The public supply of electricity in Anguilla is relatively new. Before 1975, the level of electrification on the island was limited to The Valley area. The Valley network consisted of a small medium voltage system which supplied businesses and residents within a mere 500 metre radius of the Valley Power Station. Because of the lack of consumers, electricity sales at that time were very low.

In 1975, the high voltage network was introduced, with the intention of electrifying the entire island. By 1989, electricity was made available to almost all residences and businesses. Since 1986, the electricity consumption has increased at a rapid rate. The high growth rate can be attributed to the increased acceptance and dependence on this service by new consumers, as well as the growth of the consumer base through new connections, and lastly, the growth of the tourist industry bolstering electricity consumption by hotels, restaurants, and construction.

Anglec’s Generation Department consists of an operations staff responsible for ensuring that the demand for electricity is met and tracking the performance of the generating units. A maintenance staff is responsible for keeping the generating units in top operating condition. It is through the combined efforts of these groups that Anglec is able to provide Anguilla with the generating capacity it needs to grow. Currently, there are 11 units in operation, with the capacity to generate 23 megawatts of electricity.

In 2007, Anglec placed an order for an additional generating set capable of producing 5.4 megawatts of electricity, based on expected load growth. The unit arrived in Anguilla on 1st February 2009 and installation is expected to be completed by June. The addition of this generating set will increase Anglec’s capacity to more than 28 megawatts.

While 28 megawatts may seem like a large capacity compared to current levels of peak demand, it is important to remember that not all units are available at all times. Routine maintenance and major overhauls, as well as unexpected mechanical equipment failure, can cause reductions in available generating capacity.

At the end of 2008, units generated were 89,501,193 K.W.H compared to 88,998,923 K.W.H in 2007.

Initially conceived as the producer/MC duo of Nikolai (formerly of UK ska punkas King Prawn) and Eff le Ref LSB immediately set their stall out with the aim of confounding expectations and moving away from the traditional hip hop formulas being peddled around the scene. They sought to distance themselves from what was going on around them and bring to bear their diverse collective influences.  A love of reggae, dub and old skool ska are all evident in the band's sound, from the Jerry Dammers-esque keyboards of 'Rebels of the Frontline' to the shuffling, laid back beats of 'The Deep End' LSB skilfully navigate three or four decades of musical heritage, wrapping it up into one delicious, bombastic, package.

Not content with being a mere studio project, Left Step's ranks quickly expanded to encompass a full live line-up. Meeting through that most modern of mediums, the internet, Nikolai and Eff le Ref were put in touch with Zac who seamlessly slotted in to their ranks. These three developed a chemistry which would become the bedrock of the LSB sound but quickly realised that a final magical ingredient was missing. Having toyed with the idea of introducing a guitarist to their ranks, LSB eventually decided, as they always do, to do things their own way. The final piece to be added to this diverse puzzle was Sensei FMs' DJ Dizar.

The quartet bonded immediately over a diverse sound and a penchant for bringing the everyday to life with big hooks and a killer melody.  Over long days and strenuous nights the band sweated and toiled, shaping themselves into the raucous unit they are today. Never short on song craft, they rapidly generated a group of songs which befit their name, left-field, out of step but at all times danceable and with an instinctive eye for a groove and a chorus. 

As a live proposition LSB are something else altogether. MC'ing meets singing and swaggering beats meet soulful hooks - all imbued with a sense of timeless storytelling and adept lyrical narrative. It is this musical diversity and originality which has seen the band share bills with both urban acts and with friends from the indie fraternity. Moreover, gigs with the likes of Finlay Quaye have proved that they can mix it with the best, on stages large or small, to crowds old or young and with an easy appeal which runs through every note of the music they produce. 

Beyond anything else, Left Step Band is about good time music for good time people, rich with pop nous yet never forgetful of its roots.  There is a real sense that the quartet are bringing back something that has long been missing from the scene, namely a genuine sense of fun and musical abandon with no constraints and no rules.  'It’s really just about having fun, and seeing people enjoy themselves' says Nikolai... 

