‘I Inside the Old Year Dying’ is PJ Harvey’s tenth album, and her first in seven years. Throughout her career, she has always ensured that each phase of her progress has taken her somewhere new, but her latest music is audacious and original even by her own standards. Full of a sense of a cyclical return to new beginnings, it combines its creative daring with a sense of being open and inviting, inthe most fascinating way. The new songs, Harvey says, offer “a resting space, a solace, a comfort, a balm-which feels timely for the times we’re in.”
And that intro from the press release is as good a place to start as any, I started listening to Polly Jean back in the time of 5OFT Queenie coming out, stocking Dry when I first opened my own record shop, have moved with her through virtually every stage of her career and watched and listened as every LP has unravelled each with their own personality each echoing a time in Polly Jean’s life making a statement from a snaphot, but always moving forward, the music itself constantly changing and adapting and very much as with people like Bowie and Nick Cave fans will be drawn to a specific era, a genre and sometimes not move forward with the artist happy in the now, unwilling to Embrace change, not something that can be levelled at artists such as Polly Jean.
So what does the LP give us again drawing on Polly Jeans words from the press release
” In the album’s liminal world, scattered with biblical imagery and references to Shakespeare, all these distinctions dissolve. “I’m somewhere where I’ve not been before,” Harvey says. “What’s above,what’s below, what’s old, what’s new, what’s night, what’s day? It’s all the same, really–and you can enter it and get lost. And that’s what I wanted to do with the record, with the songs, with the sound, with everything”.
Opening up with “Prayer at the gate” your instantly drawn into that world of Aural soundscapes faved by Warren Ellis and the Producer flood’s work really draws you in, this is a very different PJ Harvey, the voice an instrument in the whole rather than a lead. Next up “Autum leaves” has quite a Soulful almost funk feel in the backdrop, but the vocals push the song forward in a very different way almost sitting outside the music dipping into and weaving through the Sound. “Lonesome tonight” again has a very different feel a song that stops you dead and you just have to listen, the story unfolding takes me to a parallel with the Orianthi Poem written in old Cornish, this is probably my fave on the LP, it twists and turns and is I think one of the strongest PJ Vocal performances I’ve heard.
“Seen and I “ hints at past sounds but again the vocals move in a very different direction, the John Parish influence I think coming to the fore. “The Nether edge” weaves a very different soundscape almost industrial in its reverb and repetition, but again the vocals sit outside moving in and out, The acoustic guitar that introduces “I inside the old year dying” drifts away as that industrial soundscape takes over, the music changing and adapting to the story being told. “All Souls” enters almost hesitantly the piano and vocals overtaken as the distortion and reverb comes in. At this point you realise how strong the Vocals are throughout this LP I would definitely say this is one Of PJ’s strongest ever vocal performances,
Moving through the rest of the LP “A child’s question July” “I inside the old I dying” with its stop start animation led video, “August” with its initial Piano led soundscape, flows seamlessly into “a Child’s question July”which has an almost mystical feel weaving a fairytail picture, “A noiseless noise” finishes things up with again one of my faves of the LP tearing you back with power and intensity to earlier PJ Harvey works.
This is a powerful LP but in a number of ways, it holds your attention and is very definitely one to listen to all the way through, for someone new to PJ Harvey I’m not sure that it’ll set things up for you to explore the artists earlier work this Isn’t ‘Stories from the City’, ‘Is this Desire’, ‘Dry’ or ‘Pure’, its also a long way from ‘The Hope Six Demolition Project’ and ‘Let England shake’, but if you sit and listen you can pick up pieces from them all just re-interpreted. It might not hit you first listen, but stick with it I think it’ll creep on to my LP of the year list come December!!
NEW ALBUM: ‘NOTHING LASTS FOREVER’ OUT 22 SEPTEMBER VIA THEIR OWN LABEL PEMA
+ UK LIVE DATES
Earlier this year Teenage Fanclub announced news of their new album ‘Nothing Lasts Forever’, due out 22nd September via their own label PeMa.
Having previously shared the lead track “Foreign Land”, today they release their new single and album highlight, “Tired Of Being Alone”.
Commenting on the track Raymond McGinley says: “Towards the end of our session in Rockfield Studios making the album I woke up in the middle of the night. There was a guitar next to the bed. I picked it up and this song came out. The words for the chorus were there already. I recorded a rough version on my phone and then went back to sleep. We recorded the song later that day. As a band we like to trust our instincts and let things happen. As with Norman’s song ‘Foreign Land’ this song only exists because we decided to go to the studio and make a record. If we’d waited for the stars to align first before recording we’d still be waiting now.”
