Jobs. Actual permanent, proper jobs. Because someone somewhere in a galaxy far, far away has invented the concept of money, it would appear that most people need one. There’s the jobs people want to do, and then there’s the jobs people never set out to do, or didn’t even know existed before they were planted in them by a temping agency.

Once you have a job, it’s hard to let go. Other jobs could be even worse. After a while, you assume some kind of bizarre dual identity. The one that’s You, and the one that’s the ‘Work-You’. The You wants to tell the Work-You exactly where to stick it, the You says ‘what the fuck am I doing here? And how do I get out of here quickly, without anyone noticing?’.

Look See Proof sound like they fall somewhere between the radio-friendly sounds of The Futureheads and the more edgy stylings of Dartz! (whose album 'This is My Ship' is probably my favourite of the year bar Curses). This is their fourth single and according to the press release their others, one from Tigertrap, I believe, did pretty well. The press release also states "Look See Proof write music for young people about everyday life. 'Local Hero' tells the story of a man blinkered to the lies of a cheating girlfriend who eventually, with the help of his friends, manages to turn his back on the situation." Thankfully this is probably the lowest point of everything I hold in my hands.

From the press release: "...TCN are bringing back what has been sorely missed; music that's all encompassing, weighted and urgent, a single fingered salute to all those who have tried to bury rock and roll." Really, it says that. Really.

There was a discussion at iShotTheDeputy as to whether we could just leave the review at that but it was decided leave the snide one-liners to Pitchfork. The press release contains three paragraphs of the kind of rubbish even a sixteen year old would cringe when reading and there are so many choice quotes that made this reviewer laugh it's not worth trying to transcribe them all. Unfortunately guitarist/singer Seymour doesn't have the excuse of being sixteen for having written this: he and his bandmates were the original line up for Peel favourites "Miss Black America" and he plays as 'Open Mouth', who has received a few less-than-glowing reviews on this site. Is it too much to ask that some of the clichés have been knocked out of them and replaced with cynicism? Seymour likes to get political so he probably hates Tony Blair but this reads like something from his press office.

Monsters Build Mean Robots open their debut album with a dark electronic buzzing sort of noise, probably from some sort of oscillator and I got settled in for something in the realm of Godspeed soundscapes. This is only a short intro track, however, and when the album proper kicks off it’s clear it owes more to the style of ‘Boards of Canada’ and ‘Four Tet’ than the atmospheric noise of GY!BE.

Today I have been to the hairdresser’s. I had not been in twenty years. It felt like going to the dentist, but slightly worse. I really don’t know how people manage to put themselves through such a mindboggling experience on a regular basis.

First, a teenager in leopard print leggings, a mini skirt and half a head of pink hair set about the washing part. Thanks to the ill-adjusted basin, I still can’t move my neck. Next on, it’s the token camp hairdresser with very short bleached hair and a large studded belt. He quizzes me why I haven’t been to the hairdresser’s for so long, and is puzzled as to how I managed to cut around the back of my head blindly. With a pair of nailscissors and no mirror. I explained I wasn’t too worried about the results, as I couldn’t see the back of my head, anyway. That he did not understand.

It's good to be back at the Buffalo Bar for Silver Rocket again. It's a great venue and tonight, as befits the bands they've got tonight, it's rammed. I met Instruments' drummer on the night bus home from the last Silver Rocket here so it's good to see both him and his band are great. They have a lot of starting and stopping with driving bass lines and strange time signatures and, crucially for such music, Matt knows when not to play drums as much as when to kick in. There is a lot of very clever, very catchy axe work going on here and I think some vocals but my memory is a little hazy now. It's good stuff.

The massive desire to own your own home and the belief that this is so important is something I’d ascribe to Margaret Thatcher. I might even term it her ‘last laugh’ but then there are so many other legacies it would seem pointless: I wasn’t cognitive of the time before her arrival but I grew up in her shadow and watched as her policies drove a wedge between people of a certain wealth and those above it, making the poor that much poorer. I will admit, perhaps grudgingly, that her policies probably had good in the bad, that the prosperity we have now is down to things she did; most of politics seems to be about benefiting some part of society while harming another rather than having an objective good or bad.

You Me the Switch are a fantastic 'mathy' instrumental band, comprising two guitars, one bass and some immense drums. What I think sets them apart from many similar bands is their incredibly light use of distortion, bringing it in to add bite and loudness to their tracks, but never in a mad wall-of-noise type affair, done so brilliantly by a band like Mogwai. We still get the dynamic, quiets and the louds but at no point do we lose any of the interaction between the band's instruments and more importantly at no point are we anything less than captivated.

The excellent Silver Rocket has been looking for a home for its second monthly night since the Garage was unceremoniously closed by Mean Fiddler. Originally it was to only be for a few months but then something happened and they decided they'd rather sell it off and in the meantime finding the right venue with an available slot on Friday in London clearly was never going to be easy. Tonight's Camden gig was a tester for the return to two Silver Rocket clubs a month using the Enterprise by Chalk Farm tube.

I think most people I know were surprised at quite how much news coverage this has been generating. Certainly missing child cases have always had the power to be a massive draw but this one seemed to take on a life of its own. There have been a few mentions of so-called 'Missing White Woman Syndrome' on the web as a way of explaining this, but it seems little more than a convenient response. I would say it's more likely down to it not being a case of "There, but for the grace of God..." thanks to the apparent stupidity of the McCanns on the night of Madeleine's disappearance or death.