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Punk The Capital – A Documentary

Punk The Capital – A Documentary
Punk the Capital: Building a Sound Movement
A documentary tracing the birth of punk rock in Washington D.C. (1976-1983)
Featuring Bad Brains, Minor Threat, Void, Rites of Spring, and more, with interviews
from Henry Rollins, Ian MacKaye, H.R., Jello Biafra, Joe Keithley, and many others
Premiering exclusively in Theaters and on Virtual Cinema nationwide beginning May 14th
DVD / Blu-ray to be released for National Record Store Day on June 8th via Passion River

When punk rock erupted in Washington DC, it was a mighty convergence of powerful music, friendships, and clear minds. This film is the first to explore the incredible challenges that this subculture faced when it took root in the Nation’s Capital in the late 1970’s.
Punk the Capital situates DC punk within the larger narratives of rock n’ roll, working as a powerful multi-layered story for both fans and non-fans of punk rock. Featuring musicians such as Bad Brains, Henry Rollins, Ian MacKaye, and Jello Biafra, this film dives deep into the ideas and sounds from this transformative music scene which continues to be influential culturally and politically around the world.
Created by James June Schneider (Co-Director, Editor), Paul Bishow (Co-Director), and Sam Lavine (Associate Producer, Co-Editor), Punk the Capital is Punk the Capital has been on the road since its World Premiere weekend in Washington D.C. held simultaneously at the American Film Institute and the Hirshhorn Museum (Sound Scene festival). The filmmakers took the film around the USA and Europe to festivals, cinematheques, cinemas, galleries and community spaces. It has been selected for festivals including In-Edit (Barcelona and Brazil) BAFICI, Leeds International Film Festival, and Sound Unseen.
Each screening has been an event, with at least one of the filmmakers present and for the majority of dates, there has been a special guest (Henry Rollins, Ian MacKaye, Cynthia Connolly, HR of Bad Brains and many others.) The goal of the team was to reach 100 consecutive in-person events. They made it to 50 before the pandemic began.
Schneider states:
“We were touring the film like a band would until the pandemic hit. Now as things open back up, we’re glad to kick off the theatrical release for a variety of reasons. Some of the cinemas where Punk the Capital will be showing, I screened my films back in 1997 when filmmaker Martha Colburn and I hit the road together. I’ve been thinking about them as we piece this together. Before we release the film on DVD/Blu-ray we wanted to undertake a big push with a theatrical release, part virtual, part in person, that I hope will do its part in getting some of these struggling indie cinemas some much-needed support. And we also are looking forward to sharing the film in these times since it’s an optimistic film essentially about building something new and constructive despite the odds.
The final version of our film that we’re releasing now is just the intense tip of the iceberg – our first cut was 7 hours long. In the end, we wound up focusing on the untold and improbable story of punk rock’s beginnings in Washington DC, that happened concurrently with cities across the western world. We took a lot of our extra material that otherwise might never have been seen and edited it together to make short films that will be in the bonus section on the DVD (and Blu-ray). One of the shorts focuses on the band Scream and their family connections to DC’s 1960’s legendary garage band scene.
As we roll the film out, we’ve been blown away by the positive response not just from fans of punk and DC punk who see and hear a lot of unseen material. We’ve also heard from a lot of people even up to 90 years old who don’t really like punk but who nonetheless love the film. We’re glad to see that Punk the Capital works on a lot of levels and are hoping that it will reach a broad audience since the DIY ideas highlighted in the film about the DC punk scene go well beyond the music.”

