Tuesday, March 29, 2011


As a long time RDS Fan, I can only say that Alex and the Boys have crushed me but yet again. They are currently beating the crap out of The U.K. touring extensively for their newest release. NME and Club AC30 have a tight leash on them, I knew this time would come.

P.S While on tour with The Wedding Present they stop by almost to the date last year for a small show that no one gave fuck about! L.A. really slept on this one Trust me people, They are stellar.

Ringo Deathstarr - Two Girls

Ringo Deathstarr - Colour Trip

Monday, March 28, 2011


SOFT KILL is made up of Tobias and Shiloe, with help from a revolving cast of live musicians. The lyrics are much more hopeful and uplifting than previous projects, with nods to Chameleons UK, early Modern English and Danse Society sound wise.

Soft Kill - From This Point On


The band formed in a hurry after a club offered them a gig, and featured Badwan on drums, Dylan "Rotter" Wigoder on vocals, "Robot" Jess Meek on bass guitar, and Emily "Rotter" Watson (later of London band Boys of Brazil) on guitar. Although not in any way a serious drummer and unable to keep a steady beat, Badwan took up the instrument and played on the band's only single, the triple A-side "Japanese Punk". The Rotters have admitted they are not a serious outfit, wrote all their songs in a matter of hours and never practiced; the band are theoretically on hiatus rather than defunct, but a reunion seems unlikely.

The Rotters - Japanese Punk (DJROCCOHORROR Edit)

The Rotters - Japanese Punk (DJROCCOHORROR Edit) from DJROCCOHORROR on Vimeo.

Wednesday, March 23, 2011


You should know about Tommy Keene, One of Power Pops finest...

Via His Web:

In 1984, a six-song platter of pop perfection titled Places That Are Gone (Dolphin) put Tommy Keene onto the CMJ charts and atop the Village Voice EP of the Year poll. Blatantly romantic, unapologetically melodic, bittersweet but absolutely invigorating, it was the sort of record that you could put on before you went out on a Saturday night, or sit around and mope to if you didn’t feel like facing the world. It still stands as a powerful statement, not only establishing Tommy as a unique singer-songwriter, but also as a guitarist with a sound as distinctive as Pete Townshend or Johnny Marr.
Tommy made enough noise in the early ’80s to get the majors involved, and in 1986 he released Songs From the Film on Geffen. Produced by Beatles engineer Geoff Emerick, the album featured two MTV videos, “Listen To Me” and a re-recording of Places That Are Gone’s title track, and spent 12 weeks on Billboard’s Top 200. The 1998 CD reissue of Songs also includes one of the all-time great Keene rockers, “Run Now,” with inspired rhythm section work from drummer Doug Tull and bassist Ted Niceley, plus a terrific extended guitar solo. The singer as well as the song appeared in the Anthony Michael Hall movie Out of Bounds. Rent it today and catch Tommy’s 15 seconds of celluloid glory.

After releasing the Run Now EP in 1986, the original Tommy Keene group, which also included guitarist Billy Connelly, disbanded. Without a group, Keene headed down to Ardent Studios in Memphis to record with producers John Hampton and Joe Hardy. The result was Based on Happy Times (Geffen, 1989).

As suggested by the bittersweet title, Happy Times is the darkest album in the Keene catalog. Although his best material has always been infused with melancholia, Happy Times’ tracks like “The Biggest Conflict” and “A Way Out” reveal a more fatalistic outlook. The guitars are heavier, there is less jangle, and there aren’t as many hooky vocal harmonies. Unlike much of his earlier work, Based on Happy Times by no means can be tagged with the dread title of power pop. It is a beautifully crafted, if sometimes brooding, arty rock record.

Based on Happy Times would also be the first time and, so far, last time Keene would work with another songwriter on an album. “When Our Vows Break,” written with Jules Shear, has long been a live favorite and is one of the record’s standout tracks. The album’s leadoff track, “Nothing Can Change You,” can be heard as a cover version by the Goo Goo Dolls on the B-side of the Australian version of their single, “Slide.” And while we’re name dropping, R.E.M fans should note that Peter Buck appears on two tracks, lending some Marc Bolan-style guitar on the Beach Boys cover, “Our Car Club,” and mandolin on “A Way Out." In support of Based on Happy Times, Keene put together a new rhythm section, John Richardson on drums and Brad Quinn on bass, and hit the road for a month-long tour with the Replacements. The tour found the Keene group playing for receptive audiences and would eventually lead to Tommy joining Replacements leader Paul Westerberg as a sideman on Westerberg’s 1996 solo tour.

