Jay Reatard was a singer-songwriter who passed away on this day in 2010.  Jay was born May 1, 1980, as James Lee Lindsey Jr. later changing his name to Jay Reatard.

Jay was a renowned solo artist and probably best known for the band The Reatards.  Toured Europe at 18 and supported Rocket From The Crypt also managed to play in about a dozen noted bands playing various instruments from synth to guitar and bass even managing drums in one band.

Jay also played in the Lost Sounds a synth-heavy band which was a departure from the guitar-driven punk he was known for.  Jay was certainly prolific in his twenty-nine years releasing several albums most notably ‘Blood Vision’ that got repressed after his passing for Record Store Day that was very limited and came with a bonus 7″ and is his most well-known album.

RPM raises a glass in his memory on this day and will be playing ‘Blood vision’ in his memory.  A feature-length documentary film entitled ‘Better Than Something: Jay Reatard’ was released in March 2012. The film, made by New York City filmmakers Alex Hammond and Ian Markiewicz, is an elaboration of their short film Waiting For Something. The film predominantly features footage shot with Retard in 2009, along with never before seen concert and home video footage. so if you have some time spare go check it out below.

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Originally out a quarter of a century ago makes me feel old as fuck. However, slipping into my Kensington Market PVC jeans and sharpening my boots guyliner then spraying my Aqua Net before leaving the house it feels like yesterday, a time when just about anything was possible.

Pre-mobile phones (just), pre-internet, pre-grunge, and Soho was still a wonderful seedy adventure as was Camden. Those places still had character – certainly not the sterile hipster coffee shop or Vape emporiums of today.  Back then Rock ‘n’ Roll was still a little different if you wanted it to be and without the interweb bands like Paradise Alley were like pirates sailing the seven seas looking for like-minded allies of which there were plenty, every town and backwater village had one or two but they didn’t have the internet to join forces.  Until now.

Lumped in with the whole glam rock scene that wrongly pigeonholed the likes of Hanoi Rocks as glam in the same breath they would put Poison or God forbid Danger Danger or even a Tigertailz. Although pretty much poles apart (tigertailz and Paradise Alley) influence wise (with a few exceptions) they had to stick together and I guess there are comparisons with the two Stevies they both have similar gruff deliveries in their melodies and vocal style but musically Paradise Alley was dining out on Hanoi and their siblings such as Shooting Gallery or Kill City Dragons, not any surprise to see Damian Cullen set up camp with members of these other bands later on. Anyway,  Not so much the punky side of Hanoi but a more American influenced guitar sound Paradise Alley certainly had a punk rock attitude like on ‘Shot Down’.

They were dedicated you have to give them that. It might not always have been about the music but those were the times we were in and the image played a massive part in this kind of music and all these years later I applaud those who stuck to their guns and lived it like they loved it and stayed true to who they were and that can certainly be said of several members of this band.

I like the street balladeering of ‘Empty Spaces’, A little cheesy at times and cliched – for sure,  but isn’t any city boy knocking out a duet of this kind? All these years later it sounds alright maybe even better with a tinge of nostalgia. To be fair I like ‘Leave Me Alone’ its more the whole punk rock ‘n’ roll thing that I loved at the time had they hit Soho a few years earlier they might have stood a good chance of joining bigger bands from the era. The kings of punk ‘n’ sleaze in the late 80’s had to be the Soho Roses for me but even they bowed out supporting Tigertailz and the real gems were Gunfire Dance who themselves toured with the Welsh Glamsters. Wrong time wrong place maybe who knows.  They reached for the stars and had their fifteen minutes of fame and lived to tell the tales.

This reissue is bolstered by adding the acoustic ‘Baby Don’t Go’ which is cool as is their take on ‘Shakes’ which to be fair is spot on and bang on the money as far as covers go. To be fair these demos put onto the end of this sound great and if I might be cheeky enough to suggest are the best songs on here (Hanoi cover aside) ‘Family Ties’ is good as is the closing track ‘Leave Me Alone’ which has a great guitar sound that the band should have used on the earlier tracks in my humble opinion.  That Joe Dog clank is far better suited to the band’s style.

 

Good work Stevie and the boys for reissuing this lot you should be proud and staying true to themselves. Anyone who ever wandered from the Ship to the Intrepid Fox and round the block to the Marquee wearing Chelsea boots suckin’ on a cigarette thinking they were the coolest kid in town this is for you.  I look back fondly on those times and these tracks make me smile in a good way.  Thanks for such great memories guys and some top tunes whilst I reminisce on what was a ‘Psychotic Playground’.

