We didn't have a photographer at the show, so Yasmyn Charles drew that picture (above) for us.

A dimly lit passageway leads from the thatched roof of the Shacklewell Arms to the somewhat unbefittingly named disco hall. Hall appears an overstatement. Adorned with mirrors either side, the room is barely elevated from its pokey demeanour. Beneath a mirror ball, the first support act Yowl take to the stage. Yowl in both name and nature, the frontman fumbles slovenly about the mic like a lanky Mark E Smith. The vocal delivery appears to be in a constant flux between mock baritone and rabid seething as people filter casually in and out of the venue.

Without hesitance, London based quartet Loaded follow ahead of headliners Shinies. Stock psychotropic visuals project over the garage revivalists who are immersed in relentless feedback. Loaded deliver a primal surge of menacing drums and violent clattering reverb that rattles savagely throughout the bands set. It is only by the end of the last support act that an atmosphere of expectancy begins to truly accumulate, predominately in the form of diminishing body space.

As Shinies take to the stage there is little in regards to stage theatrics, yet that is hardly to be expected. Instead, an overhanging cloud of self awareness precipitates in the form of composed nonchalance. Album opener 'Pomona' slips breezily into title track 'Nothing Like Something Happens Anywhere'. Airy vocals resonate vibrantly across a shimmering soundscape of lo-fi haze. Mid-set the four piece introduces '6's & 7's' vaguely as a "love song". Prior to this, a member of the audience proceeds to invade the stage and embraces both the bassist and drummer. As the same man occupies front of stage throughout the song, flailing with his partner, the track is dedicated to the "love birds at the front" with the playful jibe, "it never lasts."

Despite the playful cynicism in the band's onstage rhetoric, Shinies' debut is a collective of ruminative reverb drenched 'slacker pop'. A reflective tone is made evident as "fascinated by the way you fall apart" is mournfully moaned. In contrast to the lyricism, each song is driven with a heady pop sensibility. Towards the end of the set, Shinies, to the delight of the audience revisit single 'Taste', which is echoed back by the crowd. To close, De C's mildly motorik temperament and hushed vocals rise into a swirling mesh of bold guitar and deafening feedback. Abiding to 'slacker' form a guitar is then thrown feebly to the floor.