And right now LSB are having an absolute blast. 


Dandy Lion are   
•	Mad Mo Mosley rhythm guitar and lead triangle ( originally from Satan’s lounge Band)
•	Johnny Malkav ( originally from Growth)
•	General Beavis Rimmer lead guitar ( originally from FCK That)
•	The Rev Jebus Crusty spiritual guru and drugs administrator    
Dandy Lion can best be described as Hank Marvin dipped in a vat of acid. The band was created from the dying embers of Satan’s lounge Band a 1920s trad jazz band, Growth a late 80s grunge band and FCK That a tribute band for Take That. During the early 90s the band became very politically inactive with the apathy movement. This led to a lot of friction within the band as Mosley’s many multiple personalities formed artists against apathy and also thought about forming the apathy party but due to a lack of interest from the rest of his personalities he couldn’t be bothered.
During this period they also discovered spiritually through Couch King Potato who would later become The Reverend Jebus Crusty thus a new form of Christianity was formed Couchism with the Rev Crusty as its guru.   This happened whilst watching an episode of Songs of Praise and being unable to find the remote. This led to the band becoming a born again Christian band. Pope Benedict XVI once claimed that “This is the most excrement band that I have ever seen in Christendom with the potential to be a lot worse!” 

The band are currently wanted by the CIA and MI6 for left wing tendencies and admitting to being fans of Status Que. They now reside in the independent state of Inner Hash mere a small enclave on the edges of Dartmoor National Park and are currently engaged with counter insurgency with   the Talibanies headed by Mad Muller Mosley and the KFC (Kentucky Fried Chicken). A Northern Irish para military group headed by Big Mac McDonald and a leprechaun called Semtex. Yet again this friction has been instigated by Mosley’s multiple personalities. Rev Crusty has managed an uneasy cease fire between both fractions but as yet both sides refuse to decommission their vast arsenal of water pistols and flower bombs. Both have agreed to cease engaging in biological warfare decommissioning their obnoxious effluvia and flatulence in the BIO hazard removal unit (the WC).     
Moving on to more positive things. The bands influences are truly cosmopolitan inspired by Adolf Hitler, Pol Pot, Osama Bin Laden, Saddam Hussein, Joseph Stalin, Gerry Adams, Reverent Ian Paisley and Simon Cowell. Mainly Simon Cowell. Pope Benedict XVI has stated “This band is an example to all Christians embracing all faiths and ideologies. These guys are going to be bigger than John Lennon”.  

All songs are dedicated to the memories of the inane, mundane, has-beens, wannabes of the Voice, XFactor and Britain’s got talentless. Sweet Jesus, mother of God, remote control remove your souls. Amen!

All songs are written by Mosley and Malkav including covers. Which Mosley intends in sue all artists for plagiarism.

A finale word from the Reverant Jebus Crusty “Easter is a very special time for all Christians giving us all a sense of wellbeing thinking of some poor bastard nailed to a cross and eating lots of Easter eggs.  Happy Easter folks.”       

I hope you enjoy their music and even if you don’t they couldn’t give a folk!
All music recorded at Smeg Studios 
Love, piece and scabies

Cucumber Farmer became a unit producing rock music under the usual circumstances: with neither the talent nor the skills to actually make music. 

The mere passive consumption of popular culture was no longer satisfactory. New thrills were needed. As the band was afraid to take serious drugs, there was only one way left: to see what playing rock music feels like. In retrospect, the group stepped into the bodily stage of their art. They became part of that art.

Many social and especially historical imperatives can be located inside this move. All sorts of “band activity” was at the time quite typical for what was known as generation X. Many people had less serious-minded, often downright comical side projects alongside their main bands. Everyone was in a band….or two.

