To coincide with ‘The Diagnosis’ announcement The Wildhearts have unveiled a new video for ‘Renaissance Men’
- God Damn.
- A Song About Drinking.
- The First Time.
- That’s My Girl.
To coincide with ‘The Diagnosis’ announcement The Wildhearts have unveiled a new video for ‘Renaissance Men’
we’ve reviewed their EP and shown the video before but we felt it was time you kids got some Rock and Roll forced down your ear canal and course through your veins again. It’s available on Spaghetty Town Records or via their Bandcamp Go Get some
Seconds out round two. How about something from these crazy bastards Mother vulture punk / blues they call it so why not get a fix.
Finally, our new squeeze at RPMHQ is Queen Zee and their crossover punk meets pop meets WTF. Its just Rock and Roll folks go fill yer boots.
Ginger Wildheart is a man every music fan should know as he writes songs of quality and quantity in equal measure and by right should be headlining stadiums around the world but alas this sadly isn’t so.
Anyway, back to the task in hand, my ears pricked up as soon as I read that on Friday the 16th of august at exactly 5:55 pm there would be a new Ginger Wildheart album to pre-order with an immediate download on Ginger’s very own Round Records label.
As soon as 5:55 pm kicked in I duly pre-ordered the album and got my download of Ginger’s new album titled “Headzapoppin” to wrap my excited ears around.
“Headzapoppin” kicks off with the glorious track titled “Meet my killer” and is an earworm straight out of the gate with a great riff and an infectious chorus with great lyrics.
Up next is the track “Catch that stranger” which starts off with a dreamy intro sequence before the listener is slapped in the face with some killer guitar work and that then leads us into a nice bit of pounding drums with loud guitars before leading us back into the gorgeous chorus segment.
“Saturday Matinee” then starts off with a lovely keyboard intro with some stunning jangly guitar work through the song and we also get some acoustically strum guitar thrown in to add even more texture to this wonderful track.
Then we get the track “Yorvik (my hood)” with an outstanding bass intro and some great crashing drums with yet again a terrific trademark Ginger chorus.
“Love is” is a beautifully crafted ballad with some beautiful heartfelt lyrics with genuine honesty. Another great piece of music.
“As theodos spoke” is what I love about Ginger’s music you never know what you are going to get and this track has an experimental feel to these ears with Ginger singing in a more gruff vocal with some great bass and drums and a great riff thrown in for some good measure.
This leads us into the track “Boxes” and the quality does not let up and is an instant foot-tapper with a great guitar break and is a short straight to the point song clocking in at under 3 minutes.
“The answer is yes” is the next song up and is a fantastic power-pop nugget of a tune with great harmony and is an all-round winner of a track.
“Pound coins + kitchen roll” is a tune with some great lyrics on Ginger making his way through life and is another instant melody that gets straight into the listener’s skull and buries itself there with a great harmony.
Finishing of this album is the track “Zap” with lyrics which deal with Ginger’s mental health problems but as someone who struggles with depression on a daily basis this reviewer can instantly relate to but as Ginger often does we have a serious subject matter wrapped up in an uplifting euphoric melody that makes the listener feel there is hope with this ongoing condition.
Overall what we have with “Headzapoppin” is a stunningly crafted album with great lyrics and music going hand in hand to make this a much purchase release that with multiple plays will reward the listener time after time, now I’m off to play the album again while I suggest you go out and buy it.
Buy Headzapoppin’ Here
Author: Gareth ‘Hotshot’ Hooper
The Professor and the Madman aren’t household names in the Punk Rock, Power Pop fraternity, although they should be. Not just because former Damned drummer Rat Scabies has played on all three of the band’s studio albums or for the latest “Disintegrate Me”. Rat’s bass playing former colleague Paul Gray lends his considerable talent to it, but because the mainstays of Alfie Agnew and Sean Elliot have just as much Punk cred, having been in the likes of D.I. and The Adolescents and exuded more DIY ethos than both Wickes and B&Q combined.
The birth of this live album deserves a whole section dedicated it itself; publishing approval, Art(?) Work(??) copyright issues, Pressing problems and almost the final nail in the coffin PledgeMusic that had the band putting their hands in their own pockets to fulfill the orders, but enough of the back story let’s get down to the nitty-gritty of The Professor and the Mad Man live at the 100 Club album.