Motörhead – ‘No Sleep ‘Til Hammersmith’ Deluxe anniversary editions

Motörhead – ‘No Sleep ‘Til Hammersmith’ Deluxe anniversary editions

‘NO SLEEP ‘TIL HAMMERSMITH’
GETS ANNIVERSARY EXPANSION

DELUXE CD BOX-SET AND SPECIAL 40th ANNIVERSARY EDITIONS OF
 ‘NO SLEEP‘ TIL HAMMERSMITH’
TO BE RELEASED ON JUNE 25TH 2021

PREORDERS & EXCLUSIVE MARCH BUNDLES Here

 

 

Back in the Summer of 1981, Motörhead got louder, dirtier and more universal, and you’re getting an invitation to relive this most glorious of achievements once again…

Following on from 2020’s year-long celebration of Motörhead’s iconic Ace Of Spades album comes the live album to end all live albums the undisputed definitive live record of all time; No Sleep ‘Til Hammersmith. To celebrate the 40th anniversary of this number one album, it is being presented in new deluxe editions.

There will be hardback book-packs in two CD and triple LP formats, featuring a new venue demolishing remaster of the original album, bonus tracks and the previously unreleased – in its entirety – concert from Newcastle City Hall, 30th March 1981, the story of the album and many previously unseen photos. Also, the album will be released as a four CD box set of all three concerts recorded for the album, released here in their entirety for the very first time and primed to gleefully shatter what’s left of your grateful eardrums.

Upon that original June 27th ’81 release, Lemmy is quoted as saying of No Sleep ‘Til Hammersmith after it crashed into number one in the UK charts; “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.” No Sleep ‘Til Hammersmith was Motörhead’s first and only number one record in the UK and is still the most necessary live album of all time.

The No Sleep ‘Til Hammersmith CD box set contains:

  • The No Sleep ‘Til Hammersmith album, remastered from the original master tapes. Featuring extra bonus tracks and newly unearthed, previously unreleased sound check recordings.
  • The three full recordings of the concerts that made up No Sleep, never before released in their entirety.
  • The story of No Sleep ‘Til Hammersmith told through previously unpublished and new interviews with the people that were on the road at the time.
  • Never before seen photos and rare memorabilia.
  • Double sided, A3 concert posters from 1981.
  • Reproduction USA ’81 tour pass.
  • Motörhead ‘England’ plectrum.
  • 1981 European tour badge.
  • Reproduction Newcastle City Hall ticket.
  • Port Vale gig flyer post card.

Motörhead in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980’s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut.

See below for full details of the No Sleep ‘Til Hammersmith releases and be sure to visit www.iMotorhead.com for news and updates!

 

Photo credit: Graham Mitchell

Teenage Fanclub – ‘Endless Arcade’ (PeMa / Merge)

Teenage Fanclub – ‘Endless Arcade’ (PeMa / Merge)

As the Fannies unveil their Eleventh Studio album it isn’t the Fannies of old say on ‘BAndwagonesque’ or ‘Thirteen’ nor would I expect them to be and this latest offering more ambles out of the speakers like a musical onion it offers up itself in layers rather than racing out of the traps as they once would.  More 60s San Fran alt-rock n roll than its earlier self.  With the departure of Gerald Love would we get the same level of songsmithery from the boys.

 

I would say that this album is striking due to its more elder statesmanlike level of energy and from a band that has no doubt matured over the years but still deliver some killer melodies and arrangements and rather than listen to this as one complete body of work I preferred to let it seep into my mind via a cheeky shuffle and bit by bit it unfolded like a blooming flower that will bloom and fall away only to return again seasonally.

 

Norman Blake and Raymond McGinley are the writers and their retro melodies and arrangements always make the blood pump with a fondness like whenever I hear a Kinks track or a Byrds song on the wireless.  I’m not sure where Teenage Fanclub sits these days they’re certainly not teenagers anymore but they’ve aged wonderfully as the songs like ‘The Sun Won’t Shine on Me’ will testify in its two and a half minutes of 60s bliss.   I did balk at the opening song weighing in at seven minutes but ‘Home’ builds and meanders really well as the listener gets comfortable with the sounds of a band who’ve I’ve shared a journey with most of my adult life and its cool that they’re not trying to be something they’re not and by the sounds of it totally happy with the skin they’re in and that’s making for a stronger more convincing album.  Not their best work for sure but comfortable and well worth shelling out for.