In 1996, Keene released Ten Years After (Matador), his first full-length album of all-new material in seven years. Produced by Keene and recorded by pop music wunderkind Adam Schmitt, the album contains classic pop hooks and the loudest guitars to date. The album probably comes closest to the sound of a live Tommy Keene show, which, if you’ve never seen one, can be a pretty thunderous affair.

While Ten Years After revealed that Keene had stored up a lot of creative energy in the years between full length LPs, his next effort, Isolation Party (Matador), showed that he could do just as well if not better on much shorter notice. Released in 1998, Isolation Party is more focused than its predecessor (Perhaps due to its being recorded over a few months as opposed to a few years). For the album, Tommy recruited an all-star cast, getting some fine instrumental and vocal performances from former Gin Blossom Jesse Valenzuela and Wilco’s Jay Bennett and Jeff Tweedy. The album’s opener, “Long Time Missing,” ranks among the best songs he’s ever written, and that’s saying a lot when put in the company of “Back To Zero,” “My Mother Looked Like Marilyn Monroe,” “Highwire Days,” and “Silent Town,” all of which, coincidentally, can be heard in sizzling versions on Keene’s next effort, a live disc called Showtunes (Parasol), released in 2000.

Tommy followed up his live album in 2001 with The Merry-Go-Round Broke Down for the SpinArt label. Produced by Keene and recorded primarily in Tempe, Arizona, at the Gin Blossoms outpost, the album leads off with the rousing rocker “Begin Where We End” before branching out into some new terrain with the roadhouse boogie of “Man With Out a Soul” and the 16-minute opus, “The Final Hour.”

Tommy used his next release, Drowning: A Tommy Keene Miscellany (Not Lame), to clean out his closets of 20 years’ worth of rarities, demos and unreleased sessions. One of the best hodgepodge records you’ll ever hear, more than one critic felt Tommy’s spring-cleaning LP bested many greatest hits packages.

Back on the road in 2004, Keene and band joined Guided By Voices on the East and West Coast legs of their farewell tour. Apart from some great gigs, the shows also led to Keene joining Pollard as a member of his post GBV band, The Ascended Masters, for their 2006 U.S. Tour and a limited edition live LP, Moon (Merge).

The year also saw the release of Crashing the Ether (Eleven Thirty), which was performed and recorded primarily by Tommy himself at home with drums by John Richardson and contributions from regular Keene band members and friends. Sonically, the album is dazzling, with big drums and open, ringing guitars. Lyrically it was arguably Tommy’s great leap forward, with subject matter ranging from a nostalgic, black and white snapshot of New York to Warren Beatty to mixed signals via “Texas Tower #4.”

Tommy quickly followed up Crashing the Ether with Blues and Boogie Shoes. an LP with Robert Pollard under the Keene Brothers moniker. Although side projects can sometimes be less than wholehearted efforts, tracks such as “The Naked Wall” or “Death of the Party”—as good a song as Keene or Pollard have written together or separately—show that neither artist was holding anything back. Among the LPs many rave reviews, The Big Takeover magazine called the album a magical “balancing act” between Keene’s straightforward songwriting and Pollard’s more outrĂ© moments.

Tommy Keene - Marilyn Monroe (DJROCCOHORROR Edit)

Tommy Keene - Marilyn Monroe (DJROCCOHORROR Edit) from DJROCCOHORROR on Vimeo.

Paul Westerberg Feat. Tommy Keene - Love Untold (Live On Letterman DJROCCOHORROR Remaster)

Paul Westerberg - Love Untold Feat Tommy Keene On Guitar (Live Letterman• DJROCCOHORROR Remaster) from DJROCCOHORROR on Vimeo.

Tommy Keene

Friday, March 11, 2011


Thru Out the years it's been really hard finding true passionate musicians that can express compositions with so much heart and conviction, Mixed with an array of styled beats to match the on going persona which is that of Freddie Rupert.