The album was recorded just over a year ago at, obviously, the legendary 100 Club in Oxford Street where Messers Gray and Scabies would be playing together live, something that they hadn’t done since July 1992 when the Damned were either departing or reforming. The twelve tracks that make up this 50 minute album span the bands 3 album career to date with “Peace Bombs” from the “Elixir II – Election” album leading straight into a cover of US Power Pop band 20/20’s “Nuclear Boy” and then “Nightmare” that had me thinking that the band have arranged the setlist as some sort of post-apocalyptic concept. It’s almost as if this live album should’ve been a studio one, no doubt to thanks to various Streaming Services it can be. Even the cover of Eddie and the Hot Rods “Quit This Town”, that features a guest appearance from former Hot Rods guitarist Graeme Douglas, lends weight to this. Either that or this is The Professor and the Mad Man’s stab at their own version of The Monkees “Head” soundtrack done live; brilliantly off the rails but bang on the money. The production is super well balanced; you can hear everybody and everything, no one is too loud or understated. The only thing missing is the crowd appreciation and reaction between songs, until “Quit This Town”, where it springs into life, before mysteriously receding into the background; I was at the gig and remember the crowd to have been on the lively, boisterous side with a lot more stories and antidotes between songs (Adam Ant) and I’m sure “Electroconvulsive Therapy” was the penultimate track and not, as on the CD, the last. Maybe that’s why it fades out?
Overall, it’s a great snapshot of something special that at the time was billed as “For One Night Only”. However, with Alfie, Sean, Paul and Rat working on new material I hope to see “A Welcome Return” sometime next year.
Author: Armitage Smith
Buy PATM Here
It would have been hard to imagine, back in the mid-eighties, that a Dayglo explosion of music television that would forever change the way that people got their daily dose of hit music would be reduced, some three-and-a-half decades later, to the fingering of musty pages in salvaged vintage magazines; but that’s where we find ourselves as I prise open the doors to the music memorabilia section of the Pop Culture Schlock archive for the third of my monthly columns for RPM.
“Ladies and Gentlemen, rock and roll,” was how MTV introduced itself to the world, or parts of it at least, when it launched in the US at the start of August 1981. The first video played was, quite appropriately, ‘Video Killed The Radio Star’ by The Buggles. Originally using Adult Orientated Rock radio as a template, this newfangled Church of the Cathode Ray, whose altar all with eyes and eyes would come to worship at, would, in three short years, transform into something more in keeping with a standard Top 40 radio station. This fusing of rock and pop, blurring the lines between the biggest chart hits and the heavier duty hard rock anthems, buoyed by Quiet Riot becoming the first heavy metal band to score a Number One album on the Billboard chart with 1983’s ‘Metal Health’, paved the way for a new publication, the existence of which is the very reason that I sit here on a sunny August morn with typing finger set to stun.
Starlog Press (later Starlog Group), publishers of classic magazines such as Fangoria, Future Life, and, of course, seminal science fiction magazine Starlog itself, saw a mullet-sized gap in the magazine market and launched Rock Video magazine in 1984 to cash in on the MTV boom. The first I ever heard of this new title was via a full-page advert in the blood-drenched pages of Fango – the David Lee Roth and Cyndi Lauper covers of issues 3 and 4 respectively offering a taste of this hip new mag, alongside an offer for a suitably tasteful T-shirt design. Typically, this American tome was harder to find in the UK than a Dodo beak necklace so it was some time until I finally managed to acquire some choice examples for my collection.
Issue 1 of Rock Video featured Duran Duran’s John Taylor as its cover star, was indicia-dated April 1984, and immediately pinned its rock and pop cross pollination flag to the mast. But this was nothing like the teeny bop magazines of the Seventies where hard rockers like KISS rubbed glossy paper shoulders with the likes of David Cassidy and Andy Gibb: Rock Video presented serious articles on the making of music videos, on long-form home video releases, and on the hardware responsible for the production of these ever-more-flamboyant video clips. Sure, the magazine included pull-out posters that covered both bases – The Police and Def Leppard; Thompson Twins and Scorpions; Duran Duran and Ozzy Osbourne – but even these pin-ups destined for the bedroom walls of teenage sanctuaries were backed with television set-shaped images from the band in question’s music video back catalogue. The Judas Priest example I have from Issue 7 is pure molten metal machismo backed with 4:3 analogue awesomeness.