Twelve tracks with variety and some lush harmonies and twisted pop melodies from a band who knows their spot in the big picture be it gently rockin like Neil Young on ‘In Our Dreams’ or blazing a trail with the big pop hook of ‘I’m More Inclined’ or the melancholy sometimes cold and bleak surroundings of ‘The Future’  I’ll always have me some time for Teenage Fanclub great band with great songs and not every band who’s been around for as long as they have and consistently delivered the goods.

 

Buy ‘Endless Arcade’ Here

Author: Dom Daley

The Gadjits ‘At Ease’ (Hellcat Records, 1997)

The Gadjits ‘At Ease’ (Hellcat Records, 1997)

 

I think all of us have heard the old adage that you have your whole life to write your debut album, and it is the second one where it gets rough because now you have to write a whole bunch of new songs in a short amount of time. Now, imagine being a group of teenagers comprised of 3 brothers (Brandon Phillips (guitar/ vocals), Adam Phillips (drums/ percussion/ vocals), and Zach Phillips (bass/ vocals)) along with Heidi Blobaum (keys/ backing vocals) who have self-released a debut album and find themselves a year later signed to Tim Armstrong’s Hellcat Records at the label’s launch alongside other great bands like the Slackers, Dropkick Murphys, the Pietasters, Hepcat, and others. That second album becomes an even bigger challenge because Armstrong wants all new material for the album. That was the task the Gadjits were presented with when this album was released in 1997. Hellcat Records launched with Volume 1 of the ‘Give ‘Em the Boot’ compilation series which is outstanding from top to bottom, and ‘Beautiful Girl’ by the Gadjits was a song that I constantly had on repeat. By the time ‘At Ease’ was released, my anticipation was at a fever pitch.

 

This CD became one of my favorites of 1997 and rests comfortably in my favorite albums of all time with its combination of influences and originality striking a unique chord. ‘Bullet in the Mattress’ walks a delicate balance between a playful musical beat and some vocal skat with the story of someone getting killed. This has been one of the songs I will use to turn people onto the Gadjits. There is a ska influence in the beat but also combines with some traditional rock influences to create something unique. The guitar work stands out with some subtle touches. The band go from one strength to another with ‘Sh’Bop’ sounding a bit like Elvis Costello falling into some ska with some old 60’s soul influence through the band’s own musical lens. The quiet start to ‘Seat 6’ gives way to an addictive rhythm that will pulsate through your body. The way the song builds is magical, and I have always loved the line ‘subtlety is the best lesson I ever learned in school.’ Zach’s bass also stands out in the mix here.

 

‘Tell Yourself’ springs to life quickly with the rhythm again inducing movement in the listener. Adam’s work on the drums is stellar across the entire album with this just being one of fifteen brilliant moments. There is a slight breakdown in the song that really gives it an extra dynamic before the addictive chorus ends the song. One of the songs that gives away the band’s youth is ‘Traffic Tickets’ with the lyrics addressing the annoyance of being pulled over by the police. I love the ska influence in the music here as the band is extremely tight. I can overlook the lyrics and focus on the music. The slower beat of ‘California’ finds the band further expanding their sound with some excellent sax added to the mix.

 

One song was revisited from the band’s debut with the instrumental ‘Corpse I Fell in Love With’ coming in the middle half of the album. I always thought the bass and beat in the intro could have came from a spy movie before the band brings a heavy ska influence into it while working back in that spy movie motif a few times. The guitar work from Brandon is excellent. ‘Trusted’ has a slightly darker feel musically which corresponds perfectly with the lyrics. When it comes to relationship issues in music, the lyrics here may have been written by a teenager but still resonate with experiences most of us have experienced. Heidi’s work on the keys here also shines in the mix. The up tempo ‘Party Girl’ is again the band refusing to be pigeon-holed with the ska again meeting an Elvis Costello feeling with the lyrics here again perhaps lacking nuance but full of intent.