The first sound you hear on ‘Nothing Lasts Forever’ is a sustained feedback note that hangs in the air with the grace of a dragonfly before an acoustic riff spirals out of it, soaring upwards. It’s blissful and sun-soaked, like a late summer haze blurring out all the details on the horizon. When voices join the music, they arrive perfectly locked together, honed in on a single melody. “It’s time to move along / and leave the past behind me…” The message is simple. Don’t look back, only forward.
One of the recurring themes on ‘Nothing Lasts Forever’ is light, as a both a metaphor for hope and as an ultimate destination further down the road. Although the band’s songwriters Norman Blake and Raymond McGinley found themselves touching on similar themes, it was pure coincidence.
Raymond: “We never talk about what we’re going to do before we start making a record. We don’t plan much other than the nuts and bolts of where we’re going to record and when. That thing about light was completely accidental; we didn’t realise that until we’d finished half the songs. The record feels reflective, and I think the more we do this thing, the more we become comfortable with going to that place of melancholy, feeling and expressing those feelings.”
Norman: “These songs are definitely personal. You’re getting older, you’re going into the cupboard getting the black suit out more often. Thoughts of mortality and the idea of the light must have been playing on our minds a lot. The songs on the last record were influenced by the breakup of my marriage. It was cathartic to write those songs. These new songs are reflective of how I’m feeling now, coming out of that period. They’re fairly optimistic, there’s an acceptance of a situation and all of the experience that comes with that acceptance. When we write, it’s a reflection of our lives, which are pretty ordinary. We’re not extraordinary people, and normal people get older. There’s a lot to write about in the mundane. I love reading Raymond Carver. Very often there’s not a lot that happens in those stories, but they speak to lived experience.”
While the vocals and the finishing touches on ‘Nothing Lasts Forever’ were recorded at Raymond’s place in Glasgow, the music was recorded in an intense ten-day period in the bucolic Welsh countryside at Rockfield Studios, near Monmouth in late August. You can hear the effect of that environment on the record – it’s full of soft breeze, wide skies, beauty and space.
Raymond: “We like to get something out of where we go, and you can definitely hear a stamp of Rockfield on the record. We recorded our album Howdy there in the late ’90s. Prior to that I’d been a bit reluctant to go as everyone seemed to record there, especially if you were signed to Creation, but I thought I’d go and have a look at the place. When I went down there, I loved the fact that there’s no memorabilia about anyone who’s ever been in the studio. The only visual musical reference is a picture of Joe Meek on their office wall. Anyway, over twenty years after our first visit we decided to go back. When you’re there, it feels like your place. We’re really rubbish at trying to find words to describe how our music sounds, but maybe because we recorded in Rockfield in late summer, there’s something pastoral about the record.”
The band that recorded ‘Nothing Lasts Forever’– Blake, McGinley along with Francis Macdonald on drums, Dave McGowan on bass and Euros Childs on keyboards – arrived at the residential studio without a fixed plan. Their confidence and ease with working together meant the record came together incredibly quickly.
Raymond: “When we got offered ten days in Rockfield, we weren’t ready in our minds but then we just thought, ‘Fuck it’ and went for it. If you’re sitting around waiting for the stars to align, you can end up never doing anything. We turned up and worked our way through ideas, and came up with some while we were there. The song Foreign Land was born in the studio. If we hadn’t gone there at that point through happenstance, that song wouldn’t exist. We like to let things happen. As people, we find a deadline inspiring. We like to put ourselves on the spot and see what happens. We usually get away with it. This record is the cliche of the blank canvas, which thankfully we managed to fill.”
Norman“We’ve all been playing together for such a long time. In the past, whoever had written the song would have been the director. ‘This is how I’m hearing the drums, if you could play the bass like this…’ We don’t do that now. Raymond or myself would just bring in the idea and people would listen and play what works with it. We’d play for a couple of hours and that would be the arrangement. There’s a trust that comes from knowing each other such a long time, a kind of telepathy. Everyone knows where they fit in the puzzle.”
One of the most striking lyrics on the record is on the closing track “I Will Love You“. A gorgeous seven minute almost Kosmiche acoustic daydream drone, it looks to a point beyond the fury and polarisation of our modern discourse, to a time when “the bigots are gone/after they apologise/for all the harm that they’ve done”.
