Whether it had something to do with the announcement that Tom Vek was to play a DJ set, or the recent media interest in both headliner and support, Hoxtons Bar & Kitchen saw itself play host to a sell-out show and a room rammed to the rafters. And for those who had managed to buy or blag a ticket - and wait out the delayed door opening and endless snake-like queue - it was a night where you felt you were looking at two bands with the potential to become major players.
Having Vek and the likes of Kaiser Chiefs Ricky Wilson amongst others out front watching you did not seem to faze the London moody-pop quintet, Zulu Winter as they kicked off their seven song set with the instantly catchy Key To My Heart. Playing with a certain confidence and ease which belied their, as yet, few live outings, they justified the faith Double Denim have in them, releasing their first single Never Leave/Lets Move Back To Front on the label on 7 November. The former, opening on Dom Millards Roland, pounds along on a rhythmic beat to a scorch of guitars; while the second is filled with delayed guitar effects, Guy Henderson providing a steady backdrop on drums and the soaring vocals of frontman/guitarist Will Daunt. Think Friendly Fires crossed with Wild Beasts, more the former when Daunt breaks into Silver Tongue sheds guitar and shows dexterity for amp jumping, as keyboards swirl around what is an infectiously poppy upbeat little tune. A final flourish on You Deserve Better with its repeated guitar riff and Daunt leading a raw-edged vocal, before drums take a midway hold closes the set. Did we deserve better? No, Zulu Winter, I think you can be assured the audience thought to the contrary on the basis of tonight.
When the lights go down again after Tom Vek has worked his magic on the decks and Clock Opera take to the stage long after their designated time, the fuzzy guitar intro of White Noise heralds the start of a set filled with both problems and moments of unadulterated delight; all of which bearded frontman (and Foals Yannis lookalike) Guy Connelly manages to deal with with equal aplomb. The aforementioned opener augurs well: synth-rock electronica accompanied by a visual backdrop of abstract squiggles, pulsating eyes, spacecraft lift-offs.
At the start of Man Made, however, the visuals suddenly judder to a halt. Whats going on? Connelly enquires. Youve been patient already, you wont mind another couple of minutes will you? as he leads off into a short monologue to fill the space of an encounter with a motorcycle courier on a death mission. When he finally picks the song up again (minus projected visuals) - a lyric borne out of an article read about a beauty pageant in a Siberian womens prison - it is met in the same way that their two recent singles were: a frenzy of approval from the mass of fans theyve accumulated along the way of their two-year career. Once And For All is a buzzy, jumpy singalong affair, which if it doesnt set your feet tapping and head bobbing, its safe to assume you probably wont go for much else the London-based quartet have to offer. Belongings provides the catchy repeated oh-oh-oh-oh-oh chorus that even those seeing the band for the first time would have been hard-pressed not to like.
Clock Operas sound is focused around an array of sampling, falsetto vocals and Connellys pioneering of chop pop (basically breaking up sounds to create songs and hitting on metal objects purloined from skips, or his own kitchen - a small teapot appeared at this show, for instance) which underpins a likeability factor and lyrics which have the capability to both disarm and charm.
With three new songs making their inaugural appearance, Move To The Mountains gains the most approval; a protracted drum beat that shifts shape towards the end, matching up with a catchy rhythm guitar and keys. One foot in the future, one foot in the past, sings Connelly, amidst the duelling guitars of Lesson No 7, their forthcoming single (released 3 October on Moshi Moshi/Island) - and of which Tom Vek has also provided his own (and first) tripping remix. This moves apace over thunderous drums and a whacking bassline and reverb-rich guitar. With this, the last number of the set, calls for an encore could still be heard nearly five minutes after the band had left the stage, as the feet of the hopefuls remained glued to the spot they were standing in.
With a number of their own dates upcoming, along with opening for Metronomy, Crystal Fighters and Chapel Club, Clock Opera look set to go out of 2011 as a name on everyones lips.