‘Back Up’ resonates on every musical level for me with the excellent groove combined with the cocky lyrics being one of the songs that would help me when I was feeling down after this album was released. Singing along to it can be like a shot of self-confidence with the vocal hook in the song being extremely catchy. Again, there is a subtlety to the guitar here where it gives the song perfectly what it needs without overdoing it. The band continue to channel musical excellence with ‘Holes in my Shoes’ by continuing to expertly blend ska, a punk attitude, and classic rock. One of two covers, ‘Skinhead Girl’ works perfectly with the sound on this album. For a 23 year-old like me at the time, it was definitely not an obvious song as I was unaware of the original way back then.

 

As we reach the final trio of songs, we start with the rock n roll infused ‘Need Yo’ Luv’ which is another song I used to introduce people to the Gadjits. Vocally, everything is stellar across the album, but I definitely want to highlight it here. This song feels a bit like going back in time to a room where the condensation is dripping down the walls while the likes of Jerry Lee Lewis tear the roof off the place. The other cover on the album is a bit unfortunate in retrospect, but I don’t think any of us could have imagined the connotations that come with ‘Mustang Sally’ all these years later. I will add though that the band is on fire here both musically and vocally so shove all those karaoke versions and such out of your head to try and hear the song in a fresh manner. The band close out the record with the superb ‘Beautiful Girl’ almost serving as an afterthought on the album. It definitely reflects how awesome the record is and is one of my lyrical favorites.

 

The Gadjits continued to flesh out their sound in the years to come. Their Hellcat Records follow up ‘Wish We Never Met’ has never connected with me in the same way ‘At Ease’ has. The band would then move over to Thick Records for ‘Today is My Day’ which is an album that constantly grows on me with the band having more of its rock and soul influence coming through. If you have not spent time with ‘At Ease,’ I highly recommend you change that immediately. I would suggest following it up with ‘Today is My Day’ and then checking out what else Brandon Phillips has done over the years in the Architects, Brandon Phillips & the Condition, and Mensa Deathsquad.

 

Pick up ‘At Ease’ Here

Author: Gerald Stansbury 

*Interview coming next week*

 

Dinosaur Jr – ‘Sweep It Into Space’ (Jagjaguwar Records)

Dinosaur Jr – ‘Sweep It Into Space’ (Jagjaguwar Records)

Here we have album number 12 from the alternative rock stalwarts and the fifth since reuniting the much welcomed classic lineup of J Mascis, Murph and Lou Barlow. And for this reviewer their strongest release in this new era of the original band.

Although there are radio-friendly songs present, such as lead single ‘I Ran Away’. It’s the first two tracks on the record ‘I Ain’t’ and ‘I Met The Stones’ that give the listener a well-painted picture of the group as the loud rock entity they are in the flesh. Nicely finished off with third track ‘to be waiting’ which is quite surprising that this has not been utilised as a single considering it’s a Dinosaur Jr classic waiting in the wings. I imagine this will be on their setlists for years to come, up there with ‘start choppin’ and ‘freak scene’.
Midway through we get a number penned and sung by guitarist Lou Barlow, ‘Garden’. A very well-written track with a bit of an anthemic, radio-friendly, College Rock vibe, but unfortunately sounds a little out of place on this record. Certainly not as savage and pummelling as his Sebadoh output which I have always been a big fan of. In the end Barlow makes up for this on his second stab with the final song on the album ‘You Wonder’, with an overall more complex and interesting sound.
We get back on track with ‘Hide Another Round’ which is a bit, J Mascis, by numbers but still showcases the band and leads on nicely to ‘and me’ which is very reminiscent of J’s recent solo work Elastic Days. Even more so with ‘take it back’ where the overall makeup is almost like the band taking on classic Elton John but muddied up with their own beloved elements added to the end result.
On the whole, the album is a strong effort with a lot of familiar bits to please the die-hards and the deviations are more successful than not, complementing rather than challenging their classic sound. 35 years in with more than a few bumps in the road, seeing trends come and go and contemporaries fall by the wayside. The band is still here, sounding confident, competent and thankfully not tired and going through the motions.
Most reunions for rock fans have an all too recognisable sight of gritted teeth with a need to top up the bank balance rather than a genuine desire to play. Dinosaur Jr are still out there most years, playing mid-sized venues looking like they’re having a blast. Here is hoping this will be the case for many years to come.
Buy ‘Sweep It Into Space’ Here
Website​  / Twitter​ / Facebook
Author: Dan Kasm
*This May, Dinosaur Jr. will play two socially distanced shows in the Northwest. Following, they’ll host their beloved Camp Fuzz and then kick off a North American tour later this year. Tickets for all dates are on sale here. Additionally, to celebrate the release of  the album, Dinosaur Jr. will play a livestream performance from the Sinclair in Boston, MA on May 1st at 9pm EST. Tickets are available here, with upgrade options for exclusive merchandise and VIP Soundcheck Experience.*