Soon enough the group was faced with inner dilemmas about the meaning of doing all this. What did they want to do? To become a solid “performer” of music, an easy product in the entertainment industry? What is the responsibility of an artist to the listener, i.e. the rock audience? There was a clear desire to do something fresh. Fresh things were tried. Some of them fared better, some worse. The evaluation of new experiments caused mixed feelings inside the group as well as among the audience. Stunningly, the point of view of evaluation remained at all times inside the sphere of so called alternative rock. And alternative rock, as is well known, is a very conservative circle, in many ways a closed one. 

The group wanted to distance themselves from the rock scene in many ways: by dressing up in work uniforms, releasing essays, declaring themselves as serious artists, playing in museums, picking up interest in cinematic montage, printing political pamphlets, making lecture tours etc. 

We recognise the effect the surrounding culture has on our works. We fight against it, we re-work it to our own benefit, we take it in our command and rule it. We do not measure the end product at the context given to it by that culture (this refers to the usual popular culture criteria such as “a good song” or “air play potential”)

Our aim is to forget word like “good” or “bad” and to replace with something new. Those two words we wish to transfer to the process itself. We want a listener as prone to reflection and to broadening the listening experience, as ourselves. On the other hand we demand fast thrills, the superlative feedback produced by a superlative moment.

We don´t actually want to know, what it is that we are doing. But we know we are doing something right.

The truest form of music is not in words. Words are a form of singing. Singing is not music at the deepest sense. Singing is words put together, bringing forth numerous semantic and cognitive meanings inside our culture. Words operate on intellect. Emotional reactions to words take shape retrospectively, through a process of understanding and making sense - much like humour does.

We are not humorists. Music has to take back the spot that singing stole from it. Music is full-on abstraction, it is multi-layered, unexplainable. It supplies the most direct route to emotion, to flesh, to experience. 

The aim of this band is to work all this inside a pop structure, to defeat The Intellect at its own game, to be familiar and unexpectable at once. 

Above all, to research the possibility. With no result. Empirically.

The boastful territory of Color Red's musical status is astoundingly reprehensible. Though, our pursuits are to rectify the mistakably respectable musicianship of our beautiful, most beloved Mile High. Integrating a frustratingly regressive cast, The Propane Supernovas advocates the revival of Thrash, Progressive, and Grunge Metal. Though labels are of minimal significance to the unit at hand, we must consider the sensibility of genre and the benefactor of solidification of musical technique. The author of the traversal of such an introduction is known as the Dissident Hypochondriac, a multi-instrumentalist, yet most prominently, a bass guitarist. He would wish to conclude or part the audience with these simple words: I shall sing the praise/ convey the utilization of the plectrum upon the bass guitar until the day by which I vanish from the Earth as a sentient, mortal entity. And, merely if we are are native to the providential 5280, we do not condone the recreational usage of marijuana. Enjoy, for the sakes mere sakes of enjoyment.

In Indigo, an alternative jazz quartet based in the West Midlands, are refreshing the concept of jazz by fusing the music with latin grooves, funk vamps, pop soul and subtle hints of jazz-rock.

Only have been in existence for a mere five months, the four-piece unit aim to demonstrate a combination of traditional jazz with some fresh and innovative musical ideas, keeping a feel of popular structure, however keeping a focus on earlier influences.

More material from In Indigo will be uploaded over the month, so watch this space, as well as checking out our Facebook.