Rock Video’s news pages – the “Video Lowdown” – featured production notes on upcoming music videos, details of new video-related soft- and hardware, teasers of future celebrity guest MTV veejays, and a healthy spattering of news on forthcoming tours and releases from artists both new and old. A more “grown-up” music magazine this certainly was: Lisa Robinson’s exclusive interview with Quiet Riot frontman, Kevin DuBrow, opened with a no-holds-barred question on the rumours that his onstage bottle of Jack was, in fact, filled with herb tea; agony uncle Doc Rock gave intelligent, well-informed answers to reader questions -“where did the term ‘Heavy Metal’ originate?” – on all manner of music-related subjects; and the video reviews pulled few punches – Sparks’ ‘With All My Might’, excellent; Billy Squier’s ‘Rock Me Tonight’, poor; Georgio Moroder’s ‘Reach Out’, awful.
Just flicking through the aforementioned Issue 7 that I have before me – Nick Rhodes cover, Judas Priest and The Go-Gos posters – offers a fine selection of page-turning articles. ‘Satanism and Rock Videos’ asked if Pseudo-Satanic Heavy Metal bands were responsible for the corruption of impressionable youths. The murder of Gary Lauwers earlier in 1984 by his friend, Ricky Kasso (the “Say You Love Satan” killer who became the bleak inspiration for songs by artists as diverse as Big Audio Dynamite, Faster Pussycat, and Wheatus), was the catalyst for the article – Kasso was wearing an AC/DC shirt when arrested and was a fan of Black Sabbath, Judas Priest, and Ozzy – but it also questioned the “Satanic” intentions of Mötley Crüe, the Beatles, Led Zeppelin, Prince, and the “one true Satanist in rock,” Mick Jagger. The feature merely scratched at the surface of the controversial subject, but reading it instead of the usual record label-endorsed hyperbole is refreshing even now. Add to that a two-page spread on the making of Wendy O. Williams’ ‘It’s My Life’ video – “[people] are getting tired of being served pablum, they want some music with the teeth still left in it.” – and Phil Collins’ problems with the ‘Against All Odds’ video (shame) and you are in possession of potential game-changer of a music magazine.
Change is feared, though, right? After a brief dalliance with the Rock Video Idols name, the monthly magazine, in the Fall of 1985, rebooted itself as Hard Rock Video. “Yes!” I hear you cry as you raise a horned salute, Ronnie James Dio-style, to the Artex in celebration. It’s not hard to understand why: hard rock and heavy metal was HOT! This outsider art, the product and lifeblood of the wild, the weird, the warriors, was now the popular music of choice. Whether you complimented your teased hair with as little as a shark tooth earring or as large as a sawblade codpiece, you were a member of the high class clientele that frequented heavy metal parking lots and the top of the hit parade. Power ballads were the new hymns, the new Gods mixed animal print with leather. Not everyone got on board the crazy train, however…
As I flick through Issue 17 of Hard Rock Video magazine (Rob Halford/Angus Young cover), dated November 1985, it is clear in no uncertain terms that heavy metal/hard rock was the enfant terrible of the mid-eighties. “Ban Metal!” was a four-page article obviously inspired by the infamous PMRC witch hunt of the decade. W.A.S.P., Twisted Sister, Ozzy, Iron Maiden, Judas Priest were all namechecked as expected, but, wait… Prince? Sheena Easton? Yes, while Hard Rock Video amped up the denim ‘n’ leather, the magazine still mixed the pop with the rock, albeit in a manner that simply pushed the latter to the forefront, as opposed to the opposite effect that the mag in its former guise executed. So, the Rick Springfield/Nikki Sixx cover of Issue 16 also featured cover stories on Wham, Marilyn, and Ultravox; Issue 17 backed AC/DC with Talking Heads on a poster, and followed a lengthy Rob Halford interview with a two-page introduction to Go West. The pop might have been mopped up in regular features like ‘The Flip Side’ – Thompson Twins, Madonna, Bryan Ferry, The Power Station, Sandra Bernhard, and Boy George making up the contents of Issue 17’s article – but it was still there, and still written about passionately.
