Blondes' latest U.K. single. Though the line is sung in character, as one of the many protagonists that populate this Sheffield, England, five-piece's compositions, the group's own kinky swagger arises by clever design rather than affectation.

Jackson and her unversity chums - guitarrist Dorian Cox, bassist Reenie Hollis, keyboardist Emma Chaplin and drummer Screech- formed the Long Blondes in 2003 as a sort of "fantasy" pop group, which in their case meant looking to Nico, Nancy Sinatra and Bryan Ferry for inspiration. Setting their sights disproportionately high above their initial musical profeciency, the band relased a string of memorable singles (including the dance-floor cult "Giddy Stratospheres") overflowing with ooky melodies and literate lyrics, and bearing innate punk edge. The group's charm crystallizes on the fame-for-love tale "Lust in the Movies" (from a forthcoming EP on NYC label What's Your Rupture?), in which rumbling bass and booming drums give way to a torrent of guitars and the shout-along refrain, "Edie Sedwick! Anna Karina! Arlene Dahl!/I just want to be a sweetheart!" Onstage, teh band cleaves to the wry glamour of its lyrics, eschewing casual indie aesthetics for Hitchcockian chic.