“I like to see lady drummers. It’s fucking cool,” says one of the security guards at Popscene as The Whip plow through their soundcheck. The Manchester quartet are in town to open for fellow UK outfit Late of the Pier, but in two short hours the Mancs will blow their contemporaries out of the front door and onto the alleyway outside of the club.

“What was the name of that first band? They were so. Much. Better,” I overhear while standing in line to use the ladies’ room.

And it’s true. Cousin to The Faint with a dash of Daft Punk knob-twiddling, the four friends from college now known as The Whip are able to deliver more songs to grind to then their headliners. The most success comes from songs like “Blackout”, which carries a sexy bass line with a light Nintendo synth, and “Muzzle #1”, a rhythmic foot tapper that sort of sounds like what The Horrors would be if they went dance-punk. And while the band doesn’t talk much in between songs, opting to end their short set with lead single “Trash”, the venue breaks into continuous cheering at the end.

Both bands are sharing the green room, where I’m whisked into for The Whip interview pre-show, and the scene is somehow serenity-meets-frenzy. There are lanky Brits from both bands falling over themselves trying to reach the riders while I plop down onto a black vinyl couch, and even though the vibe is at a calm tone, everyone is talking to one another — and not me. Never before have I had to keep track of my interview subjects until now, as various members of The Whip actually leave the interview mid-thought to answer a phone call, talk to a manager, or huddle up next to a LOTP member.

It’s somehow not rude, though — it genuinely feels like all the people smashed into this tiny ass room want to hang with one another, and I even find myself floating from person to person to spark a conversation. “I love this song,” says Daniel when Bloc Party’s “Banquet” thumps outside, and we talk about the influx of British bands to hit America in recent years.

The whole setting resembles a cozy house party, which is both endearing and neat. I end up speaking with drummer Fiona Daniel and keyboardist Danny Saville the most while sitting on the couch, as vocalist Bruce Carter and bass player Nathan Sudders to my right are distracted at various intervals, but piping in when given the chance. Most of our conversation centers around their hometown of Manchester (both Sudders and Carter are tickled to know about the goth night I went to while there a few months back: “I actually know the owner for Satan’s Hollow!” says Saville), and what some goals are (Carter: “Ride a cable car”). As I leave, all four extend their hands to shake mine warmly, offering to hang out if we all were ever in their hometown at the same time. This cordiality is again replicated as I join Sudders outside for a cigarette post-interview.

“Please, MySpace us if you decide to join us in Manchester for grad school,” he urges. I’m amazed he remembered that small detail from our conversation amidst the ringing cell phones and chatter about doing shots back in the green room. “Maybe I will,” I reply. “You lot seem to be really good folks.”

There seems to be the common theme of “fucking shit up” when people talk about your music. Is this accurate?
Fiona Daniel: Fucking shit up? Really? [laughs]

Danny Saville: Well, I mean, I think that’s a good thing. Right?

Nathan Sudders: Oh, wow.

“Trash” is the opening song on your album, and has been the one garnering the most attention. Are you afraid no one is going to be listening after that first song ends?
FD: You know, people don’t have to dance if they don’t want to. I mean, we want it to happen as naturally as possible.

Bruce Carter: I think we did a great job on the album as a whole.

You’ve cited having older siblings and friends who got you into the Manchester scene. What particular interaction stands out most?
DS: I got my foot in the door with that scene from an older friend [who gave me a cassette of music]. I remember the tape cover was a yellow and black picture/painting of sorts with some vandalism-looking writing. There was the FAC 51 symbol in it and Bigfoot was prancing around. So weird but very cool.

I fell in love with Manchester when I was in England over the winter. I saw the Hacienda apartments and it’s so sad what they look like now. Is it weird something so historical like that is now defunct in your own hometown?

DS: I used to live right across the street from the Hacienda. I used to break in and play there before it was torn down to be converted. It’s a bit of a shame that it wasn’t saved but what can you do? And now it’s like any other neighborhood in the area. There’s weed on the corner.