A major Hard Rock Video shift was the content provided in the “Video Lowdown” news section. The pop/rock blurring of the lines was still prevalent – King Kobra alongside Sting, Madonna alongside Y&T – but the information was more of upcoming releases/tours than the video clip news of the not-so-distant past. A full colour feature on headbanging horror movies ran alongside a photo gallery of Boy George’s New York birthday party proving that the eclectic nature of the publication wasn’t washed away with the former name(s). Doc Rock was still prescribing excellent advice, and the video reviews were still telling it like it is/was – King’s ‘Love and Pride’, very good; Heart’s ‘What About Love’, fair; Night Ranger’s ‘Sentimental Street’, awful. A noticeable shift was the coverage of more hardcore/punk bands: a three-page Black Flag article featured in Issue 17, as did an introduction to Kraut (!), the hardcore band that got Pistol Steve Jones to play on their debut and whose guitarist, Doug Holland, would later play with the Cro-Mags.
The intelligent probing of musicians in interviews continued in Hard Rock Video, with a Scorpions interview subtitled “No Feminists in Germany!” having the German legends quizzed on their dubious album covers. The ‘Virgin Killer’ cover detailed the mental virginity of 11 or 12 year olds, apparently. A great four-page interview with Robbin Crosby from Ratt asked the question, “Why do you think MTV cut back on heavy metal?” and that, subtly, summed up the problems that the magazine had going forward. “They’re changing their format and they’re trying to please somebody,” Crosby replied, and that pretty much predicted the future of Hard Rock Magazine.
Music video became the norm. Pop metal became the pop music. Rock magazines became as common as the teeny bop magazines. A change of publisher came with another change of name; Rock Fever Superstars fashioning itself more on the original Rock Video model – Poison alongside Madonna on the cover; Duran Duran alongside Mötley Crüe; Beastie Boys alongside Bowie. It didn’t last, though, and soon the magazine went the way of music videos on MTV, deader than disco, robbed from its grave occasionally by heavy metal hoarders…
That a major publication was produced to detail things that lasted just over three minutes and were readily available in another, easier to access format may seem remarkable in an age when MTV exists on a diet of scripted “reality” shite, but exist it did… and the magazine world was a better place for it. In 2011 MTV launched a new channel named “MTV Music” – this basically means Music Television Music. I don’t think that the clowns who thought/think that was/is a good idea could even read a magazine…
I’ll be back next month with more Pop Culture Schlock: I might even dip a cowboy-booted toe into the murky waters of the notorious Rock ‘n’ Roll Comics…
Find Pop Culture Schlock 365 on Twitter, Instagram, and Facebook
Jeff Ward (ex Gunfire Dance guitarist and author), and Cynthia Ross (of ‘B’ Girls and New York Junk fame) bring their band ElectraJets to Berlin NYC on Saturday, September 7th; and to the UK in early November to celebrate their critically acclaimed first vinyl release, Transatlantic Tales, on Tarbeach Records.
Bob Bert (Sonic Youth, Pussy Galore, Lydia Lunch, Jon Spencer) is guesting on drums for the New York show along with Sarah Amina on violin and Danny Ray on sax.
Joining ElectraJets for their Record Release Party at Berlin are Beechwood and The Sweet Things. Both bands have recently returned from successful tours of Europe and the UK.
Accompanying ElectraJets on their UK dates are Brum garage rockers Black Bombers. The Bombers have recently released their second LP on Easy Action Records to uniformly excellent reviews. With Alan Byron on guitar and vocals (Horse Feathers), Dave Twist on drums (The Prefects/Jacobites/Filipinos), and ‘Rockin’ Ray Birch on bass and vocals (Walter Lure/Brian James Gang/Gunfire Dance), the Black Bombers boast an esteemed lineage.
Ozzie, (Gunfire Dance, UK WALDOS) is guesting with ElectraJets on drums in the UK.
Catch ElectraJets, Beechwood and The Sweet Things in New York City:
Saturday, September 7th at Berlin NYC
Catch ElectraJets and Black Bombers together for two special UK gigs:
Friday, November 8th at The Sunflower Lounge in Birmingham
Saturday, November 9th, 2019 at The Unicorn in London
Jeff Ward on vocals and guitar (Gunfire Dance, New York Junk), Cynthia Ross on bass, backing vocals and spoken word (The ‘B’ Girls, New York Junk, etc.), and drummer Dahm Majuri-Cipolla (Phantom Family Halo, Mono) are ElectraJets.