Former Ghosts is a new synthpop project from Freddy Ruppert, formerly of This Song Is a Mess But So Am I. The band is also comprised of Xiu Xiu’s Jamie Stewart, Zola Jesus’ Nika Roza and TEARIST’s Yasmine Kittles. Ruppert is the lead songwriter on this brutally gloomy project. The title of the debut, Fleurs, is a reference to the white-flowered iris (Iris germanica)


Italian Dates to be posted soon! Check back ASAP!

Wed 23 Feb CZ Prague Klub 007 Strahov
Thu 24 Feb AT Vienna B72
Fri 25 Feb DE Nuernberg K4
Sat 26 Feb DE Berlin Levee
Sun 27 Feb DE Leipzig Skala
Mon 28 Feb DE Hamburg Astra Stube
Tue 01 Mar TBA
Wed 02 Mar NL Amsterdam Studio 80
Thu 03 Mar BE Antwerp Kavka
Fri 04 Mar UK Brighton Green Door Store
Sat 05 Mar UK Sheffield The Harley
Sun 06 Mar UK Glasgow The Arches
Mon 07 Mar UK Manchester The Ruby Lounge
Tue 08 Mar UK London Cargo
Wed 09 Mar FR Paris L'Espace B
Thu 10 Mar DE Freiburg Swamp
Fri 11 Mar IT - Genova @ Milk
Sat 12 Mar IT - Gambettola, Arci Treesessanta
Sun 13 Mar IT - Rome @ Init
Mon 14 Mar IT - Napoli @ Galleria 19

Former Ghost - Hold On



An amazing new track from this London Based Band, Chapter24 (aka Chapter 24), are Claire (vox), Mel (bass) Mark (drums) & Joe (guitar) - a London, UK based quartet. They are becoming renowned for explosive & eccentric live performances.

Chapter 24 - Blisland To Cry


Joining the The Witch Pack, Tom Furse of The Horrors takes on this track, Seems to be the brotherly thing to do.

Wednesday, March 9, 2011


Weds 18th May 2011

The Factory, Manchester

Peter Hook’s The Light perform Joy Division’s second and final album,
their start to finish masterpiece live for the first ever time.
Tickets : £20.11

(Includes a charity donation to MIND and The Keith Bennett Appeal)

On sale this Thursday 10th March from noon, click the link below for tickets

Ticket Info

At this rate Peter should put on another phenomenal show!

Peter Hook - Disorder (Live) Why does only have 154 views?


According to there bio they are influnced by:

The sounds of 76 and 77.
First Wave British Hardcore.
D-Beat Sounds.
Crass Records.
Small Wonder Records.
Step-Forward Records.
New Hormones.
Factory Records.
Southern Records.
Flux of Pink Indians.
The Fall.
Mark Perry.
T. Rex.
Thin Lizzy.
Diagram Brothers.
This Heat.
Arab On Radar.
The Cravats.
The Buzzcocks.
The Mob.
The Snivveling Shits.
The Straps.
Black Sabbath.
Electric Wizard.
John Lydon.
Desperate Bicycles.
Scritti Politti.

Love It!

Flats - Never Again


Some things are just better left unsaid, Some things I despise sharing to the world, A world of undeserving, Here is one of them.

Kiwi Sisters are a collaborative synthpop act from Dallas, Texas centered around Caleb Flores-Gutierrez. It features Taylor Boardman of POTASSIYUM, Riley Tunnell, Abbas Khorasani, and Carl Solomon of Mexican Lions, Keaton Bly of Lumberjack Sluts, and Freddy Rupert of Former Ghosts. The group released Cats and Japan in 2010 and …For the Young and Fertile Bearers of Fruit… in 2011.

Nevermind the statement I have heard it all...KS is genius, Definitely the best of 2011! Fragile but powerful, Caleb just floors me...I hope to get him out to L.A. once He is done recording, Expect beauty. Check out this amazing track, I'm not much of a dancer these days, But if I was...You better hope that the DJ has this one! Embrace them because they are genuine with great things to come.

