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Ronnie Simmons ft The Redback Spiders – ‘Bite! Part One’ (Suburban Records)

Ronnie Simmons ft The Redback Spiders – ‘Bite! Part One’ (Suburban Records)

Ronnie Simmons and The Redback Spiders are currently touring their “Bite! Part One” EP across Australia including sold out shows as special guests for glam rock legends The Sweet. The Redback Spiders are Hayden McGoogan and Sean Anderson on guitar, Tommy Hills on bass and Chip Scanu on drums.

Australian Rock guitarist Ronnie Simmons and his new band The Redback Spiders debut their killer punk influenced EP ‘Bite! Part One’ Today. Based in Sydney Australia now, Ronnie Simmons (Rose Tattoo, Richie Ramone, ex-Faster Pussycat) fronts The Redback Spiders who are Influenced by classic punk and Australian pub rock with a tinge of ska. The EP “Bite! Part One” was written and produced by Ronnie, who played all guitars, saxophone and sang, it was engineered and mixed by Clay Davies (Bullets and Octane) at One More Time Recording in Los Angeles. The EP features iconic industry legends Richie Ramone (The Ramones) on drums, Johnny Martin (LA Guns) on bass, Danny Nordahl (Faster Pussycat) and Scott Churilla (Reverend Horton Heat & The Supersuckers) on backing vocals. The record is a sonic account of Ronnie’s journey cutting his musical teeth in the pubs of Sydney Australia, to living in Hollywood California, touring the world and life in 2024 as a rock ’n’ roller.

Having got a tip of the hat fro none other than Slash things are looking good for Ronnie. The six track EP kicks off in sprightly fashion with the energetic ‘Little Miss Understood’that has the seal of former Ramone Ritchie Ramone on the drums in the engine room cooking up a punchy beat with Rhythm section expert Johnny Martin who add some drive in the engine room that helps rock out on this upbeat opener. I can see how Slash would have been on board with the tone of that guitar solo that rips out of the speakers.

The flow of this ep is excellent and with the big bright production it has real potential to do well anywhere on this spinning rock. ‘Alone With You’ has an ear on the FM radio stations if they’re looking for a fix of big well-produced rock n roll. It’s got a big melody and enough dirt to pull this off.

‘You’d Think I’d Learnt’ is where the Ska enters which was unexpected in the verses but the chorus has attitude. With there only being half a dozen songs its bite-sized enough to consume in one go and the Ska continues with ‘Don’t Follow Me’ with its big horn honkin’ chorus to skank along to.

To be fair all the choruses are strong and regardless of the style it flows really well. I particularly like ‘Artificially Sweet’ for its punch but its cheeky wink with the pop melody but the guitars rip and the chorus ensemble is top-notch.

The EP closes with a rockin’ ‘Eaten Alive’ with its storytelling quality I’m left wanting more and looking forward to my second Bite already. Way to go Ronnie you got this.  

Buy Here

Author: Dom Daley

Quireboys/Willie Downing & The Invisible Band/Continental Lovers – Corn Exchange – Newport – 17th November 2024

Quireboys/Willie Downing & The Invisible Band/Continental Lovers – Corn Exchange – Newport – 17th November 2024

NO DRINKS ON STAGE – “that’s Luke Morley’s doing” jokes Quireboys’ frontman Spike as he spots the large warning signs stuck onto the front of the venue’s on-stage monitors. “He’s had me and Nigel practising too”. But what are the band going to sound like when they have rehearsed and not had too many sherries beforehand?

We’d been chatting in the pub beforehand about the times we’d all seen the Quireboys over the years, and the one thing we all said was “We’ve never seen a bad Quireboys gig”, but would a line up featuring two ex-members of Terrapin (thank you Spike for that little gem) on guitar and drums and the one time bassist/singer from (“remember the name”) The Grip match those high standards already set? Might tonight actually end up being an exception to that golden rule, even if ‘Wardour Street’ the album the lads are out on the run of shows to help promote is indeed a little bit of what every Quireboys fan should fancy?