SCAR THE CROW are an alternative/grunge/rock trio from the Midlands, comprised of Tom Cox (guitar), Jack Groom (drums) and Matt Preston (bass, vocals). For a small unit, this three-piece manages to produce a big sound, offering a grungy vibe with filthy guitars and darkly-nurtured melodies. First impressions are often misleading, and delving further into the music reveals a wide array of tastes and styles, from punchy riffs to bluesy vocals and jazz-style drums.
Scar The Crow have received both local and national airplay on Midlands Metalheads Radio, BRfm and Total Biker FM, a station dedicated to the finest rock, punk and metal. The band have also made a small but impressive impact on the live circuit in the Midlands, including a slot with much-lauded metal/funk act Spirytus and a headline event sponsored by Midlands Metalheads. Each show garners more exposure and wider recognition, and the modest amount of praise they have received so far has been extremely positive.
Their live set does much to capture the energy and enthusiasm of youth, bringing the sound and style of the alternative/grunge movement right up to date. Guitarist Cox said, “We wear our influences on our sleeve – Kerbdog and Alice in Chains are obvious – but we don't forget where we are today. We're not interested in repeating the past; we want to push it forward.”
Scar The Crow have released one EP to date – 'Wasting The Day' – which offers a mere glimpse of their potential. Songs such as 'Live For The Night (The Creature)' indulge the band's taste for layered guitars and progressive riffs, punctuated with angst-ridden vocals. 'Into The Rain' brings their grunge influences to the fore, but also shows their keen sense of melody; Preston's vocal is delivered with both passion and restraint. Meanwhile, 'Determined' offers no such compromises with its dirge-like riff and a hint of Sabbath.
“Their song ‘Determined’ is just that – determined to prove a point and get some attention.” – www.themusicmag.com

Their latest single, 'Hole In The Sky', was recorded at the Old Smithy, the prestigious studio that has hosted such luminaries as Judas Priest, Black Sabbath and Robert Plant. The single is available as a free download from SoundCloud.

Every Band has its history, and this one is just turning many years. 
Sambodromo ('SD') originally derived  in 1993 from a high-school project in Henstedt-Ulzburg, ca. 30 km north of Hamburg / Germany, as a pure percussion ensemble. After they had left school, the main players and their teacher founded a private Samba-group and started recruiting new players. The growing group soon became a gravitational point for many local musicians who already knew each other through many different projects: Rock, Reggae, Metal, Musical, Hip Hop...

Not long, and SD became the project for the most active musicians of the region, which instantly resulted in experimenting, and mixing all kinds of different influences and styles, thus creating something new based on afrobrazilian rhythms: Samba-Crossover! However, the deep roots and grooves of Brazil's music were continuously being explored: On festivals, contacts were established, and friends were made with many, in the huge German and European Samba-scene; workshops were attended, and the goal was always clear: To achieve more musical quality and competence. Especially Mr. Dudu Tucci must be mentioned here, whose continued work as a teacher and recording / performing artist since 1982, has significantly influenced, if not made possible, the German samba-scene. This influence has radically changed some lives within Sambodromo. A rising number of SD-players have attended or do still attend Dudu's two-year advanced instruction project for afrobrazilian percussion, and chose to become professional percussionists. His supporting SD in any way he can has over the years resulted in a deep friendship with this great Brazilian percussionist.

In 1998 Michael Pabst-Krüger, founder and former teacher, left the band: his former students were on their own, and Ole Gerdes took over to be the new musical director. With an increasing number of shows, the band grew musically and was soon said to be one of Germany's finest, and youngest, samba-groups. An old army-truck was restored to take the band on road-trips through Spain and France, where street shows and nightclub-gigs earned enough money for food, a campsite, and some of the gas. The fun experimenting with the music also grew and so, SD transformed from being a mere "samba-group" to a stage-based band presenting a new, unique kind of music: Melodic instruments like bass, guitars, saxophone, flute, a DJ and vocals were added to the percussion from within their own line-up: Most people at Sambodromo play more than one instrument. This year (2003)finally, the first CD of this extraordinary band will be published, a band who is unlikely to leave any musical style untouched: SD fits in no drawer; everything will be mixed with Brazilian rhythms as it pleases Live on stage and overwhelmingingly enthusiastic.
As time passed, the group gained experience playing on stages and events of various kinds and sizes. As the presence of thirteen musicians on stage captured their audiences on big festival-stages, club-shows were also wildly successful. In Hamburg, their established homebase, SD has become a multicultural happening on club and festival-stages.

Sambodromo's great strength - let aside their music - is the strong bond of confidence among each other: Knowing each other closely for ten years or more, they have gone through a lot and seen a lot together. This bond of trust is also present on stage: Sambodromo appears as a unit whose parts can rely on each other blindly… and expand beyond themselves.


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