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Yeah, he of Dinosaur Jr just sneaked out another solo album.  with no fanfare no bells or whistles it just came out at the tail end of 2018 but some artists just do that and when you eventually catch up with them you know it’s going to be good because they don’t really do bad records and J. Mascis is one of those artists.  Unassuming, quiet and notorious for being a man of very few words and that’s from his peers but his talking is most certainly done through the medium of music and ‘Elastic Days’ is another melancholy masterclass bu perhaps not as bleak as you might expect in fact I found it to be a really happy record its not the banana splits or Julie Andrews skipping through fields but quite warm and heartening and full of great melodies and song appropriate guitar breaks and not big dollops of distorted strat thrown in to melt your face as you listen.

sure he has his other outlet for the college rock power tunes so he can release his gentler side through the records carrying just his name and this the third in that list might just be the best carrying just his name.  This record begins with the warm and engaging ‘See You At The Movies’ which isn’t quite the insular cold one man and his acoustic you might have expected.  Its more like Jnr without Murph and Lou but its happy go lucky and to be fair a great understated opener. ‘Web So Dense’ is more of the bruised heart loner type song you might expect with a great arrangement  and the moment two thirds in where he raises from a whisper to the top of his range is wonderful and then to follow it up with one of his trademark solos will hit the spot for a legion of old-school fans playing catch up.

‘I Went Dust’ sees a duet with Zoe Randell that stripped back and warming there is an awkwardness to Mascis songs like a stranger is opening up to their innermost personal feelings and you don’t quite know how to react but ultimately it sounds fucking awesome so you keep listening anyway. and those outrageously loud guitar breaks always break through any awkward moment and make you smile sort of like the sun rising on a freezing cold morning – everything is gonna be alright. It’s not as bleak or limited as previous solo recordings there is a campfire warmth happening here and its possibly the perfect bridge between what he’s done before and what he does in Dinosaur Jr which for me is a great place to be and whilst he’s not hit the dizzy heights of ‘Bug’, ‘Start Choppin’ or ‘Green Mind’ this is right on track to being mentioned alongside such classic pieces of work at Mascis’ hands.

Spread out over twelve tracks there is a swing in variety and feel to these songs and whilst they are all undeniably the work of one man they flow really well and I’m happy that I’ve got my fix on ‘Elastic Days’ that is a most excellent record. I look forward to the next Dinosaur Jr album now when these kinda songs get turned up and fed through louder amps and wear a different pair of comfy shoes. His most accessible work to date if you’re a fan already you’ll love it and if your dipping your toes in then this won’t disappoint.

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Author: Dom Daley

Eureka Machines announce a handful of dates for 2019 which will possibly be their only English and Scottish date this year.  Ticket details & Support for the dates will be as follows –

Saturday 13 April – Audio, Glasgow – Tickets
Sunday 14 April – Bannerman’s, Edinburgh – Tickets
Thursday 18 April – Gulliver’s, Manchester – Tickets
Friday 19 April – Hummingbird, Wolverhampton – Tickets
Saturday 20 April – Borderline, London – Tickets

The Scottish dates will be with the wonderful Powderkeg and Paul Morricone And Con Medicine (the exciting new solo project from Scaramanga Six bloke Paul), and the English dates are with our old pals The Scaramanga Six.

Also on the bill for Wolverhampton will be the ace Empty Page

you can buy ‘Victories’ Here

We have very exciting news today as Mansun’s new label Kscope have announced a 21stAnniversary deluxe re-issue of the band’s 1998 cult classic album SIX. This very special edition will be released on 22nd March 2019 and following on from last year’s AOTGL re-issue, includes a limited deluxe 4 disc book, coloured/green 180 gm 2x vinyl (exclusive to the band’s store) and a CD media book.

The Deluxe 4-Disc Book will include three CD discs featuring the remastered album in full, a disc of demos, rarities & outtakes, and the b-side album The Dead Flowers Reject available for the first time! The fourth disc is a DVD, which is the album’s first ever 5.1 surround sound mix by long-time collaborator P-Dub, a hi-resolution stereo audio and the original promotional videos.

The 48-page hardback book features sleeve notes by journalist and long-time fan Paul Lester, and insights from Paul Draper including a foreword, an analysis of the cover art, track-by-track descriptions for both CDs 2 and 3 and an album overview of The Dead Flowers Reject, amongst plenty of newly unearthed treasures.

You can pre-order here for delivery on 22nd March 2019.

In other news, Mansun’s former frontman Paul Draper has announced that he’ll be touring in France with Steven Wilson later this month. In the style of his recent hugely successful UK acoustic tour, Paul will be playing an acoustic set, featuring both Mansun and solo tracks, accompanied by his guitarist Ben Sink.

The tour starts on 21st January in Nantes and tickets and more info available here.

And finally, Paul has also announced his first live shows in Japan since 2000.  Accompanied by guitarist Ben Sink, he will be performing in Tokyo on the 6th and 7th March 2019. The 7th is sold out but for more info and remaining tickets, see here.

