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Justine Armatage - Piano, Toured heavily with gothic monsters Christian Death, would prefer readers to remember her work with Luke Haines' Baader Meinhoff. Her prolific contribution to surf noir deviants Gretschen Hofner is well documented in the cybersphere

Jan Noble - Drums, A true cesarian and our only section. A muscular intellect forced into a drummers body. Perhaps best known for Tudor-core anti-art punksters Monkey Island

Alison Becket - Clarinet, Owns every note she blows. A steally stage presence underpins her sublime classical composure. This is measured excellence.

Suzi Owen - Trombone, True troubadourian finesse. Poached from rich orchestral origins. When she blows you hold her breath and your own

Alison Hutchinson - Tenor Horn, Bust out from a northern town with attitude and honesty. Brassed off? We're not.



The spirit of rock & roll has hauled himself out of bed. He's called up his demons, put on his best black suit, and returned to the city's dark places. His new playmates are The Cesarians.

Not since The Birthday Party crashed and burned in Berlin, have the twisted sounds of old style decadence been pumped so intensely through distorted amplifiers. London scenesters looking for a scene free of recycled rock, have found expression in The Cesarians cabaret world.

Had rock and roll been born in 1930's urban Europe, and not 1930's rural America, it would have been like this; part Kurt Weill, part Jacques Brel, part Ernst Kirchner, part klezma. Looking like a band formed in the mind of Geoge Grosz, The Cesarians capture the urban zeitgeist via the junk shop instruments of old Europe . In their hands, a clarinet, trombone, piano, and drums beaten in waltz time, make raw and raucous rock and roll.

Over this beautiful chaos Charlie Finke preaches his own intense message. "I wanna be a woman" he screams on his knees, the grease in his Weimar haircut forming a quiff.

The Cesarians are playing the city's night clubs. Rock and roll's demons are loose.

Johnny Dark