King's College, London

THE comeback trail. For some, it's a half-drunken stagger through critical rebuff and unrecognisable venues, all faded bald patches and beerguts, regret and ridicule.

But not, lovers of schadenfreude, for Curve. The four-piece who served up serninal early Nineties LPs, "Doppelgänger" and "Cuckoo", are back. Well, half back - the original drummer and guitarist have been replaced by newer models. Nonetheless, propelled by the success of their latest 12-inch, "Chinese Burn", boasting illuminating collaborations from trancemeister Paul van Dyk and Witchman, Curve are ready to prove that they are more relevant than ever.

Opener "Sweetback" sets out their stall, as Toni Halliday swaggers onstage in neo-Goth makeup, three-quarter length leather coat and "Bitch" T-shirt. The raw power of the quartet is immediate, as the raucous "Faît Accompli" proves. Here the new Curve talent bursts through, as powering rock guitars played with hard tattooed arms at boot level fuse with Bonham-esque drums to outrageous effect. This is as hard as the Millwall massive on a Saturday. This is almost metal. This has very little to do with "Chinese Burn".

Which leads directly to the only apprehension about this particular comeback. Why start a gig with a progressive house soundtrack, collaborate with house producers on your single and invite Rising High old-timer Caspar Pound to spin at your after-show do when they have absolutely nothing to do with what you are doing onstage? Why not fuse these influences into your gig? Technology has moved on since 1993, after all, as has audience expectation.

Curve probably have an answer to such cynicism. This is the first gig for the new line-up and there is much creative polish yet to come. Their performance is tight and well-received.

And, much more to the point, the gig is sold out.

review by David Fowler (nicked from 'Melody Maker', dated 6 December 1997)