There’s always seems to be a Manchester/London comparison that happens.
FD: True. But when you consider how many amazing bands that have come out of our humble little area, it’s quite impressive.

DS: And it’s all about the sizing, really, too. Birmingham is bigger, but in Manchester you can still bump into people. London is just too big for us. We might not have been able to succeed if we had decided to move there first instead of sticking to where we started.

BC: In any case, it’s obviously not as cool as here. [grins and points to his surroundings]

How many sexual innuendos have you gotten in reference to your band name?
DS: What, you mean like bondage or S&M-type stuff? None. None at all. [smiles]

Happy 2009! As great as 2008 was, we are already digging into what should be a great year in British music. So let’s get right to it…

One of the worst things that 200 brought us was the surprise stroke that afflicted Long Blondes’ guitarist, Dorian Cox. With that news came the unfortunate break-up of the band, and some serious AEC heartache. But the new year has good news, not only has Cox begun to regain the use of his right hand (thanks to a bionic hand no less?!), but we have also recently read that Long Blondes lead singer Kate Jackson has plenty of plans for 2009. Not only has she recently recorded a song called “Kickstrasse” with Glasgow’s 1990s, but she is also reportedly writing new material with Bernard Butler. We’d think our love for Butler would be obvious, but in case you couldn’t guess, we figure any former member of Suede, who has since produced records for Sons and Daughters, Duffy, Manic Street Preachers, The Veils, Sophie Ellis-Bextor and countless others is pretty much a god in our eyes. Well chosen, Miss Jackson. We approve of all of the above.

Long Blondes – “Once And Never Again”

In other AEC deity news, Morrissey has spawned a new record. It’s out on February 17th on Lost Highway in the US. We have heard it, and can honestly say we are swooning. His last few efforts have been more than satisfying, but this new outing is brimming with rock and roll flair, and finally brings more of what the Morrissey live experience is all about. If you have seen Morrissey in concert, you know what we mean. And if you haven’t, you should remedy that right away. Lucky for you, Moz tickets for the US tour are going on sale now for venues all over the US (including some very intimate venues). Unlucky for us, we were shut out for NYC tickets. But we have faith.

Morrissey – “I’m Throwing My Arms Around Paris”

The end of 2008 brought us some hot tips on plenty of new bands as well…

Right before the end of the year, we were very pleased to see Ipso Facto not once, but twice in one week. The quartet of ladies is very young, very attractive and very exciting. Their music leans toward all things dark and gothic, but with a decidedly feminine swing. Add some great looking hairdos and outfits, and this band embodies most of the things we love. We have high hopes for these ladies in 2009 and hope to see them again soon.

Ipso Facto – “Six And Three Quarters”

Coming from a totally different angle, but still so very feminine, our new pop favorite out of the UK is Alesha Dixon. Formerly a member of Mis-Teeq, Dixon has gone on to marry and divorce a member of So Solid Crew, win the Strictly Come Dancing 2007 crown (the UK’s Dancing with the Stars) and, most recently, she has released a cracking new pop gem of a single, “The Boy Does Nothing.” Sure, it’s 50 percent Beyonce and 50 percent Xtina, but to us, that’s not a bad thing. Now, we know the chances of Dixon’s music seeing release stateside is pretty slim, but we also know that we will be sadder because of that. We’ll enjoy it from afar.

Alesha Dixon on ‘Strictly Come Dancing’

Alesha Dixon – “The Boy Does Nothing”

We have also been feeling particularly “electronic” of late. Luckily, we have three new totally different acts to keep tabs on in 2009. The first is Errors, who we first heard about through Alan McGee’s “tips for 2009” list, and soon enough heard even more that helped their cause. Not only are they a McGee favorite, they are on Mogwai’s label, Rock Action, and they are pals with Sons and Daughters. Oh yeah, and the music is pretty great, too. A mix of Ghostly International electronics and Mogwai’s sonics, Errors have our attention. Let’s hope they make it stateside soon.