Raymond “In many ways, us-and-them-ism has taken over the world. “I Will Love You” is looking for positivity but it’s being totally fatalistic at the same time. This shit will exist forever, what are you going to do about it. I came up with the line “I will love you/until the flags are put down/and the exceptionalists are buried under the ground” while I was playing the guitar. I started wondering what that was all about and where it might go. It’s looking for positives within a fatalistic, negative view of human nature.”
Looking for positives while faced with the grim realities of the 21st century feels very Teenage Fanclub – a band who’ve been a force for good for over three decades and who can effortlessly turn melancholy into glorious, chiming harmony.
TEENAGE FANCLUB UK TOUR 2023 03 November – Belfast – Queen’s University – Mandela Hall 05 November – Glasgow – Tramway Theatre 06 November – Aberdeen – Tivoli Theatre 07 November – Edinburgh – Assembly Rooms 08 November – Leeds – Brudenell 09 November – Gateshead – Sage Hall 2 11 November – Manchester – RNCM Theatre 12 November – Sheffield – Leadmill 13 November – Bath – Komedia 14 November – Birmingham – Town Hall 17 November – London – EartH 18 November – London – EartH
This year I have have been getting back into Arena gigs, but only if it’s something I think will be special or good fun. I have seen most bands I want to see live and although I never been a massive Kiss fan, but being a fan of rock, they seem to be one I should really make the effort to see.
Only having really heard the big hitters, as a band Kiss have never really done much for me, but have a couple of friends that are big fans and with Newport’s finest Skindred supporting, being the Rock/Metal fan I am I thought I should make the effort before it’s too late, and seeing as this is their final, final, final Tour I should grasp my (supposed) last opportunity and judge them where it matters; live in the flesh.
I got Into the Arena just as Skindred were entering the vast stage and they jump straight into new track ‘Set Fazers’, taken from their forthcoming album ‘SMILE’. From that it was into the classic track ‘Rat Race’. They then play tracks from all parts of their back catalogue, With my particular favourite being ‘Kill The Power’.. Their final track in the forty five minutes set was the brilliant ‘Warning’ and a chance for that Newport helicopter to get going in the O2… Skindred really did get the audience pumped and ready for Kiss and left everyone with a SMILE on their face. In Benji they really do have one of the best frontman in the UK and someone who can win anyone over no matter whos crowd it is.
Now I won’t pretend I know too much about the Kiss catalogue and will put aside the social media rumours of miming and backing tracks and give an honest untarnished opinion. What can I say? From the moment the announcement came of the iconic opening and then into ‘Detroit Rock City’, ‘Shout it Out’ into ‘Deuce’…Hang on, I know all these songs after all and with the stage show and flash pots n fire – this is amazing… They played ‘Psycho Circus’, which for some strange reason I do know and love that song but never thought I’d see it live…. Guitar solos, bass solo, Drum solo, these were all boxes ticked and done exceptionally well.
Everyone was up from the off and even being in seated area no one was sat down through the whole show. It really was a spectacle and smiles all around it was a show where it was hit after hit after hit and Finishing with ‘God Gave Rock and Roll to You’ the whole show was a full on blur of Rock, Pyro, confetti, rehearsed posing, blood and tongue waggling. All the clichés were there and some.
There’s a reason bands like Kiss are where they are and this is it, fun, fun, and fun. I have seen the likes of Rammstein at the same arena and this Kiss stage show blew them out of the water. A night of pure joy from the opening song of ‘Set Fazers’ from Skindred right through to the closing of ‘God Gave Rock and Roll to You’ that was entertainment of the highest standard.
Over 30 years ago here in Texas, three brothers started a band that would make a sizable impact here in this state but was never able to make the leap to wider audiences despite record deals with TVT and Sony. Vallejo was the name of the band, and they fused alternative rock with Latin rhythms. I first heard the band just over 20 years ago when they were transitioning from Sony to their own record label when I saw them live in Austin. I was blown away by what I heard and immediately became a fan. The band continued to self-release albums every few years or so but have been seemingly put on long-term hiatus over the past few years with the band members remaining in music but doing different projects. A.J. Vallejo (vocals) put Brodie Lane together who released their debut full-length ‘Hot Dirt’ back in 2020, which partially connected with me. I felt like the band was trying to find their footing, and I have found live versions of those songs much more compelling. Following a few non-album singles, the band has just released their excellent and varied follow-up album ‘Pain is Gold.’ I have been playing this album consistently since it dropped, and my favorites from it keep changing with each listen. While it is not strictly a concept album, it is an album that follows a guy through some life and relationship trials and tribulations.