Before all of that palaver though I’m in early doors tonight to catch the RPM approved Continental Lovers, who are playing some carefully selected Quireboys shows to help promote the upcoming release of their all new ‘Self Titled’ thirteen track debut album. Having last played Newport’s nearby McCanns basement venue just over a year ago the four Lovers instantly look just at home on this venue’s more expansive stage, the gigs they’ve played in between obviously reaping them full reward, as opener ‘St Joan’ crashes headlong into (my favourite tune by the band) ‘Tape Deck and we’re three songs in with barely the same number of minutes on the clock. It’s glam punk rock ‘n’ roll played fast and a hell of a lot of fun to (Chelsea) boot. 

As the crowd begins to fill out, I move back towards the mixing desk to take in proceedings, and as new single ‘Connection’ chimes in I can sense the levels of excitement rising through those lucky enough to get in early. In fact, from the number of Continental Lovers’ 7” singles I later see in people’s possession I’d say my glam punk senses were bang on point.

Closing things out with a cover of ‘Dead Flowers’ (think more the Dogs version than the Stones original) is perhaps something of an open goal, especially given tonight’s headliners, but every goal counts in this game and tonight Continental Lovers come away with all three points. “Victoire”.

At this point I have something of a confession to make, I’ve really struggled to get my head around ‘The Simpleton’, the new album from Willie Dowling, it’s not that it is a poor record, it’s just, errr…. not an easy listen (the last time I can remember this happening quite so clearly was with ‘Spilt Milk’ by Jellyfish around three decades or so ago).

It’s something that Willie himself explains to the audience from the get-go (phew, so it isn’t just me) as he takes his place behind his keyboard alongside his bass playing amigo Andy Lewis, with the rest of the music being provided by Willie’s electronic box of tricks and hence the band’s “Invisible” moniker.

The music itself isn’t a million miles away from the songs he’s previously written with Jackdaw4 or as part of Dowling Poole, but the lyrics are easily his most politically driven to date, as one listen to the likes of ‘Long Drop Down’ or ‘The Gravy Train’ soon prove. There’s even a heckler when Willie dares to criticize the calamity just waiting to unfold in the US in 2025 as he introduces Dowling Poole’s ‘Fuck You Goodbye’. Hmmm, perhaps ‘Long Drop Down’ is more prophetic than the songwriter could ever have imagined, and who would have thought that such stinging political messages would be delivered via tracks that actually sound like they were written during the days when the UK charts where full of names like Supertramp, Queen, Sparks and 10CC and not via the usual platform of punk rock? Has Willie perhaps unintentionally invented a new subgenre of politically charged progressive powerpop with ‘The Simpleton’? Only time will tell, I guess, but you can next catch the duo out on the road promoting the record with Cats In Space in the run up to Christmas and on a nine date 2025 headline tour.  

For the longtime Willie fans in tonight there’s a reworking of The Grip’s ‘Vera Daydream’ slotted in at the end of the set tonight, and as the duo leave the stage to their loudest cheer of the night, I’m reminded of the one and only time I saw that band, supporting (yup you guessed it) the Quireboys, then complete with their bar stage set, something that sadly isn’t with the band anymore, but their It Ain’t Half Hot Mum intro tape most certainly still is, and it’s soon booming from the Corn Exchange’s crystal clear sound system and Newport’s population of lovely boys (and girls) fall into line ready for tonight’s main event.

It feels a little odd watching Thunder’s Luke Morley strapping on his guitar and launching into the riff for opener ‘Jeeze Louise’, but only for about 30 seconds, because as soon as Spike opens his mouth to sing the opening lines and bassist Nigel Mogg quickly bounds across the stage to conduct the evening’s first Scorpions like pile-on with the six stringer, you can be in no doubt, this is very much a Quireboys show. Then there’s the smile on his face when they then race headlong into ‘Can’t Park Here’ which speaks volumes for how much he is also enjoying his time sharing stages with these two rock ‘n’ roll dandies.

