Electrelane have come a long way since their Brighton Beat Club beginnings.

More Chris Petit's cult film Radio On than Radio One, they simultaneously evoked Suicide, The Velvet Underground, D.A.F. and, in Verity's unique non-singing, the extremes of the British avant-folk scene of the Sixties and Seventies.

That's even before they brought on a 12-piece choir, who augmented the quartet's minimalist rock to stunning effect. Wonderful.

Nina Nastasia is a female singer-songwriter without the overblown angst typical of the genre.

Her delicately picked guitar merged with haunting Appalachian ballads with the sensibilities of a post-hardcore Leonard Cohen and left the audience mesmerised.

Finally, Gorky's played psychedelic Celtic country-folk and baroque rock 'n' roll that was, at times, reminiscent of fellow Welshman John Cale.

The seven-piece, dominated by singer-keyboardist Euros Childs and his violinist sister Megan, revelled in changes of tempo and bizarre collisions of styles but the likes of Poodle Rocking and an extended freak-out version of Sweet Johnny charged straight to our hearts.

Their tongues were sometimes in their cheeks but their harmonies were note perfect and their fingers dripping with talent.

Gorky's deserve all the acclaim they can get.

Review by Ben Graham, features@theargus.co.uk