 

 

 

This is the debut mini-album of No wave blues if there’s such a thing. Born out of barroom frequented by midnight dwellers from Stiv Cantarelli and the Silent Strangers its dark smokey and in league with some black magic that’s for sure.  With one hand on the Gun Club back catalogue and the other on the steel strung guitar and overdriven amp that has been used previously by the likes of Gallon Drunk and Birthday Party for sure and you could throw in a healthy (or should that be unhealthy does of The Cramps) for good measure.

‘Barrellhouse Queen’ is like a morning after come down when your head is banging like a big bass drum and everything sounds so distant.  The tension created is mesmeric and whilst at times feels claustrophobic it also feels like its the audio equivalent of the great wide open and all panoramic all within one song. that just doesn’t so much grow but envelops the listener and the louder you can get away with playing it the better.

Reverb-heavy feedback-laden its got warmth and atmosphere for sure and that Alan Vega drum echo is chilling on ‘Headspinner Blues’ and as the slide hits the guitar and the strings vibrate it sends a chill right up my spine. I’m taken back to when I first heard Jesus and Mary Chain and their debut single hit my stereo its the same gut-wrenching primal scream (no pun intended) its got a heartbeat that says 50’s rock n roll but its also raging against contemporary music and all its studio trickery as this sounds like its one take one mic one idea – done ‘Mr. Williamson’ fades like smoke rising from a burning pyre.

‘Broken Bones Blues’ is like suicide meets the delta blues and my head is banging along to that distorted beat. to cap it all off if you need any encouragement the final offering is a mesmeric beat beating away entitled ‘Down At The Public House’.  Get this on the road along with Paul-Ronney and his Urban Voodoo Machine who would be the ideal drinking partner for this slice of dark underworld Rock and Roll.  Waste no time in sourcing this out if you’ve ever had a hankering for any of the bands referenced in this review because your going to love this no doubt about it.

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Author: Dom Daley

There is no time folks – The Hip Priests are ready – Are You?

With the vinyl away at the pressing plant and the CD’s in hand it’s looking like mid/late Feb for this much anticipated new release from Shit Islands leading noise makers brand new album ‘Stand For Nothing’  to hit the shops.

RPM can exclusively bring you the artwork for the record as well as some details of a special limited edition available only to Spasm Gang members. The SG version is on red/yellow splatter and will come in handmade red velvet sleeve with extras, my advice would be – jump on board with the Spasm Gang and get in on the limited editions and other exclusive offers. Join Here  As well as the front cover artwork the reverse is here along with the full tracklist that includes exclusive vinyl only song that isn’t included on the CD version.

 

 

 

What looks like being the bands busiest year so far is quickly filling up with tour dates – those already announced to coincide with the album’s launch around Europe are included on this poster. What will undoubtedly be one of the years finest records from one of the best bands anywhere we suggest you don’t snooze on these dates either they won’t be around forever you know, the time to ‘Stand For Nothing’ is upon us are you with us or against us? What are you standing for?  Facebook 

At the tail end of last year Wonk Unit sneaked out an all acoustic live performance recorded at the Brook in Wallington which to those who don’t know is also the place where the band recorded their last couple of albums with Andy Brook which funnily enough is what the venue attached to the studio is called no not Andy Brook but The Brook. Even though it’s now relocated this was thought lost until now that is.  Wonk Unit electric are an eclectic collective so acoustic I wasn’t quite sure what would come out of Alex’s mind for this one but by the time you are halfway through you forget it’s unplugged anyway such is the quality of the songs and the performance and after Alex introduces the tunes there’s nothing like sitting back and giggling to yourself as to where ‘Lewisham’ came from and what inspired the majestic ‘Kings Road Sporting Heroes’ (one of the finest tunes penned by anyone in the last decade) The band have been busy as fuck since this was recorded and I can’t fathom why they’ve not done this more often because quite simply its a blinder. The songs lend themselves to this format and style as each one takes on a new spin and from ‘Tortured Genius’ through ‘Horses’ it’s worth it for the spoken intros from Alex alone.  ‘Je Mappelle Alex’ is blindingly good but then you knew that didn’t you.

The song selection is most excellent tracks like the somber ‘Bin Him’ are dark as fuck but work superbly well acoustically and one of my favourite Wonk songs ‘Go Easy’ is another dark tune but again sounds great and I have to chuckle as Alex gees the band on to ‘lock-in as they absolutely kill it. The ‘Guts’ intro is brilliant if this punk rock lark didn’t work anymore for Alex I guess there’s a career on the stand-up circuit his stories are compelling and relatable but his music is top notch and who would have thought ‘Guts’ would have worked in this format? not me for one but boy it works like a dream.

There is a slight drop in the mix on the intro of ‘Kings Road’ but that’s a small distraction and it takes nothing away from this performance from Wonk unit. Electric or acoustic they are a force of nature and your life is a darker place without them in it that my friends is a fact. Go check it out pronto!