Kiwi Sister - Montauk Monsters


The Chapman Family are an English rock band from Stockton-on-Tees, that formed in 2006. The band consists of Kingsley Chapman (Lead vocals, guitar), Paul Chapman (Lead Guitar), Pop Chapman (Bass, backing vocals) & Phil Chapman (Drums). The band's debut album Burn Your Town was released on March 7th 2011. They were notably part of NMEs 2009 radar shortlist.

I must say longing the expectation of this album was all the wait, It's the raw Post Punk aesthetic that has whirled me in to really appreciate what these Men are trying to get across. Currently running a tour with O Children (Another Of My Fav's) they have emerge ready to nail themselves to the new brand of DJROCCOHORROR Pop. In a short, Keep a close eye on these Veterans the surely have an honest purity that will have you turning the knob to 10, Good job Mates!



09 - EDINBURGH, Sneaky Pete's, w/O.Children
10 - STOCKTON-ON-TEES, The Georgian Theatre, w/O.Children
11 - HULL, Fruit, w/O.Children
12 - LEICESTER, Lock 42, w/O.Children
14 - YORK, Fibbers, w/O.Children
15 - MANCHESTER, The Ruby Lounge, w/O.Children
17 - BEDFORD, Esquires, w/O.Children [TICKETS]
19 - BIRMINGHAM, HMV Institute, w/O.Children
20 - LANCASTER, Lancaster Library, w/O.Children
21 - CARDIFF, Buffalo Bar, w/O.Children
22 - BRIGHTON, Coalition, w/O.Children
23 - LONDON, XOYO, w/O.Children
30 - HAMBURG, Molotow
31 - BERLIN, Comet


01 - MUNICH, Atomic Cafe
03 - AMSTERDAM, Upstairs at Paradiso
04 - COLOGNE, Luxor
05 - ZURICH, Mascotte
06 - BRUSSELS, Botanique Bar
23 - STOCKTON-ON-TEES, Stockton Calling
30 - LEEDS, Live At Leeds

- MAY -

01 - LONDON, Camden Crawl
14 - COVENTRY, Kasbah
20 - LIVERPOOL, Sound City

The Chapman Family - Anxiety

TCF On Facebook

Tuesday, March 8, 2011


Via Steve:

The American and Canadian tour by Steve Ignorant and Goldblade has been put back to April because, like many bands, of getting visas sorted out in time. Both bands had difficulties which are becoming more and more commonplace these days. Goldblade’s problem was because their bank took 8 days to transfer money to America instead of the expected 1/2 days.

The visa situation for British bands trying play America is becoming unworkeable and moves are afoot to try and do something about it.

Yesterday in Parliament Kerry McCarthy MP asked a question on our behalf about the visa situation as reported in Hansard.

Kerry McCarthy (Bristol East) (Lab): Britain is rightly renowned for the creativity of its independent music sector, but musicians seeking to go and tour in the US face huge bureaucracy and costs when they try to get visas, whereas it is far easier for musicians from the US to come and tour here. May I urge the Minister to take action on this?

Mr Vaizey: It is the first time that that issue has been raised with me, and I would be delighted to sit down with the hon. Lady and discuss it further.

There is more action planned.

Steve Ignorant left a statement on his website
Goldblade website

Steve Ignorant statement on visas

I’m really really gutted to have to let you all know that we have to reschedule our USA and Canadian gigs. There’s a delay with the issue of the visas we require to enter the USA. We hope it will all be sorted soon but we will NOT be able to make the scheduled gigs.

I would ask everyone to please hold onto your tickets and give us about a week to announce new dates. We will reschedule as soon as possible and tickets will be valid for the rescheduled dates, however, if you think ‘fuck it, I want my money back’, then do that and I will completely understand.

I know that loads of you have been planning to travel for these gigs and that rescheduling them will be a right kick in the bollocks for you. I’m really, really genuinely very sorry about this. Please understand that this situation is costing me and the band a load of emotional upset, it’s not the money, it’s the letting you lot down, the bands that we were going to play with, all the people that have worked so fucking hard to put this thing together and if we could have done anything to avoid it we would have. Honestly, with all my heart, there was nothing else we could do. PLEASE, if you could let other gig-goers know that it’s off for now through your emails and face books or whatever means you can please do so. I know these are only typed words and words aint enough but it’s all I can do. To say I feel a right xxxt would be an understatement. This is the worse thing I’ve ever had to do. We really appreciate your support and we will do these gigs one way or another. Here are the rescheduled dates that will be confirmed as soon as our visas are confirmed. Until the powers that be grant us entry there’s nothing more I can do at the moment. Again, I’m really so sorry about all this.

