REVIEWS:
'IF THERE WAS ANY JUSTICE IN THE WORLD, John Costello would be a huge star by now. He has produced incredible electronic music for many years, both under his own name, in partnership with others in Engram, Democratize, Suburban Birth Canal and now through teaming up with Steve Clarke in The Indoor Show. The Sharktown EP is their first outpouring, but we are promised an album in due course too - which will be a cracker. The opening title track sears in with a burst of noise and drawing inspiration from Magma, Can, King Crimson, mixed with Ministry and others, which is in no way is an adequate description of the sheer power on show here. The bass could drill for oil, and the hammering rhythm should really carry a health warning. Intense isn't the word as the urgency builds to boiling point by the end of the track. If this doesn't leave you breathless then you'd better check that you still have a pulse!

The following 8 minute instrumental, “The Third Particle”, opens with distorted guitar and synths over a ferociously plucked bass, melding into expanding string pads, stabbing guitar and synth jabs. Over headphones the effect is simply mesmerising. Or just play it really loud. In contrast “Shotgun” is a relatively compact 4 minutes long. It has been described elsewhere as a "mighty cauldron of sonic explosives", an image that is stunningly accurate, with a sound so gutterally brutal that it really should be behind bars. The EP closes with the Front Line Assembly-esque, “Occult Geometry”. I am running out of OTT hyperbole now, but suffice to say The Indoor Show's mastery of their art is complete. By the time the EP screeches to a sudden halt, I'm left speechless (an unusual state for me). Any of these tracks could (will?) sound totally epic live and (at the risk of repeating myself) deserve far wider exposure than they can possibly get here. The album, when it eventually lands (and it could be a while yet), is sure to be the aural equivalent of a Neutron Bomb.' - ALAN RIDER (OUTSIDELEFT)

'ELECTRO ZEUHL FURY. Sinister synth pads in fierce debate with arrogant fuzz basslines. An innovative offering of articulate dissociation and rage. Sonic integrity achieved independently. This is the sound of something painfully necessary emerging in the intellect. Much respect to THE INDOOR SHOW.' - ZENDEN GREENPURP

'THIS EP IS FANTASTIC! It throws a bit of everything into the mix and spits out some incredible sound scapes. Definitely needs to be listened to with headphones. Sharktown is musically and lyrically absolutely outstanding. Would love to see you doing it live. Keep up the great work, can't wait for the album!' - JOHN ATKINS

'THE RECIPE FOR THE TITLE TRACK GOES SOMETHING LIKE THIS... first take a springboard from Magma's legendary “De Futura”, only here, start with a rhythm that would be worthy of something from the fiery Ministry songbook, as the absolute weight of mid-paced jackhammer drum programming immediately makes its presence felt. On top of that, then add the bass – make it a strong, vibrant, teeth-rattling bass for maximum effect. To give depth to the end result, add a backdrop of intense electronics that provides the necessary intensity for the thing to rise. Then add more bass – don't be squeamish – pour it in so that it rattles every bone in your body. Separately, take a hint of King Crimson's “Indiscipline” but instead of Adrian Belew, get Can's Damo Suzuki to intone the bitterly snapped out lyrical content. Then, as the whole brew is bubbling to boiling point, after four minutes of cooking, add a nerve jangling Fripp-esque slice of biting guitar work to give the track an even greater strength than you thought could be possible. Ensure this is set on maximum heat and enjoy.
Now, while the characterisation is not absolute – neither Belew or Suzuki appear on this track – I'm sure you understand where I'm coming from. Especially once you've heard it, as this is over 7 minutes of jaw-dropping power, with references from the past, but the whole thing more of a glimpse of the future, as it stomps its authoratative way to complete domination.

Next comes the 8 minute instrumental, “The Third Particle”, and this time it opens with strummed bass, a sea of synths as wide as the ocean, before an echoed electronic figure appears, the bass starts to thunder, worthy of anything Magma could throw at you, then the synth wash re-appears and the effect is eye-watering. In the distance a guitar briefly feeds back, the echoed electronic line returns, as another slice of jackbooted electronic percussive power forms the backbone of the piece and it travels like a freight train to hell, with rhythm, mellotron, and bass like you've rarely experienced. Then, on top of all that, in comes electric guitar that showers notes and chords all over the place, as the mighty track rings out like Hell's Bells, the whole thing twisting, turning, building and, ultimately, scything its ferocious way through to your heart with absolute purpose and total melodic power, the combination unique, the effect out of this world.

“Shotgun” is a mere 4 minutes, introduced by a roaring Top-esque electric bass, adding rock solid drum hammer, a squalling electric guitar figure, and, on top of this mighty cauldron of sonic explosives, a vocal that echoes the voice qualities of Nash The Slash at his angriest. All a bit like a collision between Magma, Ministry and Nash, as powerful a modern slice of foundation-shaking songwriting as you could have ever hoped to hear.

Finally, the near 6 and a half minute instrumental, “Occult Geometry”, erupts with a bombing mission of electro-percussive beats, as the high-flying electronic textural melody soars over immensely powerful rhythms, the track stomping its way forward like a robotic army. The combination of synth melody and that insistent rhythm produces something utterly exquisite. All of a sudden, a new sea of synths spreads itself widely across the musical horizons as the track stretches to infinity, those rhythms completely unstoppable. All this, with assorted variations to the textual, intensifying, frighteningly beautiful electronic top layers, marches its way to an abrupt halt as it all falls, unexpectedly, off the cliff.

In terms of Musical Masterchef, a truly winning recipe and one you can try at home, time after time, always coming back for more. I absolutely love all four - such a powerful set of tracks, right up my street.' - ANDY GEE (GEE FORCE/AUDION MAGAZINE ISSUE 75)