Aggronautix introduce legendary Circle Jerks skank Man to their collection

Aggronautix introduce legendary Circle Jerks skank Man to their collection

Hey, you punk rock collectable fiends.  Check out the latest Throbblehead off the Aggronautix conveyor belt.

Aggronautix is pleased to present the Circle Jerks legendary “Skank Man” mascot in Throbblehead form.

The figure is limited to 1000 numbered units, stands at 7 inches tall, and is made of a lightweight polyresin.

Displayed in a vibrant full-color box, the Circle Jerks “Skank Man” is sure to liven up the pit of any Throbblehead collection!

As a pre-order incentive, the first 100 customers will also receive a “Skank Man” keychain (see HERE).

The Damn Truth – ‘Now or Nowhere’ (Spectra Musique)

The Damn Truth – ‘Now or Nowhere’ (Spectra Musique)

I heard the first single from this album and was grabbed immediately by the music and the powerhouse vocals. The Damn Truth have been around for several years now (which has me getting caught up on the back catalog too), and this album should make them a lot more fans. ‘Now or Nowhere’ is their 3rd album over the course of their 9 years of existence. Their sound conjures images of hard rock, a hippie vibe, powerhouse hooks, and originality being stuffed into a blender. This is a 2021 album that I can write down as a strong album of the year contender.

‘This is Who We are Now’ doesn’t so much open the album as rip the door off and throw it 100 miles away. The music is huge, and the chorus knocks your head off with Lee-la Baum’s powerhouse vocals (also guitar) delivering a statement of intent. This is a killer hard rock song without those vocals but soars to another level with them. Tom Shemer opens up ‘Tomorrow’ with a cool guitar riff that burns like a fuse to unleash the groove by PY Letellier (bass/vocals) and Dave Traina (drums/vocals). This is another huge chorus that needs to be played on the radio. What has struck me with this song is that it would have been right at home on the radio in the 90’s, early, 2000’s and up through the current.

The gorgeous slow start to ‘Only Love’ gives way to another great rock song where Baum’s vocals would be stealing the show if it wasn’t for the equal excellence of everyone in the band. The vocal notes in the chorus and the inflections induce feeling positive and smiling in me which is a neat trick for someone who can quite enjoy going into the depths of darkness in songs. The rhythmic ‘Lonely’ builds from a campfire song to the whole city singing in unison. Perhaps my biggest grief of the entire album is with this song because it is not long enough… At less than three minutes, I would love to see this one go on as about seven or eight minutes live. The midpoint of the album arrives with the semi acoustic based ‘Everything Fades’ feeling like a long lost 70’s treasure that has resurfaced in today’s world. Baum again delivers an absolutely killer vocal that carries heart, grit, hope, love, perseverance, and more.