The between song banter between Spike and the six stringer is fast and, at times, furiously funny, and the rehearsals I mentioned at the top of this review have certainly paid off for the band with new tracks like ‘Raining Whiskey’ (dedicated of course to Frankie Miller) and ‘You and I’ sitting pretty next to the likes of ‘Misled’, Tramps & Thieves’ and ‘Hey You’ and stand in drummer Harry James turns in a faultless shift in Rudy Richman’s absence.

Over on the piano there’s that Willie Dowling once again, now filling in for Chris Johnstone whilst also filling out the overall sound with the band seemingly settled on a reduced five piece format, although I do miss that added KLANG that the Ronnie Wood style second guitar always gave the band.

I also cannot go without mentioning that not only does the band’s merch tonight include two quotes from ex-members of UFO but whilst Mr Mogg was digging out his favourite Gibson Thunderbird for this tour he must have in the process also found all his old Pete Way VHS tapes, because he is absolutely on fire at the moment, throwing shapes left, right and centre, and this only serving to provoke his singing compadre to once again throw his mic stand around like Rod Stewart in his early ‘70s prime. And speaking of which, if I thought ‘I Think I Got It Wrong Again’ sounded like The Faces on record, then live, you could almost close your eyes and think you were back in 1970 watching one of the earliest UK shows by said band, and if that song is The Faces then ‘Happy’ really could be a Rolling Stones song. Magnificent stuff indeed.

These shows are of course overshadowed by the fact that founding Quireboys’ guitarist Guy Bailey passed away before ‘Wardour Street’ could be recorded and as such Spike dedicates an emotional ‘King of New York’ to not only the perma-behatted guitarist but also his father, who apparently thought the track was the best the band had ever recorded. You can almost sense Bailey smiling down on the band as they then draw the set to a close with a riotous ‘There She Goes Again’, ‘Roses & Rings’ and ‘7 O Clock’.

With the 10:30 curfew having long since passed there’s just enough time to raise our glasses in the air for a quick run through of ‘Like It or Not’ before we are all sent home with “something in our eye” thanks to an exceptional rendition of ‘I Don’t Love You Anymore’.

An emotional night for sure, and one that should silence not only any critics but also answer any nagging doubts you might have about what the Quireboys in 2024 are all about.

This is rock n roll, and I love it!

Author: Johnny Hayward

Its A Podcast Episode 51- Scandinavian Overload

Its A Podcast Episode 51- Scandinavian Overload

Episode 51 mixes brand-new tracks with some older classics that might have been forgotten, as well as an overload of covers.

First up is the exciting news that Midlife Crisis have a date of Feb 25 for the release of the long-awaited album. Fans of Hellacopters and Backyard Babies might want to tune into this bad boy. We play the opening track off the album ‘Silver Son Johnnie’ ’45 to 33′ is the name of the album and pre-orders to come along with a review of the LP.

Local South Wales noisemakers Bad Shout have an EP coming out in December on Repeat Records and its a banger. Six tracks of fizzing punk rock and we drop ‘Doublecross’ to get you excited and up for the preorder off Repeat.

Scandinavia features heavily on this week’s podcast with entries hitting Pumphouse HQ and the second offering from the North is Plastic Tears and their brand new single ‘Motorhome’. Hot on the heels is The Ratchets with the sound of Noo Jersey and ‘Holy Mother Of God’.

From the compilation album ‘Fucked By Rock’ Crazyhead should have been huge. Spearheading the Greebo scene they easily had the coolest single title ever committed to wax in ‘What Gives You The Idea Your So Amazing Baby’ but we entertain ‘Buy A Gun’ a forgotten classic. Probably not a song for the PC brigade but we love it and it would be nice fo the compilation to get a vinyl pressing doncha think?

David Delinquent and The IOUs are a new one on us and the Dundee pop n rollas have released this single ‘Nobody’s Else’ and what a banger it is. Looking forward to hearing more from David and his Delinquent mates if it’s even half as good as this. We need to get these bands into peoples ears folks and the only way to do that is to play the podcast and share the music.