A brief spoken word intro leads into the title track that has a swirling guitar riff and a strong hook. Vallejo’s vocals (also guitar) are immediately recognizable with a song that I think most of us can relate to when we are hurting. I remember Henry Rollins once saying something to the effect of ‘when life gives you lemons, squeeze them and embrace the pain.’ That sentiment seems to be in alignment here where we are channeling into the pain and knowing that we have to experience it to be able to cherish life when the pain subsides. The driving rhythm pounds the message home. ‘My Heart’ should be a single with a midtempo beat matched with a catchy vocal hook and lyrics that spill from Vallejo’s heart. Brodie Lane is completed with Ray Kainz (guitar), Alex Geismar (drums), and Joe Fladger (bass) who each bring their own special ingredients to the band with Kainz’ and Vallejo’s guitar work standing out in the second half of this song.
Next song ‘Lover’ has grown on me since my first listen where the band delivers a straightforward rock song with a catchy chorus that I can see being a singalong song at future shows. The band delivers some nice background vocals at the end of the song as well. One of my early favorites was ‘Hard Livin’ which reminds me a bit of Brother Cane. Geismar and Fladger provide a great rhythm template where the guitar notes have plenty of space to rise to the surface. The bluesy solo takes the song to another level, and the lyrics include a nice throwback to the title track with our main character on the album dealing with the loss of his mother. The band has released a video for ‘Yeah’ which rides a hard bluesy beat and some excellent slide guitar. It might not have been my choice for the first video from the album, but it is extremely catchy. Lyrically, this is another one where we are trying to move past the things that suck and find something better.
One of my current favorites, ‘Damn You’ finds the band settling into an awesome groove and showcasing Vallejo’s vocal skills. The clean production and mix serve the album very well and allows the music to have a rich mix of dynamics when the guitar solo hits, it jumps out of the mix perfectly. The band brings the tempo down for the ballad ‘Til the Right One Comes Along’ where the band channel into a bit more of a Red Dirt sound and could find the band maximizing some crossover success. The acoustic guitar intro to ‘Amnesia’ leads into a southern bluesy rock song that hits all the right notes.
The band open ‘You Don’t Love Me Like That Anymore’ like it might be another ballad but turn it into a great rocker after the first verse. This would be another one that I think would make an excellent single and stand out on the radio. The guitar notes in the chorus work perfectly. If you are a fan of Roger Clyne and the Peacemakers or Cody Canada’s work, this should definitely appeal to you. One of my other current favorites follows in ‘The Door.’ Some excellent keys start the song with the feel of a classic 70’s slow burning rock song. There is not a wasted moment over the song’s four minutes with every element in the band showcased from the rhythm work to the guitars (with former member Bruce Castleberry on this one) to the vocals. This is sublime from start to finish with the pace and urgency building to a fiery climax. ‘Let Me Go’ is another southern rocking anthem with a solid hook but perhaps currently suffers on the album in that it follows ‘The Door.’ I think this will be one of the slow burners for me that will eventually get a lot more plays.
If you are keeping track of the number of songs, you have likely figured out this is not a short album. At 15 songs, it runs the risk of musical overkill, especially these days when some people spend less time with albums and focus on specific songs. The band erase any worries with the musical variety and depth on the 15 songs offered here which leads us to another potential crossover song, ‘You’re Welcome.’ Lyrically, our main character ends a relationship with the message that one day she will thank him as she will find someone better. This should be played a lot on the radio here in Texas with a similar feel to Cross Canadian Ragweed or a touch of Blackberry Smoke. The band then channel the blues with ‘When I’m Gone’ which rises from the swamp into a hard rocker with more excellent slide guitar. This will hopefully be a live staple as the band tap into an amazing groove, and I can see this leading into an extended jam where the song goes from three and a half minutes to more than double its length.