Everything is tbc pending visas but we are hoping they will get issued this week.

All tickets will be good for the rescheduled shows.

April 20 Brooklyn, NY @ Europa
April 21 Montreal, QC @ Club Soda – SOLD OUT
April 22 Toronto, ON @ Opera House
April 23 Chicago, IL @ TBA
April 26 Seattle, WA @ Neumo’s
April 27 San Francisco, CA @ Slim’s
April 29 Pomona, CA @ Fox Theater
April 30 Pomona, CA @ Glasshouse
May 3 Austin, TX @ Emo’s
May 6 Atlanta, GA @ Masquerade
May 7 Baltimore, MD @ Sonar
May 8 New York, NY @ Santo’s – SOLD OUT

Friday, March 4, 2011



He has been surfacing for some time now with a very creative outlook on the modern world. Check this version out and his take on the classix track, Happy Friday.


Thursday, March 3, 2011


Fresh new edit from yours truly, Cheers!



Catch Them:
05/03: New York, NY @ Bowery Ballroom
05/06: Los Angeles, CA @ Natural History Museum
05/07: San Francisco, CA @ The Independent


Cat’s Eyes are confirmed to support Primal Scream at their two London Brixton Academy ‘Screamadelica’ shows on Friday March 25 and Saturday March 26, having been invited to personally by Primal Scream singer Bobby Gillespie.

Limited tickets are available to buy for Fri here for Tickets

Wednesday, March 2, 2011


THE LUMINAIRE Retires 2005-2011

24 November 2010

It is with sadness that we have to announce the closure of The Luminaire and The King's Head on 31st December. It's been a labour of love for a while now, and at this point it makes no sense for us to continue. We hope to be able to do some final farewell shows, probably in late March, and we'll let you know about those through the usual channels.

To all those who supported this independent venue, and the great artists who played here, since we opened back on 1st March 2005; you have our grateful thanks.

We were nothing without you.

Andy, John and all at The Luminaire

The Luminaire opened its doors on 1 March 2005. We were sick of the way bands and gig-goers were treated by promoters and venues. We never understood why things had to be confrontational, why sound engineers snapped at bands who requested basic things, why people who were supposed to love music were disrespectful to those who made it and those who came to listen. We still don't understand it, so you won’t find any of that behaviour around here.

We hoped that if we met our bands with a smile and a handshake, helped them load in, showed them round, offered them clean towels, tea and coffee, fresh milk, beer and water, and somewhere comfortable to sit backstage, and gave them a calm, friendly sound engineer to work with, they'd really appreciate it.

We thought that, instead of acting aloof and moody when people arrived for a gig, we welcomed them and asked how they were and maybe had a bit of a conversation and a laugh, they'd remember that and tell their friends.

And we figured that if we employed people behind the bar who genuinely loved live music and who knew that, when an acoustic act was playing, they had to do their best to serve drinks quietly, it would be greatly appreciated by our customers.

In February 2006, just eleven months after opening, Time Out magazine named The Luminaire as its Live Venue of The Year.

In March 2007, two years after opening, we won Music Week's UK Venue of The Year award.

We've lost count of all the bands who've passed this way, but we thought we'd mention some of the most notable.

A Hawk & A Hacksaw
Alasdair Roberts
Andrew Bird
Au Revoir Simone
Bat For Lashes
Billy Joe Shaver
Brazilian Girls
Camera Obscura
David Thomas Broughton
Diane Cluck
Dirty Pretty Things
Final Fantasy
Fionn Regan
Fucked Up
Future of The Left
Gemma Hayes
Hanne Hukkelberg
Hot Chip
Howling Bells
Hush The Many
I Love You But I've Chosen Darkness
James Morrison
James 'Slim' Hand
James Yorkston
Jamie T
Jarvis Cocker
Jeffrey Lewis
Jeremy Warmsley
Joe Lally of Fugazi
Johnny Flynn
Junior Boys
King Creosote
Larrikin Love
Lightning Bolt
Lisa Germano
Malcolm Middleton
Mark Eitzel of American Music Club
Mark Gardner
Mull Historical Society
My Latest Novel
Pictish Trail
Rumble Strips
Scout Niblett
Scritti Politti
Shooter Jennings & The .357s
Son of Dave
The Ataris
The Datsuns
The Enemy
The Flower Corsano Duo
The Fratellis
The Mules
The Pipettes
The Veils
Tilly & The Wall
Trashcan Sinatras
Vincent Vincent & The Villains
Wanda Jackson
Young Knives
Youth Movie Soundtrack Strategies

If your in the area catch their last shows starting tonight.

