Kadesha, Samantha Heard, Chris Sheenan and Phil Baxter

It was a night of simple pleasures last time at PAS, with a pretty bare-bones set-up for the most part - by which I mean there weren't any keyboards to lug around or djembes to think about, or, indeed, any mutant polar bear attacks to fend off.  If you haven't seen any mutant polar bears in West London, that's because they have mutated to look exactly like a cat.  It's a strange mutation, I grant you, but one that can clearly be seen if you offer up a Fox's Glacier Mint to what you believe is a cat.  If it truly is a cat, it will continue ignoring you.  If not, it will approach, sniff the mint, and promptly go cross-eyed with the sheer effort of thought.  The half-forgotten memories of those sparkling white wastelands - which, presumably, smell of mint - will send a whole cascade of rushing emotions through the poor little thing's brain, who also has to consider whether to attack your hand now or later - after you've fed it - which blade of grass to chew next, where that damned critter made of pure light that only appears on walls went, how it can annoy you even more than it did yesterday, which ridiculously uncomfortable place to sleep will it try next, whose garden to defecate on this time... and so on.  The brain overheats, which is very easy for a polar bear, considering that it is, unlike a bi-polar bear, ill-equipped to deal with conflicting emotions.  Plus, of course, it's used to colder temperatures.

Anyway.

Newcomer and young 'un Kadesha came with guitarist Len to play her poppy, R&B-inspired acoustic rock.  How old is Kadesha, you ask?  She's 16.  Six...teen...  Huh, you say.  Yeah.  I don't know about you, but I was busy being a tit when I was 16, so it amazes me that someone that young can actually do something good with their time.  The fact is, she does.  Her songs are well-written and brilliantly sung, with a good mix of genres to keep it vibrant and interesting.

Samantha Heard was the lead part of the second duo of the night.  Dual guitars and rocking riffs showed a promise for her usual band setup, and second guitarist Sam - a male Sam, not Samantha - also showed glimpses of excellence.  Samantha's songs are, like I said, a bit rocky, but always with a pop edge, a little like Sheryl Crow, for example, and, while in an acoustic setting they didn't show their full potential, still revealed a whole pantheon of good tunes, superbly written and played.

Chris Sheenan's mostly slow songs are deep and full of feeling, though, I should add hastily, not so much that it becomes dull or bland - nowhere near.  There's a certain beauty in there, an indefatigable impression of resonance with your own thoughts.  Perhaps he's helped by his onstage presence, throwing out comedic banter between tunes, which lightens the mood before plunging you back into introspection and wonder.

Phil Baxter's sweet love songs are, as he says, "Pop jazz funk in an acoustic setting."  That's a pretty good estimation, really, although if you could fit "soul" in there somewhere it would be spot on.  Some of Phil's stuff is like the slower parts of Motown artists' repertoire in terms of feel and songwriting ability, which, I shouldn't have to explain, is a very high accolade indeed.  There's also the occasional Latin influence, like in "What's A Dance Between Friends", but the funk rock element is one that really shows through, the one which gives Phil's music power, rhythm and, most importantly, awesomeness.

The Past Two Weeks. Sort Of.

Now that Time has so unceremoniously dumped me, I've taken on a new mistress. Her name is Procrastination. She's nice and all, but, to be honest, she doesn't really do much. "Let's go out and have some fun," I'll say to her on a cold, wet summer evening. "Sure," she'll happily reply. "Just give me ten more minutes on StumbleUpon." An hour later, she's on her twenty-fifth archive page of lolcats and we're no nearer to the door. I think I'll get rid of her. Just give me one more game of Pro Evo first.

In the meantime, I'll tell you about the recent events at PAS. We had three artists last time: Brad Treeby, Miranda Barber and John Paul Palombo. It was a night of slightly unusual music. Brad's almost scat-like semi-raps over expertly played rock-funk riffs showed him to be a musician with some unconventional style. The fact that The Simplists, the band he usually plays with, utilise a beatboxer for the rhythms doesn't really surprise us, but I bet you they'll stand out nicely.

Miranda Barber's jazzy folk - or, more accurately, folky jazz, for there was a far larger jazz influence - was brilliantly performed by all involved. Flatcap-wearing percussionist and backing vocalist Nick Rye, guitarist Dave Hawkins and backing singer Sian Lattimer all helped the keyboardist Miranda with aplomb. Her music is filled with the kind of happy jazzy notes that fill the world with colour, just like her bright orange dress, radiating happiness and fun in glowing rays.

John Paul Palombo performed music you wouldn't expect from a young, tall, thin white lad. His stuff has a wonderfully vibrant latin influence, mixed with hints of reggae and occasionally veering into the realms of country, with elements of modern pop bands such as The Killers and the Fratellis, though without the incredibly annoying brash and bland style - in fact, precisely the opposite. The band were tight and inventive, despite having only been together for a few months. Expect more to come from John Paul and friends.

Before that, Dan Crook, Murray James and Nick Capaldi & The Spinning Sound-A-Bout played. Dan Crook's beach-bummish style was tempered with the occasional political or life message and rocking riffs, made by someone who clearly enjoys making good music.

Murray James, who's played before at PAS, brought his reggae-tinged deep blues back. Currently making an album - which we are all looking forward to - and playing some promising gigs, it honestly wouldn't surprise us if you heard his stuff soon.

Nick Capaldi's retro folk rock sounds like it's been inspired by both the Beatles and Kasabian, so, as you can probably imagine, it's slightly unusual. Not so unusual, however, that you feel lost with it. The rhythmic strains of guitar and psychedelically-painted keys suited Nick's touched-with-rawness vocals nicely.

Erin Kleh, Siskin, Yuna and The XWhy

The delightfully odd Erin Kleh made an appearance at PAS this past Thursday, leaving behind a whole roomful of dropped jaws and question marks. Who is this girl, then, who sings about ramen, dying rat babies and a sex doll named Olga? Who are her wild, fun-loving assistants, who punctuate the nursery-rhyme-like lyrics with the appropriate actions? And how in all the seven hundred and forty three hells can she do that noise in Oh Well, the one that sounds like some kind of satanic cartoon duck singing merrily on its way to murder some children? I don't know, and I never want to know, but I definitely want to hear more stuff like this, the jolly folky funny kind of stuff which mixes a childish simplicity into real life, turning it upside down and inside out with its sheer eccentricity. In short: truly, madly, deeply fantastic.

Siskin made a return to PAS, the keys-and-guitar playing duo filling in at short notice for a cancellation. An epic brilliance rings through the majority of Siskin's music. The ivories and metal strings pound life into the songs until they almost burst, then relax with a downtempo swerve, never once losing their glamourous aura.

The Malaysian songstress Yuna made an impressive debut. Her softly happy songs are full of sweetness and hope, of good times both past and future. Most of Yuna's songs are in English and she has just that twinge of an American accent, no doubt influenced by whoever taught her. Despite having only played guitar for three years - she's been writing for far longer - all the songs were well-performed and beautifully written.

The XWhy finished off the line up. The usually electro duo strip down for PAS - well, it is acoustic, after all - and now they've got a new member in a backing singer as well. The soulful influence brings a powerful groove, and frontman Jnay's flowing leadership and singing skills, combined with the superbly funky riffs, certainly makes The XWhy stand out from the crowd.