Errors – “Pump”

Also in the electronic vein is the release of The Whip’s debut, X Marks the Destination. Now, we have been waiting for this record to hit the US for a long time, since we first heard of them doing remixes for AEC faves Editors, Hadouken!, and… Sons and Daughters (three mentions for S&Ds in one missive! That must be a record). Now their debut is finally coming out and we got exactly what we wanted. The 4-piece deliver sharp electro dance rock like The Faint, White Rose Movement and the rest of them, and at its core is simply made for dancing: hard, fast and fashionable, of course.

The Whip – “Frustration (Van She Remix)”

Also in better-late-than never US release news, AEC darlings Late Of The Pier finally released their debut, Fantasy Black Channel via Astralwerks today [January 13] actually, (it came out in the UK last July).

Late of the Pier – “The Bears Are Coming”

And, finally, our most exciting new find is Zomby. Yes, Where Were You in ’92? is retro, and, in fact, it’s meant to be. The thing is, as much as this record is an homage to the rave/hardcore/garage choons of the early 90s, what sets Zomby apart from other less talented revivalists, is that the music is not only reminiscent of our early rave days, it embodies the sounds as well as the spirit. It’s not simply the cosmetics, but the true essence. Every time we put this one on, we smile. Meet our 2009 pre-party record of choice.

Zomby – “Where Were U in ‘92?” MixTape

And finally, we leave you with a NSFW link. One of our current favorite TV shows is BBC America’s “Skins.” We are one season behind here, but we just got wind of the new extended trailer for the 4th season, and, wow. As usual, the teen drama pushes boundaries, buttons and the legality of what can be seen on television. Thank God for “Skins.” American shows should take note. This is how you scare the parents:

“Skins” Trailer (Somewhat SFW)

Enjoy! And until next time, please send all gripes, tips, and glowing praise, directly to us.

After seeing The Whip at last year’s SXSW I was extremely interested in hearing their studio album. As a live band they were awesome — my favorite new act of the whole week. Their sensational mix of crunchy French underground electronica, 80s new-wave and brit-pop made for a high-energy show that turned the concrete concert venue in to an off the hook sweaty dance party. I had to see if this energy would translate to their album.

From the first listen of X Marks Destination, it becomes quite obvious that The Whip are pros at getting a party started and fueling it to the late hours of the night. This album is basically a hipsters wet dream. It’s chock full of raw industrial Justice-like electronica tracks that are heavy on crunchy bass lines and catchy two line choruses that are looped continuously through out the songs. “Trashed” and “Throw it in the Fire” are the best examples of this raw dance rock blend. Both feature minimalist hook laced choruses that are worthy of a packed dance floor chanting the lyrics at the top of their lungs. In “Trashed” lead singer Danny Seville sings “I wanna.. I wanna be trashed..” over a big fat grimy beat. How can you not to want drunkenly chant this chorus?

On “Blackout” they add a funky bass line and some looped bell chimes to their dance mix creating one of the more accessible and fun dance tracks. Even the lyrics are more playful with Seville chanting “Blackout, Blackout, We’re waiting for a Blackout!” It’s a tuneful dance track that is irresistible and probably the best on the album.

What I didn’t expect were a couple of 80s new-wave pop songs that really showed a more melodic side of the band. On “Frustration” and “Sirens” The Whip pulls out their best Cure impressions and craft two excellent synth- heavy new wave gems that mesh perfectly into the beat heavy dance album.

X Marks Destination is a perfect party album that plays like a kick ass DJ set effortlessly transitioning between a mix of killer electronica and 80s new wave. Justice and Simian Mobile Disco better watch out because The Whip is a double threat equipped with both the big beats and melodious pop songs to get the party started!

Razor & Tie