* JOHNNY FLYNN (evening) / DRY THE RIVER (afternoon matinée) : 6th March
* PIANO MAGIC + Ringo Deathstarr + SPC ECO + Club AC30 DJs : 7th March


Tuesday, March 1, 2011


Formed and based in London, Electricity In Our Homes are utilitarian in sound and vision. Taking inspiration from the best of British DIY, Talking Heads, Sonic Youth and Prince, they wear identical minimal attire and their live shows are an exercise in conciseness (they have been known to play ten-minute sets), often teetering on the edge of chaos.

Back for 2011


Catch Them Live:


April 6 L'International - Paris, France

April 7 Sonic - Lyon, France

April 8 Le Bourg - Lausanne, Switzerland

April 9 Julie Tippex - Dijon, France

April 10 Le Grillen - Colmar, France

April 15 Beat cafe - San Salvo, Italy

April 16 Mattatoio - Carpi, Italy

April 17 Pollution - Lucca, Italy

April 19 Xanax Party - Turin, Italy

April 20 Della Cira - Pesaro, Italy

April 21 Diagonal Loft - Forli, Italy

April 22 Lio - Brescia, Italy

April 23 Palace - St gallen, Switzerland


May 19 - HMV Institute, Birmingham

May 20 - Milo, Leeds

May 21, 22, 23 - Friends of Mine Festival, Cheshire

July 9 - 1234 Festival, Shoreditch London

July 29, 30 - Farm Festival, Devon


June 8 - Hamburg, Astra Stibe

June 9 - Berlin, Festaal Kreuzberg

June 10 - Leipzig, Festival

June 11 - Stuttgard, Komma

June 12 - tbc

EIOH On Facebook


The urge to create wonder with sound is rarely indulged in today's utilitarian pop landscape. In an age when a piece of music can be erased with the click of a mouse, there are few artists pouring their heart and soul into what Brian Wilson called "teenage symphonies" - lovingly sculpted three-minute slices of aural heaven, which grip the listener's ears and emotions in equal measure. In that mundane world, Cat's Eyes really are a godsend.

They are a duo, formed by Rachel Zeffira, a renowned Canadian opera soprano and classical multi-instrumentalist based in London, and Faris Badwan, the statuesque singer from noisy British psychedelic-rockers The Horrors. In the collision of their two very separate worlds, something magical has come into being, which brings together all kinds of dualities - pop/classical, traditional/avant-garde, acoustic/electronic, virtuoso/novice, male/female, happy/sad and, why not, good/evil - into a unique and mindblowing whole.

Their debut album, called simply ‘Cat's Eyes', is a romantic pop masterpiece fit to dine at the same table as mid-'60s productions by Phil Spector, Joe Meek or Shadow Morton, but with a fiercely modern, experimental premise, which constantly leaves you wondering just what you're listening to, and how on earth it was created.

For Faris, it is a major departure from the whirlwind noise of The Horrors. For Rachel, too, it has been a big change from the gruelling work of rehearsing and performing operas and classical pieces in some of the world's biggest concert halls.

The two met through friends in 2009, and got on like a house on fire. "I was telling her about my love for 1960s girl groups," Faris recalls, "and how I'd always basically wanted to do a recreation of a girl group." I made her a compilation CD of my favourite songs, then I went away on tour. When we were talking about the stuff Rachel had been involved with, I hadn't really thought about it translating. But while I was away in Sweden, she sent me this demo she'd done, which ended up being the song, ‘The Lull'. In its original form, it had more of a Shangri Las feel."