The back half of the album begins with an inferno with ‘The Fire’ which reminds me a bit of Soundgarden in its power. The song then carries forward on musical waves which just totally blackout anything going on around me. The lead guitar work from Shemer shines throughout this record with this song simply being another standout. ‘Look Innocent’ could have come from the likes of Big Brother and the Holding Company with Baum’s vocals her reminding me of Janis Joplin and Sass Jordan. The backing vocals in the chorus are also perfectly placed. This song digs deep into my heart as the music and vocals are equally powerful.

‘Full on you’ finds another great groove by Leterrier and Traina which then has a great transition into the chorus before falling back into the groove. Another musical reference for The Damn Truth for me would be the much missed Mother Station. Shemer lets loose another great guitar solo. As a finale, the band turns to the beautiful ‘Shot ‘Em’ where the band take an acoustic intro into an epic chorus and have created, for lack of another term, a great power ballad that closes the album in style.

This is an incredible album that has laid the gauntlet for 2021. Bob Rock produces six of the nine songs on here, and I will say that I did not pay attention to see which ones are his productions. The production on the album is killer throughout and sounds cohesive across all nine songs. I will continue to enjoy this stream until I can buy the actual release which should be a mandatory purchase for the world in 2021.

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Buy Here – Website

 

Author: Gerald Stansbury

Capra – ‘In Transmission’ (Metal Blade Records / Blacklight Media Records)

Capra – ‘In Transmission’ (Metal Blade Records / Blacklight Media Records)

Looking for a fresh focus following a ninety-day stint in rehab in 2016, guitarist Tyler Harper formed Capra with drummer, Jeremy Randazzo. With bassist Ben Paramore and vocalist Crow Lotus completing the line-up, ‘In Transmission’ finds the Lafayette, Louisiana outfit hitting the ground running with a debut album that is as equally brutal as it is thought-provoking.

 

 

Fusing metal, punk, and hardcore, ‘In Transmission’ is, according to Harper, “like being trapped in a tiny room with an unforgiving monster.” Quite a novel USP, I’m sure you’ll agree. There is a viciousness to this album, yes, but also an intelligence courtesy of the lyrics of Crow Lotus. Being a woman and also the child of an immigrant, Lotus throws harsh truths at the listener from all lyrical angles; from the more personal on the heavy-duty ‘Paper Tongues’ – detailing the troubled relationship with her mother when growing up – to the tribulations that women face every day of their lives on ‘Red Guillotine’. Given the brutality of the music on offer here the fact that these lyrics can be picked out with ease is testament to not only her talent as a lyricist, but also a vocalist.

 

 

What impresses me most about this album is the fact that, although the majority of it was recorded in December 2019, three of the songs – ‘Deadbeat Assailant’, ‘Mutt’, and ‘Transfiguration’ – were recorded during lockdown (with the band members entering the studio individually to record their parts), yet fit the sound of the album perfectly. You thought that the sound of lockdown was 8pm clapping and the banging of pots and pans, right? Think again.

 

I am reminded of the angular uneasiness of Norway’s Blood Command at times here – no doubt because of Crow’s vocals – and I pick up a ‘Birthing the Giant’ era Cancer Bats vibe on certain tracks. All in all, this is a bit of a noisy gem.

 

Capra online: Facebook /  Instagram

 

Author: Gaz Tidey

Civic – ‘Future Forecast’ (Flightless Records)

Civic – ‘Future Forecast’ (Flightless Records)

I first came across the work of Melbourne Garage Punks Civic when I happened to be browsing Bandcamp and ‘New Vietnam’ leapt out on me and I duly ordered the cassette tape (hipster) resisted growing a beard but had the EP on repeat for a while.  The band then emerged releasing a trio of singles over the past few years, including a cover of The Creation’s garage classic ‘Making Time’ Time really does fly by even during a pandemic as ‘New Vietnam’ was out in 2018 its now 2021.