Dharma Guns are a new one on us and rather impressed we were. ‘Ex-Generation Superstars’, the band’s debut, is all about high-octane rock ‘n’ roll with a side order of sleaze, don’t believe us well, give it a listen. Followed up by the king of catchy power pop Kurt Baker with his brand new single out on Wicked Cool Records (where else).

Front Kicks dish up some power pop before Heavy Medication Records newest release the Never Land Ranch Davidians rock up with ‘Cactus Cool Man’ and get on the groove from their forthcoming album due in Feb 25 it promises to be another top notch release to look forward to.

Laura Jane Grace has just toured England in support of the brand new album or mini-album ‘Give An Inch’ so it seems fair to drop ‘Karma Coming Close’ from the EP.

A Knife For An Eye are up next with a thumping track off their album ‘Damnation Rock N Roll’ again outta Sweden its fair to say they’ve really impressed us here at HQ. The album cover is very striking as well with the classic Chuck Berry pose really setting the tone for some attitude adjustment as ‘Getting Hooked’ is on point because we certainly did.

It’s cover time and this week we have the interesting take of the Dead Boys classic ‘Sonic Reducer’ from Sweden’s 69 Eyes followed up by a demo of The Dead Boys that’s on their recent new record out on Cleopatra Records. A previously unreleased Stiv led tune ‘Ya Really Don’t Love Me’.

For a little reminder of how good the genre of fuzzed-up Garage rock could sound we have Datsuns ‘Mother Fucker From Hell’ off their debut record. For another cover and we head to NYC and Electric Frankenstein who did a split with shit islands’ own still warm but sadly deceased The Hip Priests and took on their early banger ‘Young Savage’.

The penultimate offering this week sandwiched between some Garage rock n Metal we bring the excellent Steve Vincent with the title track off his solo album ‘The Best Kept Secret In Rock n Roll’ anyone who doesn’t know is myself and Steve still wears the finest pairs of Rock n Roll slippers also known as pixie boots or macho types refer to them as Chelsea boots but to give him credit Steve has quite the collection and hopefully we can see him wearing a pair live on stage sometime in 2025.

Finally, we’ve given in to Chris and his persistent nagging to get Therapy On the playlist as well as Judas Priest but I couldn’t possibly play anything by Halford and co so relented when he informed me that Therapy? had indeed paid their respects by covering ‘Breaking The Law’ so squeeze into your spandex, strap on your studded wrist bands and pull a wheelie on your chopper as we end with ‘Breaking The Law’. Catch you next week for more quality tunes from the Pumphouse here at RPM Online HQ.

Roger Deering Interview Exclusive

Roger Deering Interview Exclusive
Check out Roger’s encounters with GG Allin, Rodney King and working with Hollywood Records and Don Arden. Getting Nigel Mogg in Smash Fashion as well as his stories from the trenches touring with Motorhead and a whole lot besides.

Roger Deering talks Crymwav The 80s alternative scene, being broke, the perils of drug addiction as well as good times with Smash Fashion and currently Crymwav.

Roger has a fascinating tale to tell and does it all with a heap of PMA and hear about the future and what’s coming down the pipe with the excellent Crymwav.

Hit the link and check out Roger’s interview and get involved with Crymwav and the new music. Like – Follow – share!

Plastic Tears rock up in a ‘Motorhome’

Plastic Tears rock up in a ‘Motorhome’

The new video follows a somewhat tragicomic musician whose relationship is on the rocks. In addition to the band members, actress Suvi Kosela also appears in the video.

‘Motorhome’ is one of the tracks from Plastic Tears’ upcoming EP ‘Old Treasures & Lost Pleasures’, which aims to showcase both new and older material performed by the band’s renewed lineup.

Hook up with Plastic Tears: Here

‘Road Kill Blues’/ ‘Haus Blues’- NN Von Cruz (J.R. Hartley & THP Publishing)

‘Road Kill Blues’/ ‘Haus Blues’- NN Von Cruz (J.R. Hartley & THP Publishing)

It’s been quite the run for the Hip Priests what with their final live shows on the back of their final vinyl record being the ten-inch EP Swan song. Still, it doesn’t end there my friends because frontman Nathan Von Cruz has only gone and put pen to paper and taken notes of the final run as a Hip Priest and documented it all in this easy-to-read and thoroughly enjoyable book made of paper. However, I’d happily buy the audiobook on cassette for the crack where Nathan says it as it is in hushed tones.