Their debut LP Transatlantic Tales on TARBEACH RECORDS out fall 2019, while experimental in nature, has garnered praise from the most diehard trash ‘n’ rollers with Veglam declaring:
“ElectraJets Make Absolutely Epic Psychedelic Glam Masterpiece!” – veglam.com
“It’s a rocket through time and space, pulsating with an irresistible beat and likely to appeal to fans of Detroit protest music, Julian Cope’s Black Sheep and “Cut The Crap” busking. There’s something here for fans of Pretty Things or Blue Cheer, so beautiful it hurts Love & Rockets-style nocturnal pop, ’60s prog, ’70s glitter, Marc Bolan, Bowie and the Stones.” – i94bar.com
The LP was recorded and engineered by noise guru Martin Bisi at BC Studio in New York City, produced and mixed by Jeff Ward, and mastered by Paul Gray in the UK.
Catch ElectraJets Transatlantic Tales live, on both sides of the Atlantic this fall.
ElectraJets – Facebook
“Demons” announce Japanese Tour dates for 2020 to promote their latest album ‘Kiss Off’. They hit the land of the rising sun in January to play four dates
10/1(Fri) QLUB QUE (Shimokitazawa, Tokyo)
11/1(Sat) STEAK & GIG SILVER BACK (Yokohama)
12/1(Sun) SHOJIMARU (Kanda, Tokyo)
13/1(Mon) HEAVEN’S DOOR (Sangenjaya, Tokyo)
You can pick up a copy of the new CD Here
When you profess to have crawled from the depths of Surf garage punk Rock n Roll and then you get Blag to co-produce you, of course, we’re gonna be all over that like a cheap suit, yes sir. this being the band’s fourth album I have given myself extra homework because I’m disappointed with myself for not hearing these cats sooner – going almost a decade, they’ve done well to hide their talents for so long. You naughty boys.
As soon as ‘Love Is A Numbers Game’ has finished slinking its hips out of the gate with some cool shakers and organ wheeze we’re off! the vocals are spat out in a Jim Jones kinda way. Its gonna be a journey for sure, from the laid back cool it’s into the wild and reckless and back around again for a really impressive introduction to the Atom Age. ‘Cry Til You Die’ is up and running folks and its promising to be a wonderful surprise that’s just give, give, give.
‘We Disappear In The Night’ has got that surf reverb but a healthy dose of The Cramps being put through a pissed-off garage punk rock mixer and I like it – a lot! Oh, and another thing ‘Never Looking’ reminds me of Rocket From The Crypt sure that might be due to the surf guitar and dueling saxophone but I’m happy with that comparison and its the second single off the album and one that in a just world would do really well – damn its even got handclaps on it for fucks sake!
The songs hit you thick and fast and little rhythms or sequences jump out every listen from the Hives tempo-n-stomp on ‘Blink Twice’. Damn, by the time we’re only halfway through this record I’m impressed from the first play right up to the umpteenth play the Organ stabs and saxophone tootin’ interplay on the first single ‘Walk Through Walls’ is infectious and bloody addictive. OK, so we’re onto side two already (time flys when you’re having this much fun) and that garage Rock and Roll is taking hold ‘Bloodletting’ is cool then we’re into some groovy Rock and Roll with the excellent ‘Lost On Me’ where the howling loony blues distortion on those vocals work a treat.
These Oakland boys are taking us for a day down by the beach with the garage surf of ‘Bad Seeds’ is a wild ride into the raucous ‘When I Crawl Back’ which then leaves just one last hurrah and the bass throbbing ‘Nobody knows You (When You’re Blacking Out)’ and the curtain is brought down on a mighty fine record. One I had no expectations for but I’m gonna shout from the rooftops using a loud hailer if you love rock and Roll with some horns and a bit of Organ and plenty of attitude ‘n’ rock and roll scuzz then get in here and fill yer fuckin boots ‘Cry Til You Die’ is a modern-day masterpiece of how to do the whole garage surf rock n roll thang and do it with as much cool as possible. Pick up your copy without delay its a banger (as the kids say)
Buy ‘Cry Til You Die’ Here
Author: Dom Daley
When our HRH Legions pushed for an HRH Chapter of Goth & Industrial music, we set our algorithms rolling for 18 months to identify what this dark theatre of music would produce & evolve into, for this all-new HRH brand experience.