They’ve made a considerable leap to the cleaner, sharper more purposeful sound on display here. the band brings a melodic edge to their muscular Garage punk without losing any of their intensity or grooves.

‘Future Forecast’ moves through the gears with ease from the more catchy songs like the single and opening ‘Radiant Eye’ through ‘As Seen On TV’ to the lap steel guitar and brutal riffs of ‘Tell the Papers’. It’s a really confident record that has a swagger and a cockiness that says Civic knows they’re good and ‘Future Forecast’ will have many people sitting up and paying attention to what they’re hatching down under.

 

 

If you (like me) loved ‘New Vietnam’ and are worried they might have moved on and left behind the punk and power then fear not because ‘Another Day’ is straight out of the ‘Young Loud and Snotty’ songbook,  ‘Hollywood Nights in Hamburg‘ with its retro proto-punk leanings is a real blast of energy, ‘Just a Fix‘ (with its raw riffage is a blast) and ‘Velvet Casino‘ all crackle along with the attitude and snot of their humble beginnings. Making this album an absolutely essential purchase.  If you love your music with riffs, attitude and above all great songs then this is for you.  It’ll breathe life into the Garage Punk Rock and Roll fraternity and give other bands a jolt and a tap on the shoulder because these boys are moving in and taking over.

 

Many of us have been heralding a new dawn for Australian music, ok sure The Chats and Amyl & The Sniffers grabbed a lot of overseas plaudits and rightly so but scratch the surface and there beats the heart of the beast and bands like Civic are rising up with killer albums like ‘Future Forecast’.

 

I’ll make a prediction, along with Stiff Richards, civic are the dingos danglies and more dangerous than 90% of the wildlife also residing on their island.  Get on it before it’s too late. Civic is the band ‘Future Forecast’ is the album so pour yerself a cold VB and get on it.  Now if they could get some UK and Europe Distro the job would be a good un and my work here would be done.

Buy Civic Here or Bandcamp

 

Author: Dom Daley

Rev. Peyton’s Big Damn Band – ‘Dance Songs For Hard Times’ (Family Owned Records)

Rev. Peyton’s Big Damn Band – ‘Dance Songs For Hard Times’ (Family Owned Records)

 In times like these we need bands like Reverend Peyton’s Big Damn Band. This fact is not lost on the band itself, and so now here we are with their latest album ‘Dance Songs for Hard Times’. If ever music can be the cure for anything, the Rev is here to deliver.

The band aren’t kidding when they declare these to be dance songs. The Rev’s bellowing voice (stronger here than ever before) and blues craftsmanship, backed up by the endless charm of Breezy’s washboard and backing vocals, and Max’s Senteney’s drum rhythm, are as solid as always. This album, however, really is brimming with bluesy, party numbers.

From the driving opener of ‘Ways and Means’, straight into the swinging ‘Rattle Can’, this record is crying out to be enjoyed loud. The rockabilly of ‘Too Cool to Dance’ perhaps symbolizes the carefree nature of this release more than any other song on the album – “we may not get another chance/please don’t tell me you’re too cool dance.” It really is a breath of fresh air in these tough and uncertain times. It just makes me sad that we really can’t get out there to dance.

The record still leans heavily on its traditional influences, and songs such as ‘No Tellin’ When’ carry the timeless and haunting sound that is so integral to folk & blues storytelling, whereas ‘Come Down Angels’ closes out the album with a raucous riot of gospel.

Reverend Peyton’s Big Damn Band is a band that just keeps improving – technically and creatively – without ever straying from the elements that make them easily one of the best blues bands of modern times. I fell in love with them upon listening to ‘Between the Ditches’ in 2012 and have rejoiced in everything they’ve released since; however, listening to ‘Dance Songs for Hard Times’ comes closest to that feeling of utter joy I experienced the first time around.

Buy Here

Author: Craggy Collyde