PAUL SUTER, Sounds, 10th November 1979

In which the Marquee plumbs new depths: well would you expect the headliners to go on at 8.45? So yours: truly's decision to watch assorted cinematographic faux-pas on the TV ("For those of you watching in black and white, the yellow ball is behind the blue . . .") before shifting his butt resulted in a mere 50 per cent dose of Random Hold and a firm resolve to see the whole set next time; 'cos they were magnificent.

Any band containing a drummer from the Glitter Band (Peter Phipps), a bassist from Matching Mole (Bill MacCormick) and a guitarist (David Rhodes) who's been working on a Peter Gabriel album is likely to have an interesting approach, and Random Hold don't disappoint on that score.

The assorted synthesisers of David Ferguson are the major element of the sound, couching everything in an eerie air of unreality, which is built upon with a sparse rhythmic approach from the rest of the band, tending to fill out as the number progresses The effect is hypnotic and incredibly powerful, particularly on one song which builds a doomy drone into a shattering climax with a deliberately, discordant guitar break: My notebook simply says 'gasp' at this point . . . 'breathtaking' is a feeble understatement, but the best I can manage.

If parallels have to be drawn, Japan are probably the closest comparison. Both bands rely on creating a surreal atmosphere with their keyboards and then playing briskly but mysteriously on a percussive base, raising the tension.

They tread between the realms of absolute garbage and stirring hard rock, and securing an image and an audience is not going to be easy whilst pursuing this act of brinkmanship. Hopefully they won't be put off though, because the tension and excitement that they generate should by rights be their key to success.

RANDOM HOLD, Marquee, London Allan Jones, Melody Maker, 1st December 1979

WE always seem to meet in the most inauspicious circumstances, Random Hold and I. Last December I saw them in Bermondsey: an audience of one in a derelict rehearsal studio. Later that month Random Hold were threatening to outnumber the audience at the Music Machine. I was relieved last Tuesday to find that they'd invited along a few more friends to the Marquee. Fortunately, there was no evidence of the uncomfortable self-consciousness that has so afar afflicted their studio work.

Tuesday night found a band in control of its (quite considerable) resources, sure of its direction without being predictable. Since the departure of Simon Ainley (gtr/vcl) much of the audience's attention is now directed at David Rhodes. Rhodes responds admirably to the demands of new responsibilities. He seemed not to miss Ainley, and the second guitar was missed noticeably by these ears only on "The Ballad". Rhodes was constantly busy, but his contributions were adroitly placed and newer cluttered. Solos were infrequent, sometimes reluctantly offered, but memorable throughout when they occurred.

The diffidence at their early gigs has been replaced by a cautious confidence. Both Rhodes and David Ferguson (keyboards and vocals) are now more extrovert, though MacCormick still looks nervous and uncomfortable, teeth clenched, eyes glazed, on the far right of the stage. Crucially, they've learned to communicate the intensity of their music without resorting to crass effects or excessive volume. They've invested shrewdly in a modest, but cleverly effective lighting rig.

The bulk of their repertoire is still drawn from the early demo tapes, but some of the newer material - "Dolphin Logic", "The View From Here", especially is shaping nicely. Ferguson's synthesizer back drops are becoming increasingly more assured and varied - especially so on "Precarious Timbers" and "Avalanche". Peter Phipps, who has replaced David Leach behind the drums is a good rock drummer, but perhaps a little too stolid.

The evening's highlight was undoubtedly "With People Out Of Love". Ferguson's repetitive synthesizer motif and the insinuating pulse of the syndrum tape loop created a cool, menacing atmosphere. Rhodes was caught in a pale spotlight, his voice fraught with anxiety and an increasing malevolence. The piece built to a final outburst reminiscent of Roxy's "In Every Dream Home A Heartache", with Rhodes unleashing a scything solo that ran itself blind.

Random Hold aren't quite there yet, but they're on the way. Now it they'd only show Hammill the door.

RANDOM HOLD: 'Avalanche' (Polydor RHX 1). A five-tracker that really promises more than it delivers. The Hold are clearly four gifted musicians with a bundle of ideas, but their post 'Diamond Head'/801 line of attack needs a lot more pruning and consolidation before it'll achieve the desired effect. The songs, mainly written by David Ferguson and David Rhodes, aim to build separate, forceful moods with their gradual layering on of effects and impressionistic lyrics - but they never quite make it. The blame must go in large part to producer Peter Hammill who has kept the overall sound dull and sodden rather than emphasizing the cut-and-thrust of the songs. Still, it's early days.

Nina Myskow, The Sun, 4th January 1980

This year watch for British band Random Hold. Their music shows talent, menace, originality and brains. A dynamic combination.

Anne Nightingale, Daily Express, 4th January 1980

Hot 10 for the Eighties

Random Hold is a four-piece band from Oxford, started by ex-stage manager David Ferguson and guitarist David Rhodes. "We don't class ourselves as musicians," said Ferguson. "We wanted to do the sort of show that all kinds of people will come to. There are too many cliques in rock music."