Taking a subculture like Goth which has spawned from offshoots of the post-punk and darkwave genres and mixing it with the abrasive and aggressive fusions of rock & electronic music known as industrial – we can start to envisage the scope & direction of a cleverly programmed musical journey that takes in both sub-genres.
HRH, which is Europe’s undisputed leader in residential music experiences has dug deep, continued to plot & plan from the elite affinity it enjoys with its fan base and is now proud to launch a non-stop roller coaster of goth and industrial music mashed together over 2 destinations.
The deeper we went, the more we felt that this was an under-serviced market, with multiple acts not seeing the dark masses of fans within the UK shores.
That stops NOW!
The line up is sealed as are the dates which will operate Reading / Leeds style between 2 venues over the same weekend. Mark it well, the 12th & 13th September 2020, sees the HRH Goth featuring HRH Industrial experience hit London at the 02 Kentish Forum as well as the 02 Academy Sheffield simultaneously.
The line up has been monitored, voted and curated from over 189K fans worldwide and at last, after 2 years of research we are happy to stage Chapter 1, in a format that hopefully does us all proud.
So the very first line-up of HRH Goth Featuring HRH Industrial is a true statement of intent. Sporting triple headliners, HRH have listened to the HRH community and delivered – and then some…
Revered legends of gothic rock, Londoners Fields of the Nephilim are genuine pioneers of the genre – formed in 1984 they had indie chart success in the late ‘80s with tracks such as ‘Moonchild’ and ‘Psychonaut’. Barring a hiatus during the ‘90s, the band have been actively releasing new music and playing to a loyal fanbase ever since.
Considered pioneers of the goth metal movement, Bradford’s My Dying Bride were part of the “Peaceville Three” together with Anathema and Paradise Lost – their pedigree is therefore undisputed. Since their inception in 1990, the band have released no fewer than 12 studio albums and bring their intense live show to HRH Goth at our twin venue event at London’s Kentish Town Forum and the O2 Academy in Sheffield.
International industrial band KMFDM are said to be one of the first to fuse heavy metal riffs and electronica and take the result to the masses. Taking a highly political stance, KMFDM are sure to melt our faces at HRH Goth taking tracks from their 20 studio albums to date, and no doubt feature music from their upcoming album release “Paradise”.
If those legends of the genre weren’t enough, we are so pleased to announce Welsh wizard Jayce Lewis, post-punk dark-wavers from Brighton Grooving in Green, Sweden industrial metallers Rave the Reqviem, Portsmouth based electronic-punkers Seething Akira, industrial goth outfit Auger, gothic rockers Red Sun Revival, goth-electronica-
Completing the incredible line-up for September 2020 are metallers Sometime The Wolf, post-punk industrial St Lucifer, Londoners Drownd and London stoner-doom-goth merchants Cold in Berlin.
The Sheffield leg of HRH Goth Featuring HRH Industrial will be blessed with guest DJs spinning tunes in Room 2 – so keep your eyes peeled for who we have in store!
Both city destinations for HRH Goth Featuring HRH Industrial feature hotel packages in Standard and Royalty format, with the latter catering for everyone who likes all the extras such as seated balcony, private bar and toilets, security as well as discounted merch. If you are local and just need weekend passes, then once again there are Standard and Royalty options available.
We go on sale Wednesday 14th August at 11.00am GMT and for 6 days only, all Early Bird prices will apply with no booking fees and 20% discounts on weekend passes. London hotel packages will carry a 10% gross discount and Sheffield hotels 15% (which include weekend passes). These crazy rates as mentioned are for the next six days ONLY which finish at midnight on Monday 19th August when they shoot up considerably.
We’re reaching out around the world, for those who like to express themselves, immerse themselves in two highly credible genres of music and feel the energy when sharing it with people of a similar mindset.
This is your destination, your call, your escapism, come and feel the full Dark Wave of HRH in this brand new experience, which is on sale now.
Book online @ www.hrhgoth.com or if you need assistance ring Holly on 0207 193 1845