I will say right here right now it’s a light book nothing too heavy or out of control and Nathan doesn’t really tell tales nor divulge tour secrets and While it is a tour journal he does stick to the time-honoured premise of what goes on tour stays on tour apart from having beer belly and the perils of only taking one pair of strides for a whole tour (schoolboy error by anyone standards).

It’s an easy reader but in a good way Nathan’s style is personable and uncluttered – you get the picture of touring in a van with a few other hairy dudes but it doesn’t gloss over what can effectively be chaotic and whirlwind time. Now the Hip Priests aren’t immune from tour mishaps like hospital visits and such like but this final shindig across Europe paints a fair picture of the frustrations of being a DIY band and how narrow the margins are and the fact they made it to the end without killing one another is a testament to the people you read about in the book. They were on the right side of history that’s a fact and there might be obvious reasons why they couldn’t break through the glass ceiling of rock n roll and move to bigger better more lucrative companies but that’s for directing another day This is about rejoicing in the good times and the fact that half a dozen music enthusiasts kicked ass on stage and in the studio for almost two decades should be regaled and rejoiced and most importantly because they did it their way which might also be part of the reason it had to be the way it gets described in the book.

It’s not war and peace nor is it ‘Get in the Van’ or ‘Sin After Sin’ from Alvin Gibbs but it is a different beast altogether and the modest Von Cruz should be enthused by the fall out of his written work because I certainly enjoyed it immensely even with my single criticism that there aren’t any accompanying photographs to go with this book so casual readers could put faces to the names. That aside it’s only a minor gripe what is important is the fact he got to document the final tours of such a great band.

‘Haus Blues’ is an insight into the scattergun mind of a rock n roll frontman and his weird and wonderful world as two very different worlds collide that of the rock n roll one and the other of the family man who has chores and everyday things to do like you and I. If you ever wondered what his favourite films were or his top 20 albums then Haus is where you’ll be enlightened. Again it is an easy read nothing too heavy apart from some of the content but it dovetails with some of the flip side book ‘Road Kill Blues’. Nathan is good at this and I feel that the purpose of a journal/diary book is to engage with the reader and he certainly does that.

In conclusion, I’d suggest if you are a fan of his beat combo or music writing in general this is a no-brainer and if you’ve never heard of his band and want a general insight then this is perfect. Top marks Von Cruz your book/books were a thoroughly good read now get to work on a follow up and whatever you do next I wish you every success. Buy It

Author: Dom Daley

Max Motherfucker – Christmas Interview

Max Motherfucker – Christmas Interview

No not the seasonal cheer quite yet but those German Hardcore punk noisemakers, that Christmas. They have a new album out the first week in December and We recently had Max on the phone to talk briefly about the new LP and his band.

 ‘FEAR OF ROMANCE’ CHRISTMAS, once again, show off all the different facets of their self-created ‘Satanic Rock’ sound. The album is like a nihilistic Schwarzenegger movie: bursting with speed, action, power and humiliation. The protagonist is always the one who laughs last! ‘FEAR OF ROMANCE’ will be released on December 16th as an LP/MC. The album was recorded between February and April 2024 at “Tonstudio 45”. Production, recording, mixing and mastering was done by Michel Wern.

On The Podcast we talk about the new album and the band’s history. Hit the link and give it a play and if you’d be so kind why not share, like and follow the podcast and help us grow.