The band stay with the blues for ‘The Bottle’ which also features Guy Forsyth. As opposed to the previous song, this stays acoustic and deliberate in its pace. The intensity builds as the story unfolds, but the tempo remains the same on this eight minute epic. Close your eyes and you can feel the magic as you sit out on the porch with the wind blowing and the storm clouds approaching at sunset. I will not reveal what happens in the story here, but the lyrical pay off is extremely well done. Final song ‘Love is On the Way’ opens with a spoken word like the opener did, giving way to an acoustic guitar. This would have been a nice closer to the movie ‘Almost Famous.’ I don’t think this one could have been placed anywhere else on the album as it leads to the perfect close on the album with Vallejo’s vocals showcasing range, heart, soul, and passion. The band slowly rise into the mix right near the end for the final send off of the album. We end with a message of hope through all the darkness.
While this likely won’t appeal to all RPM readers, I know a lot of you like a wide variety of rock music so wanted to introduce you to Brodie Lane. I have revisited the debut a couple times since this one dropped, but it still doesn’t grab me as much. This album though takes us on a musical journey where we feel and experience the songs throughout the album. These guys have poured their souls into this album, and we are the lucky recipients.
Sydney Northern Beaches’ very own hard-biting rockers C.O.F.F.I.N are announcing their fifth full-length studio album today entitled ‘Australia Stops’, the highly anticipated follow-up to their monumental ‘Children In Finland Fighting In Norway’ album from 2020. Due for release this coming September 15th via Bad Vibrations in Europe, the new album comes off the back of the band’s tour with Amyl and the Sniffers in 2022, and their recent UK tour dates in May.
‘Australia Stops’ was recorded in January 2023 at The Pet Food Factory studio with producer Jason Whalley (Frenzal Rhomb) behind the desk. A record that showcases a collection of diverse and gripping new works that highlight the band’s evolution into more melodious, 1970’s Australiana and boogie rock and roll.
Frenzied, high-voltage guitars, thumping rhythms, flowing melody and clever, captivating lyrics exhibit an undeniable progression in composition and songwriting, while still unmistakably the C.O.F.F.I.N that fans world-wide have come to worship over their 18-year lifespan.
Following the release of previous single ‘Cut You Off’, C.O.F.F.I.N return today with a second chomp on ‘Australia Stops’ in new single ‘Give Me A Bite’. It’s the album’s opening track and comes out of the traps all guns blazing, tapping into their love of Detroit rock n’ roll and proto-punk.
“Throughout a chunk of the Covid lockdowns I was still working full time on construction sites and in the art department of film sets,” explains vocalist and drummer Ben Portnoy. “For weeks my Friday routine was to come home and blast this bootlegged Stooges LP from France. It was recommended and sold to me by Ray Ahn of the Hard-Ons who works at Utopia Records. It’s made up of piecemeal demos and blown-out jams by the band, all of which are bursting with amplified energy. I was really missing jamming with my friends and showing up to our sweaty storage unit/jam space in Brookvale with new inspiration from the week’s listening. Trying to resolve this, I got on the video chat with Aaron one Friday night and we did our best to nut something out that had a sense of that sound we love so much.
“What’s it saying?” continues Ben. “Well, you can only get for so long without giving …without giving me a bite.”
For those who are no strangers to the Australian highways, ‘Australia Stops’ may be best recognised as words donned on the back of truck mud flaps. To C.O.F.F.I.N, ‘Australia Stops’ are words that became a polysemous idea and observation on Australian society, culture, art, politics and progression. “When the city burns up you get out, when the flint hits shot you get down”, lyrics roared by Ben, a look into ‘idle-Australia’, our government action (or lack thereof) to social issues and the overarching notion of fear of change in this country.
While the theme ‘Australia Stops’ poses political questions and ideals, it also synchronously shines light on the eminence of community, the healthy beating heart of art and music, the beautiful landscapes and divergent nature surroundings held dear within Australia. With this, ‘Australia Stops’ is neither a fully positive or negative elucidation of this country. It is a celebration of the things we are lucky to have, while always trying to encourage and inspire those around us to try and do better.
‘Australia Stops’ will be released on Friday September 15th by Damaged Record Co (Clowns, Private Function, VOIID) in Australia, Goner Records (Eddy Current Suppression Ring, Jay Reatard, Ty Segall) in North America and Bad Vibrations (Los Bitchos, Crows, Baby Cool) in Europe.
