So, who exactly is the hottest new band around in recent months?  Hope Of The States?  Possibly.  Franz Ferdinand?  Almost undoubtedly.  But what is this fully-formed, glorious thing that has been creeping stealthily up on us, virtually unnoticed but for a couple of home-made seven inches and a fine set of sessions for various radio stations?  The Golden Virgins is who it be.  Hailing from Sunderland, and having played most of their previous gigs in northern England, this London show coincides with the release of their corker of a debut album 'Songs Of Praise'.

With a makeshift stage set up at one end of a modest Old Street pub, this free gig sees The Golden Virgins showcase virtually all of their back catalogue in less than an hour - short and sweet, and leaving a craving for more: just as it is on the album, and just as it should be.  It has taken the band two years and the same number of singles to progress from their 'one-take-and-the-song-is-finished' approach to the Cliff Jones-produced, multi-tracked-yet-rugged gem of a debut album.  Tonight's set reflects that progression, with David Younger's complimentary keyboard layers underpinning The Virgin's whistlestop tour through the archives of Indie music.  We have the Elastica-tinged (and surely a future single) 'I Am A Camera'; the Stereolab organ drone of 'Renaissance Kid'; and - best of all - the sluggish and sleazy 'Staying Sober', reminiscent of Arab Strap's self-depreciating guitar-based dramas.

All tunes are accompanied by the distinctive vocals of Lucas Renney, whose looks suggest he may well possibly be an illegitimate younger brother of a certain ex-Wedding Present lead singer.  His lyrics display a similar level of word play and wit to rival those of Mr Gedge, with lines such as "My father has disowned my, and my mother died of shame, my brother wants to kill you 'cause he knows that you're to blame, there's no reason to stay sober now you're gone" being delivered with a conviction and hysteria that swiftly manoeuvres the band around accusations of self-indulgence or self-pity in their lyrics.

Granted, Franz Ferdinand have struck a chord (no pun intended) with the record-buying public recently, but where their art-school chic has been fully realised from the start, The Golden Virgins material has a wider scope for variety, with them seemingly sharing The Fall's reputation for all the songs being different, yet sounding the same.  A limited-edition double seven-inch single has so far been the only supporting release promoting 'Songs Of Praise'.  With 'Light In Her Window' due to soon be the first single-proper taken from the album, and a healthy set of live reviews circulating in the music press and fanzines alike, perhaps we are seeing the beginnings of the true 'Best New Band in Britain'.  The band members lack of pretensions (they finish their set at half ten, before having a number of drinks with fans in the audience, and taking a genuine interest in their opinions) suggests they are down-to-earth and hard-working enough to forge themselves a tight and devoted fan-base, providing they continue chewing up, regurgitating and spitting out the varied range of influences that have gone into their material this far.

Be sure to pay them a visit at Glastonbury, Reading, Leeds and/or T-in The Park, and get hold of album-of-the-year-so-far 'Songs Of Praise'.  There are, frankly, no excuses.

Review: Andrew Morrison
(An edited version of this review also appears in the Vanity Project music fanzine.)