German five-piece Nannygoat rock in on a wave of frenetic energy that can only be attributed to the long hours spent locked away in dusty studios up in Scouseland for the last ten days. The experienced outfit are currently holed away in the day-into-night-into-day weirdness of recording their second album, and were delighted to be able to grab a break in the tracking sessions to guest at the Masque.

And it shows, with the energy and release of sheer cabin-fever stunning the wierdly-tiny crowd at the (usually jampacked) Glasswerk Media gig tonite. With vocalist Anna blasting out cultured melody with a hint of gravel, the band behind alternately soar and spank their instruments like the crazy rock buggers they are; and the small crowd that’s here nod their heads approvingly.

With debut album ‘Too Many Love Songs’ a huge influence on the German rock scene, Nannygoat’s live activities see them regularly gigging throughout Luxembourg and Germany. This, their debut UK appearance, showed why they’re regarded very highly amongst rock aficionados. Nannygoat’s star is rising, and fast.

With tracks of the calibre of ‘Reverie’ and the quite fantastic ‘Contradiction’, it’s obvious that this band know how to write songs. Not only that, they know how to write fucking good songs. We’re even treated to a brand new, never-before-performed opus, ‘Lazy Summer’s Day’. We’re lucky. Nannygoat blend their sometimes angsty delivery with some effortless groove that drummer Gregor and bassist Harald bounce to gleefully.

It really is top class. The album, when it comes out, should be a cultish, terrifyingly crafted piece of brilliance. Too Many Love Songs? Debatable really, after all, isn’t beauty in the eye of the Beer Holder?

((((Boom! Boom!))))