A more spectacular setting for a Rock n Roll show you won’t find. Set inside the grounds of Cardiff Castle it’s a great place to watch live music. The date is Tuesday the 4th of July and one epic lineup of three of my favourite bands are gathered together for a show. I’ve had the privilege of seeing these three bands as a collective mass of well over three figures. Stretching back to the ‘Love’ days for tonight’s headliners and seeing them on several continents as it goes. I’ve seen some remarkable performances as well as the odd indifferent one it must be said. So, let it rain down, no, quite literally let it rain.
As I made my way through the gates the skies opened and we managed to get drenched for the first time. As Lili Refrain took to the stage for her performance which has to be said, is an acquired taste, she works her magic with loops, a floor tom, and telecaster. It’s certainly captivating as she weaves her way through her 30-minute set winning over new admirers looking for some ambient vibes. She also set the tone by looking delighted to be there rain or shine.
Next up, The Mission. I’ve had the pleasure of reviewing them at a recent show in Barcelona as well as reading the second installment of Wayne’s new autobiography. So believe me when I say that their addition to the lineup was a majestic announcment in my house. So Even if it was at the ungodly hour of before 7 pm when they took to the stage. Goths out in the wild before sundown? What sun I hear you say wasn’t it pissing down. Daylight and we’re treated to the intro of ‘Tower Of Strength’. Not a place any self-respecting Goth would be other than under such exceptional circumstances.
The Gods however held the sun back and instead decided to drench the audience just as the band took the stage. Opening with the big hitter that is ‘Tower Of Strength’ set us up nicely for what was to come over the next forty-five minutes. If I was to say I didn’t notice it was pissing down would be a bit of a fib but I couldn’t care any less as ‘Beyond The Pale’ collided into ‘Met-Amor-phsis’ before ‘Severina’ gave us a breather. Hussey and the band have been on the road for a while and looked and sounded locked in and battle ready and understanding that when playing for an audience, possibly made up of other bands’ fans (obviously there’s a decent cross-over tonight) its important to give em something they might know and a reminder that, Bloody Hell these are pretty bloody good at this Rock n roll lark.
With the clock ticking it was time to smash it out of the grounds with a hattrick of ‘Butterfly On A Wheel’, ‘Wastelands’, and finishing off with the punchy ‘Deliverance’ and just as they were hitting their stride it was adios amigos. Now that’s a way to take a short and sweet set early doors and lay down the gauntlet to the rest. Now follow that. See you in the Roundhouse in October – Can’t wait.
With the unenviable task of following a short sharp set from The Mission, Mike Peters and The Alarm seem up for the challenge, and whilst you’d think it was a no-brainer playing in Wales it’s not a foregone conclusion that someone elses audience will “get you”. Starting their set with ‘Coming Home’ there were no vocals or guitars in the PA and the rain had thrown a spanner in the works it would seem, what a bummer. Never undeterred the band carried on as you’d expect. Next up they went with their biggest hitter or at least a track that most people (unless they lived under a rock for the last 40 years) would at least be familiar with. Now I’m all for trying new things and I’ve seen Peters enough times to know he does like to rework old songs but not sure this was the place to do it, even if the vocals and guitar were restored I think it would have been better to just pile into the song as most would know it. A lost opportunity? Maybe, Who knows considering they only have 45 minutes to impress but that’s just my take on it.
Next up was ‘Warriors’ which offered something more aggressive and something with a bit of grunt that would grab the attention of the soaked masses, lifted from their recent(ish) ‘War’ album. It got the crowd involved with its rattling rhythm and tempo and sound problems seemed to have been sorted so nothing to distract the band further, just what the crowd needed.
‘Where Were You Hiding’ went down a treat and might have been responsible for the weather Gods being stirred again and the heavens opened once more. Some recent songs from ‘Sigma’ and ‘Equals’ were aired which is great for people like me who are happy to hear newer material pepper the set but for the casual fan there to see The Headliners maybe it was time to bang out a greatest hits set and do it with plenty of punch. But hey, I only want the best for the bands I love and I do love the Alarm. Peters was manouvering his way across the stage making full use of the four mics even if they were all set at different volumes and the sound guys seemed slow to react. Keeping the engineers on their toes is always nice.
As we headed into the final third of the set it was a great choice to play ‘Superchannel’ a song I’ve always loved and maybe one to open with it has a great energy and helped pick the soaked crowd up with some good crowd interaction. It was the home straight as ‘The Stand’ preceded the opening piece of ‘Spirit of 76’ which made way for the apt ‘Rain In The Summertime’ which then segwayed back into ‘Spirit’ and that was that over way too quickly but that’s outdoor events for you. I thought they could have run wth the Weather theme maybe included ‘Raindown’, ‘Two Rivers’, ‘Howling Wind’, ‘Only The Thunder’, ‘Sold Me Down The River’, there are several more water or rain based songs I never realised and ended with ‘Rescue Me’ ok I’ll get me coat (I wish I had).