 

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Author: Dom Daley

…And You Will Know Us By The Trail Of Dead celebrate 20 years of ‘Madonna’; Update on the forthcoming new album 

…And You Will Know Us By The Trail Of Dead will celebrate 20 years of the album ‘Madonna’ with a European tour starting later this month, which comes just prior to the band putting the wheels in motion for the release of their recently completed tenth studio album. 

The band comments of the new record: “Fever visions of other worlds beyond our own and loosely tied to the human condition. This is our new document. This is our new testament. Our Bukowskian faded cities of dust…  The Haunter reaping lost souls.  The American void into the godless void gazing to the firmament.  In other words….It’s a gawd damn Trail of Dead record recorded deep in the heart of Texas.”

The band’s European tour will see them perform the whole of 1999’s Madonna album, a cult-favourite amongst fans and an album that Pitchfork said delivered “volume, passion, talent, and original hooks.”

The band comments of the tour: “Madonna was our first stab at the bigger picture. We wanted to reach Europe and the UK with this album. We knew that it could communicate our ideas there and people would get it more than America. This album helped create so many friendships all over the world. The music resonated and we are still grateful that folks love this record.”

The full list of dates is as follows:

30th January – Le Petit Bain, Paris, France

1st February – The Garage, London, UK

2nd February – Castle & Falcon, Birmingham, UK

4th February – Brudenell Social Club, Leeds, UK

5th February – Komedia, Bath, UK

6th February – Manchester Academy, Manchester, UK

7th February – The Art School, Glasgow, UK

8th February – O2 Academy, Oxford, UK

9th February – Esquires, Bedford, UK

10th February – Storey’s Field Center, Cambridge, UK

11th February – The Haunt, Brighton, UK

12th February – Trix, Antwerp, Belgium

13th February – Vera, Groningen, Netherlands

14th February – Tivolivriedenburg, Utrecht, Netherlands

16th February – Mascotte, Zurich, Switzerland

19th February – Zakk, Dusseldorf, Germany

21st February – Manufaktur, Schorndorf, Germany

22nd February – E-Werk, Erlangen, Germany

23rd February – Covo Club, Bologna, Italy

25th February – Beatpol, Dresden, Germany

26th February – Kuz, Mainz, Germany

27th February – Bastard Club, Osnabruck, Germany

 

The bands previous album ‘IX’ was released in 2014, which NME called ‘the Texans at their most focused and thrilling’, while Pop Matters commented ‘…And You Will Know Us By the Trail of Dead haven’t stopped challenging themselves and their audience.’

Look out for more information on the forthcoming new album soon.

 

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When No Front Teeth Records issue a new record there’s something like a bat signal goes up over the city so all the sleazy cats know to raid their nan’s purse to gather the funds to pay for a copy.  The Flesh Of The City is the latest release and when they said it was a bit of Gaggers and a bit of Miscalculations and a bit of Shanghai Wires it was a given we’d have a copy.

Sounding like a bit of one and a riff of the other it’s no surprise that Marco has his stamp all over this.  Sounding like a heavily spiked Buzzcocks melody on opener ‘The Visceral Jolt’ which is pretty much the theme throughout to be fair. as soon as one finishes the next rough diamond kicks in.  ‘The Patron Saint Of Murder’ has a dash of early Manics about it more so in the melody and perhaps the subject matter. With the album, an old school split of four on side A and four on side B it’s not going to be prog lengthed tunes either so it’s sharp and to the point.  There is a lo-fi style to the production which is something of a trademark and it does remind me of Tubeway Army as well in the delivery of the songs, with a pretty simple set up.  I’m also getting pre Ant Music Adam and the Ants especially on songs like ‘Cadaver In Waiting’ which is almost new wave rather than angular punk and the use of the spoken words sort of draws in the bands I’ve mentioned so far.

The title track kicks off side two and with its Pete Shelley minimal guitar break but the tom thumping on the chorus is what makes this the stand out track as the bass rumbles on it’s a great song plain and simple. ‘Taking Credit For Other Peoples Ideas’ sounds like the way The Cure should have gone had they headed through the punk door and not the Goth door.  There is a familiarity about the chorus here and it’s not until later that I find myself repeating the melody.

Its a really solid way to jump into 2019 that with an album I know I was going to like before I dropped the needle and when I had I was so pleased that it met my expectations there is even a hint of Blondie about ‘Hide Your Face’ and to close the album the band smash it by taking it up a notch or two with ‘Inside You’ again with that Joy Division like guitar lick on the end of the verse its a pleasure to hear it all works like a well-oiled machine.  I really enjoyed The Flesh Of The Citys debut and would highly recommend it to anyone with good taste in punk rock and new wave its a winner.

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