You can Pre-order the new album Here

PUBLIC IMAGE LIMITED to headline Rebellion 2025

PUBLIC IMAGE LIMITED to headline Rebellion 2025

REBELLION FESTIVAL 2025 SET TO RETURN 7th – 10th OF AUGUST

AT THE WINTER GARDENS IN BLACKPOOL

PUBLIC IMAGE LIMITED CONFIRMED FOR HEADLINE SLOT ON SATURDAY AUGUST 9TH

THE POST PUNK LEGENDS RETURN TO THE FESTIVAL FOR THE FIRST TIME SINCE 2018

MORE INFO AND TICKETS AT REBELLIONFESTIVALS.COM

Rebellion Festival are excited to announce that post punk icons Public Image Limited will return to the event at its annual home at the Blackpool Winter Gardens in 2025. Having previously played the festival in 2012 and 2018, PiL are confirmed to headline on Saturday August 9th as part of their ‘This Is Not The Last Tour’ tour.

Led by former Sex Pistols frontman and punk originator John Lydon, PiL’s tour dates for 2025 come after Lydon thought the band might not tour again. His lifelong friend and manager, John Rambo Stevens passed away suddenly following the last PiL tour, in December 2023, soon after the death of Lydon’s wife, Nora, in April 2023. Lydon thought that might be the end of his touring days. However, he was overwhelmed by the love and support of fans when he undertook a spoken word tour of the UK in spring this year.

Lydon said: “I thought that might be it. After losing Nora, and Rambo, I couldn’t see a way through. I’d already committed to the spoken word tour, this spring, and I never let anyone down – I always stick to my word – so I had to do those dates.

“The thing is, people were so overwhelmingly positive, and they asked me to tour PiL again. With so many people asking and with the band meaning so much to them, I couldn’t just stay on my sofa and not tour – tempting though that obviously is.”

PiL are sure to treat Rebellion Festival to yet another captivating set from their vast back catalogue of classics and join an already stellar line up of punk and alternative icons and rising new talent at the fabled punk festival, set to return to the Blackpool Winter Gardens, August 7th – 10th 2025.

Bands and artists already confirmed include Peter Hook & The Light, Hugh Cornwell, The Selecter, Bad Manners, Ferocious Dog, Neville Staple From The Specials, HR from Bad Brains, Anti Nowhere League, DOA, Los Fastidios, Crux, Buster Shuffle, Down By Law, The Undertones, MDC, UK Subs, Snuff, The Exploited, Riskee & The Ridicule, Voodoo Glow Skulls, 999, Millencolin, Pegboy, Toxic Reasons and many more.

Rebellion Festival 2025 is already hotting up to be one not to miss!

Head to www.rebellionfestivals.com for more information and updates.

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PAYMENT PLANS – Get your weekend ticket in October or November with our subscription plan, giving you 8 monthly instalments of just £28.75

https://www.rebellionfestivals.com/buy-tick…

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Amyl & The Sniffers – Bristol O2 -11.11.24

Amyl & The Sniffers – Bristol O2 -11.11.24

Not my favourite venue in this thriving musically diverse city and tonight it looks to have been massively oversold to the point of it being quite uncomfortable and the fact the drunkest knob always manages to stand in my personal space but its been five years since I last saw Amyl And The Sniffers that time was in a pub just up the road where about 100 people witnessed a band on the rise, destined for great things with an infectious way about them that was both innocent and ruthless and to be fair they had the chops then and a pocketful of tunes in Amys Daisy dukes. Fast forward five years and a couple of albums as well as about a bazillion live shows Amyl And The Sniffers are well deserving of the fever pitch that greets them when the lights drop and they bounce on stage and being seventy minutes of no-nonsense punk rock that’s infectious and they now have even more worthy tunes to put out there.

‘Doing In Me Head’ opens the set and the pit which pretty much is the whole of the floor in the O2 goes ape shit. There is very little time for small talk and the band kicks straight into most of their excellent new album ‘Cartoon Darkness’ as well as some of their fine back catalogue. ‘Some Mutts’ is a killer tune and the band who are clearly in sync from all the live shows they’ve played since the pandemic. Amy Talor is a ball of energy not standing still for a second patrolling every inch of the stage and beaming with ‘pinch me’ childlike enthusiasm that says fuck you to the haters and join me for those on board. I get that they’re not for everyone but their force is undeniable and I did think to myself that they won’t be playing these sized venues next time it’ll be the arenas of the circuit no doubt about it and they’re putting in the graft to make that happen as well.