Anyway, a set that was dogged by technical issues like when James Guitar just fell out of the mix for no reason that must have played a factor in the performance, but from the audience’s view, I found it frustrating. However, not a band that’s easily deterred they gave their all under trying circumstances. Had they stopped to sort out their issues it would have cut the set list which nobody wanted but them is the breaks at gigs like this.
Now if the Rain could fuck off for the rest of the evening I’d be very grateful, soaked to the skin I wasn’t going anywhere, thank you kindly.
Now, I saw The Cult play support to Alice Cooper and I have to admit it I found that particular performance a bit lackluster, a performance that seemed a little phoned in I believe is the term used. Maybe due to it being at the tail end of a huge North American tour where they played the same set night after night and ‘Sonic Temple’ heavy.
So, on that recent experience, I had dampened my expectations as I didn’t want to get carried away. I’ve seen The Cult over many years in several countries from America to Europe and a lot of shows from every tour, from the Marquee on Charing Cross Road to Wembley Arena or Fields at festivals. they’ve played a million places and rocked them all and to be fair they always pull me back in just when I think we’re done. I know they have it in their locker to dazzle as they’ve done so many times so the odd off night is alright.
The rain seems to have finished and the dark skies have drifted so it was time for The Cult and opening the set with the monster that is ‘Rise’ sort of set the tone for the next hour and a half. A crystal clear sound that was significantly louder than the other bands and the benefit of it going dark by the time they hit a wicked ‘King Contrary Man’ it was obvious to everyone inside the castle grounds that The Cult mean business and this set was so far from a phoned in tired set it seemed crazy that I could ever doubt them.
I also have to admit that one of my least favourite records by the band is ‘Sonic Temple’ I guess the early years were part of my impressionable youth and the likes of ‘Born Into This’ and ‘The Cult’ albums don’t get near enough airtime live or kudos from critics and fans alike. so seeing that ‘Sonic’ was kept to a minimum with the obvious big hitters in attendance I was delighted. The ‘Electric’ tracks sounded huge and it has to be said Astbury sounded better than he has live for decades, you’d possibly have to go back to the ‘Love’ era to hear him singing so well, and he seemed in a really happy place as he prowled the stage apron engaging with the crowd and sending out hugely positive vibes.
Whoever decided on the setlist should take a bow – it played into the very best of Billy Duffy who pulled all the shapes as the notes flew from his fretboard like cascading waterfalls ‘Aphrodisiac Jacket’ was a prowling beast bristling with energy and following ‘The Riff-a-rama of ‘The Witch’ this was turning into an epic night and showing why The Cult can still draw massive outdoor crowds.
With a new album in tow, they slid ‘Vendetta X’ and ‘Mirror’ in seamlessly. There was even time for the brilliant ‘Spiritwalker’ to ricochet off the castle walls before the home straight of the big hitters as the apt ‘Rain’ preceded ‘She Sells Sanctuary’ before leaving the stage for a well-deserved ovation.
For a thoroughly deserved encore of ‘Peace Dog’ the air guitarists in attendance tuned up and were pleased with the performance before finally setting the stage alight with a full tilt ‘Love Removal Machine’ and then they were gone. They’ve always been good to South Wales have the Cult from their debut show in Swansea all those years ago to this their biggest show on this epic performance in a Castle The Cult came, saw, and conquered, oh, and Rocked like fuck, Tonight the Cult left everyone in attendance in no doubt that they were the kings of this particular Castle and rightly so. What a line up, What a day, Fan-bloody-tastic!
Vital, cathartic, and essential are some of first words that come to mind when I think of James and the Cold Gun. They first came to my attention last year when I saw they were signed to Loosegroove Records, who has released some great music over the years and is owned by Stone Gossard and Regan Hagar. I checked out their ‘False Start’ EP, which I also reviewed here, and immediately bought everything I could by the band. James and the Cold Gun were formed by James Joseph (ex-Holding Absence) and James Biss (ex-Frown Upon) and rotated through some other band members before settling into what is hopefully a now permanent line-up. Their debut full length has been on the way since late 2022 with the release of hard rocking first video ‘Chewing Glass’ and is finally arriving. This has been my most anticipated album of the year, and it lives up to my high hopes by a wide margin.