"I really got into his mix CD," adds Rachel, "and that's when I sent him the track I made, just for fun. Then it just took on a life of its own. We started sending things back and forth, then whenever Faris was back from tour, we'd write a song together."
So, they kept writing, but soon came to the conclusion, according to Faris, that these "had to take on a different life, and end up sounding really unique. There's no real point in recreating something that's happened already. We were interested in exploring new sounds and recording techniques, while keeping within the confines of accessible songs." Adds Rachel: "We wanted the musical arrangements to evolve quite a bit, but to keep the lyrics simple and unaffected."

For Rachel, songwriting for Cat's Eyes became an obsession. After studying music in Vancouver and Verona, she got into composition in London. She's a virtuoso in a number of instruments, including piano, violin, English horn, oboe and cathedral organ, as well as an award-winning soprano.

"For ‘Not A Friend'," Faris recalls, "Rachel had an idea for a song while she was crossing the road somewhere. She sang the beginning line and the first verse into her phone while she was walking along, and on her recording you can hear birds in the background, and then the beep of a car as it swerves to avoid hitting her."

For Faris, too, Cat's Eyes is a very different experience from The Horrors. He's always been the singer and the lyricist, surrounded by a wildly creative band, bristling with musical ideas. Not trained in any instrument, he hasn't been able to feel his way into the non-vocal side of music, until now.

"I was always interested in having a project that makes heavy use of electronics, but still sounds warm and human," he says. To that end, he's been hording synthesizers, echo units, tape manipulation devices, effects pedals and all manner of sound equipment with a view to generating his own electronic sound. So, while Rachel plays "everything from harmonium to Indian tambura", Faris brings his own weird atmospheres, often twisting the vocals and instruments beyond all recognition.

Says Rachel, "I'd play English horn, and he'd put it through pedals, and make it sound completely different. Every acoustic element he was able to distort and manipulate. So an oboe part would become less corny. You'd never know it was an oboe, it's more like an interesting synth sound, maybe. Even some of the opera stuff I was singing for backing vocals, you wouldn't know it, because he would run it through his chorus echo, or some pedal or other into an amp, and play around with the sound until it wasn't recognisable."

After home-demoing their songs, Faris and Rachel recorded them at RealWorld, Peter Gabriel's studio near Bath, with producer Steve Osborne (Doves, Happy Mondays, New Order). Rachel: "We both agreed, he's very talented, and he has no ego - that combination is pretty special". However, pretty much everything was played by one or other of them, including a lot of the string arrangements, which Rachel multi-tracked herself. Some parts were recorded with an orchestra at Abbey Road, but they managed to save on one overhead, as Rachel was able to conduct them herself.

Thanks to their top-to-bottom involvement in everything on it, both Rachel and Faris feel deeply possessive and proud of ‘Cat's Eyes'.

While their music had digressed substantially from the original germ idea of a girl group, they decided that the lyrics should stay simple, and romantic. "It was definitely a different kind of lyric writing for me," says Faris. "The themes are stuff that people have always gone through in relationships, but while they're direct, and most people can connect with them, I don't think they're throwaway."

Having put so much of their extra-curricular time into making ‘Cat's Eyes', and having come up with something unique which evokes their 1960s heroes without copying them, the duo decided that they wanted to promote the project with a series of unusual events. The first took place in December, amid some secrecy, at St Peter's in the Vatican, which they arranged through Rachel's connections there, from her Verona days. They performed a reworked version of ‘I Knew It Was Over' during an afternoon mass, which was attended by seven high-ranking cardinals.

A video from there will be released on the internet in late January. The following month, the debut ‘Broken Glass EP' will be released, with the album ‘Cat's Eyes' scheduled for April. The artwork will feature images created by Chris Cunningham, the celebrated video director, responsible for the scarifying promo for The Horrors' ‘Sheena Is A Parasite'.

Faris summarizes: "We think that people can connect with the songs regardless of the kind of musical background they have. The themes are timeless and ones that most people have experienced. We wanted to present a world for people to make their own connections. We're ambitious for the project. We think we've made something that's really accessible, but not as a result of being cheapened. We want as many people to hear it as possible."

More extraordinary events are planned for March, and beyond. Stay tuned.

‘Broken Glass EP' released 28th February on Polydor, the debut album ‘Cat's Eyes' follows in April.

Thanks to Ticketline.