Githead

The Headgit EP was one of 2004's most pleasant surprises as far as music goes: a half-dozen tracks of exquisite contemporary pop-rock, with a skewed edge befitting the band's members. Profile, the band's full debut, took things further, with some cracking tunes that ranged from the abrasive instrumental Antiphon to the sublime pop of Wallpaper, and from the in-your-face Cosmology for Beginners to the introspective, vaguely Seefeel-esque Pylons.

Live, the act has been variable on the occasions I've seen it, with an 'interesting' debut at the Swim 10th anniversary bash. However, the band has grown (in terms of confidence, and also in a more literal sense, what with the addition of Max Franken on drums), and the live sound is, crucially, markedly different from that on the album (which is only disappointing if you're one of those strange people who wants to see a carbon copy of an album when a band plays live).

Githead are the perfect UK indie supergroup. Comprised of members of the legendary Wire, Scanner, and Minimal Compact, Githead delivered immaculate stripped-down alternative pop masterpieces on their debut ep "Headgit."

I thought it couldn't get any better than this, but when the full length album "Profile" was released, they topped themselves! "Profile" made the top 10 lists of best albums of 2005 of many critics, including this writer, and with good reason. In fact, it tops my personal list as best album of 2005.

"Refreshingly clear," Githead's production values are immpeccable, with full dub style bass in your face, and layers of interlocking rhythmic and melodic guitars and vocals creating a unique and original sound with just the bare essentials of rock.

Githead have yet to tour the states, so I have yet to experience a live performance, but the recorded output of this exciting art-rock ensemble is second to none. The music just sounds good from the very start. Powerful, simple, grooving, hook-laden and very addictive! Smart rock for smart humans.

I had the misfortune to see this band playing in support of the mighty Coil in July 2004. Variably described on the night by people around me in the crowd as "6th form grade indie rock", "teen angst rock with Shadows style guitar leads" and "a load of bollocks", I have no idea what they were doing performing live anywhere, let alone on the bill with Coil. Robin Rimbaud's Scanner project had good and bad moments, but this one only had bad moments when I saw them. As I remember it, the biggest cheer they received was when they announced their last song.

Totally uncoordinated, sounding like none of them had ever played their chosen instrument until stepping onto that stage, and looking decidedly older than the adolescent lyrics suggested they ought to be, I really hope their releases are up to more than that performance.