There's a definite difference to the group now, and a sense of direction that wasn't always there in the past. The two newcomers, Mike Pursey (ex-Moderates) on bass, and Wayne Hussey (ex-lnvisible Girls among others) on guitar, have added something whether it's confidence, commitment, or ideas - and the result is a difference to the group's sound that's almost tangible.

The band start tentatively at first (despite the dry ice), but soon their new strengths begin to show, as they bring out a song from the new EP "It's Been Hours Now" - and launch themselves into the set. This song is in the familiar dramatic mould, but others are very different.

The new band is more accessible and has a wider scope. The dramatic surge has given way to a more structured approach (pacing!, and other old- fashioned concepts) that allows more variety from each instrument, whether it's keyboards or guitar, or even the vocals. Pete Burns is using his voice to its full potential now, learning to control its power. Gifted by nature, he's begun to add craft, and the result is a greater range of expression, and tunefulness, that's matched by the wider range behind him.

The new sound shows itself in a range of new songs that sing out for attention, and a transformation of old ones like "Flowers" and "I'm Falling". The music is now more joyous than intimidating - not that it's lost any of its solidity and energy (Joey Musker's powerful drumminq will always make sure of that) - but it's now much more rhythmic, as well as more melodic. People don't just marvel at the group: now they dance.

The music is a match for its singer - less hostile than before, and more attractive. When Pete Burns began appearing on stage he was, of necessity, antagonistic and aggressive, his very presence intended to stun as much as the music he employed. It's been a long evolution to escape that necessity (even brushing with fashion on the way), and today there's no need for confrontation.

Pete's malevolent beauty is still the focal point, though, and there's the same arrogant humour as he mocks his own image, preening and snarling his way into "Flowers" which closes the set with a demonstration of power.

The cavernous voice fills the darkness, then throws itself with disdain into throwaway quotations from a past era - and when you see Pete Burns open his mouth to its full width you believe he could swallow the entire psychedelic revival in one moment. This group could conquer yet.

Melody Maker 1982