Songs like ‘Security’ and ‘Knifey’ (which was a welcome change of pace) sit really well in the set alongside the tracks off the new album which they pretty much play in its entirety which is a bold move for any band and as headliners they have to play longer than forty-five minutes or do they?

I love their attitude but it does overshadow the songs and in Declan, they have a guy who seems to be of the school of Malcolm Young where it’s about the song and not the player. In Bryce Wilson and Kevin Romer, they have a rock-solid rhythm section that is tight and is driving this juggernaut onward and upwards. Standout tracks for me from the new record were ‘Pigs’ and by the time they hit ‘U Should Not Be Doing That’ and ‘Jerkin’, they were on fire and had the crowd eating out of the palm of their hands. they briefly left the stage before being returning with an olden yet golden ‘GFY’ which was charming before signing off with an impressive ‘Big Attraction’ finale of ‘Balaclava Boogie’ and they were gone.

All in all an impressive night’s work from Australia’s hottest property who are heading right for the top and there isn’t anything that is going to stop them. It’s been a pleasure seeing them go from strength to strength and hope they don’t change or lose that attitude and joie de vivre that has brought them this far. Good on ya you crazy potty-mouthed kids.

Author: Dom Daley

Fleur – ‘Fille Sauvage’ (Harry Records/Soundflat)

Fleur – ‘Fille Sauvage’ (Harry Records/Soundflat)

If Spotify is good for anything, it’s that, just occasionally, the logarithm recommends an artist that you’ve never heard of but suits your tastes almost perfectly. Et voila, this is how I first heard of Fleur.

If you also love garage rock, 60s pop of the French variety, Françoise Hardy and the more recent likes of The Courettes and Fabienne Del Sol, you’re in for a treat.

With two albums of laid-back 60s-influenced pop under her belt, this time round Fleur has set free her inner ‘Yé-Yé’ girl and the results are magnificent. All ten songs were written by Mark ten Hoor, of The Kryng, who certainly has an ear for the genre. However, Fleur is more than “une poupée” (puppet/doll). She inhabits these songs, making them her own, along with her image. You have heard it before, but rarely done this well.

I’d already heard ‘Tu Es Un Être Parfait’, on repeat, which is the perfect introduction for the album as a whole. It’s irresistible. The title track has more of The Troggs about it, suitably savage and abrupt.

Don’t worry if you don’t understand a word, just immerse yourself in the tunes and your world will become immeasurably more groovy.

In fact, I was a little surprised to realise that Fleur hails from the Netherlands, so perfect is her approach to the French language and culture. ‘L’amour!’ is sultry in a way that evokes the wonderful Emanuela and The Hillbilly Moon Explosion, which will give you some idea of the standard being set.

‘T’as Tort’ could easily be a rare Françoise Hardy song from 1965, while ‘Ta Faute’ ups the tempo and the fuzz to get the place swinging. There really is nothing to fault, the playing and production are exactly what the songs need to make them shine. ‘Tu N’es Rien’ adds the Stooges one-finger piano motif.

‘Je T’en Prie’ harks back to her previous, mellower albums, but also sits naturally amongst the harder edged tunes. A dreamy number. ‘Nous Continuerons À Marcher Ensemble’ lets rip, and your hips should follow. Consult your doctor if this is not the case. I’m running out of superlatives. This album has been lovingly created, the quality never drops. As a francophone, I also love the way she pronounces the lyrics clearly, so that I can understand everything.

‘J’en Perds La Tête’ would please Jacques Dutronc, sans doute. Another one to swing your pants to.

And with ‘Je Sais Ce Que Tu Veux’, it’s over too soon. After one listen, I ordered the vinyl, a rare thing for me. Available on LP, CD and cassette via Harry Records/Soundflat, get on over to Fleur’s Bandcamp page. It’s nearly Christmas, et tu le mérites.

Buy Here

Author: Martin Chamarette