Little London - Profile
According to Southsea’s ‘Little London’ there is one solution to any problem and that solution is ‘get drunk and head-bang’. So it comes as little surprise to find that they are purveyors of energetic, balls-to-the-wall guitar music; from crushing high-octane stoner riffs to quieter passages before whipping up another full-frontal assault and bludgeoning your cochlea into submission. File under ‘rock/metal’, they say. ‘Little 
Dev Crawford had been messing around with drum machines, making ‘Rob Zombie’-esque ‘dance metal’ and found himself painted into a corner when he claimed to have a full band, and was offered a gig. Fate played its hand shortly afterwards when ‘The Hellacopters’ played at the Wedgewood Rooms. It was here that Dev met up with man-mountain and guitar wizard Daz Fuller. A bass player and drummer soon followed. They made the gig but, by their own admission, it wasn’t the most amazing set on earth. Six weeks later they recorded some demo tracks and, on listening to them, decided that a new, organic direction was required. This allowed a more instinctive sound to evolve; common influences, including Brit-rock veterans ‘Terrorvision’ and ‘The Almighty’, led them naturally to a more riff-based format, with lyrics about living it up in a one-horse-town. Eventually, the original drummer and bass player were replaced by Matt Grosvenor and Tom Cattermole respectively; Matt brought a more groove-orientated feel and Tom (ex-‘Plan B’) brought a level of virtuosity rarely found in front of a bass amp. 
They soon found themselves supporting Swedish sleaze-rockers ‘Turbonegro’ and experienced the heady high of playing to a receptive audience who don’t know you’re 'just some local band' and they were hooked. A busy live career began to blossom. The recording of the recent ‘Small Town Coma’ EP, benefiting from exceptional production, has allowed them to focus on and develop their sound and attitude in parallel. ‘Little London’ are the sound of your tenth J.D. and coke of the night. They take an improvisational approach to live lyrics and writing songs by the bring-a-riff-and-try-it approach, they have little patience with trends. There’s no sitting around, burning incense and looking for the new sound. They are bored by purist attitudes to rock music, instead lauding the raucous live experience as the true expression of what they do. In Dev’s own words, ‘rock music should be like a thirty-second porn clip: hard, fast and straight to the lesbians’.