The aforementioned ‘Chewing Glass’ kicks off the album and already feels like a classic that has been permanently etched into my brain due to repeated playing for the last 7 plus months. The door closing at the beginning welcomes the album as a lone electric guitar and James Joseph’s vocals set the tone for what is to come. Slowly more guitars and the rest of the band crash down the door and lay waste to everything with the chorus refrain of ‘I’m spitting blood; I’m chewing glass’ providing hope and inspiration in the darkest moments. ‘Something to Say’ follows and was the only prerelease song that didn’t initially grab me in my soul. It has grown on me immensely and works amazingly within the context of the album. The bouncing approach to the verses allows each word to stand apart and then the break in the drums at the first chorus brings the vocals to the forefront. The band channels some of the best parts of rock music over the past three decades and injects it with their own style and approach. This song could have appeared in the 90’s and would still be getting played on the radio today.
‘All the Wrong Places’ turns back up the tempo and spills out of the stereo in a surge of adrenalin with another amazing hook. If you’ve ever enjoyed the likes of RFTC or the Hives, this song should immediately appeal to you. It leads into the slower but still rocking ‘Bittersweet’ where the band provide a lot of space in the verses, but the guitar and bass are irresistible underneath the vocals. This song should be getting played on stereos and on computers all over the world. The rhythm work of Peter Smith (bass) and Jack Wrench (drums) is locked into a great groove here. This one has a chorus that burrows into your brain without you realizing it. ‘Headlights’ contains a chaotic start recalling early ‘Rated R’ era Queens of the Stone Age with Joseph providing primal sounding vocals that fit the song perfectly. It leads into one of the other early singles, the hook filled ‘My Silhouette.’ This one maintains the up-tempo edge and has one of my favorite choruses of the year. The triple guitar attack of Joseph, Biss, and Jynx is used brilliantly throughout the album but especially here.
Starting the back half of the album with the acoustic led ‘Grey Through the Same Lens’ recalls the late Mark Lanegan with some bluesy electric guitar tastefully added as the song progresses. Joseph’s vocals bleed from his soul here with the ‘I’m a bottle lost at sea’ lyric jumping out of the speakers. It sets the stage perfectly for the contrast that comes with the raging ‘Saccharine.’ This is the band at their most untamed but still contains a great hook. On their EP, ‘Plug Me In’ was one of the songs that provided me with a lot of catharsis for getting out all the negative energy in me, and this one creates a very similar feeling. I am pretty sure I can feel my vocal cords tearing when I try to sing along. ‘Alone Again’ was an early song the band did and have redone it brilliantly here. The three guitars all have space to add to the musical tapestry.
‘Cheating on the Sun’ was also an old bandcamp single that has been given a fresh set of paint here and again channels some Queens of the Stone Age type feel. Joseph’s vocals here tap into some great high notes and remind me that this band has developed their own sound but never feel like they are repeating themselves. Closing out the album is their epic ‘Three Years’ which approaches the six-minute mark. They give themselves more room to breathe here throughout the verses with the triple guitar approach being applied perfectly. As the song progresses, we can feel the emotion building and building in the music and the tone of the vocals. It’s a perfect closer for the album.
As far as debut albums go, this one is perfect for me, but I will go further and say this is one of the best albums you will hear this year. They have managed to create their own sound and really craft an album where the songs complement one another to give the album a flow and dynamics. I could go on and on about how great this album is, but I recommend you go purchase it now and hear it for yourself. Album of the year contender? Most definitely!!
The last time I can remember a band playing two sets in the same Welsh venue on the same night because the first gig sold out in nano seconds, was when Electric Six added a matinee show to their scheduled Barfly appearance just as ‘Danger! High Voltage’ exploded all over the nations’ music video channels (remember those) around about 20 years ago. Tonight, though that’s exactly what Canadian punk metallers Cancer Bats are doing for their most intimate (and obviously sold out) show/s on Welsh soil since their days of them also playing that same legendary (and sadly long since closed) downstairs bar in the heart of Cardiff city centre.
“Up close and personal” is always going to be the order of proceedings for the hundred or so of us lucky souls who managed to snap up a ticket for one (or perhaps even both) of tonight’s shows, and with the prospect of a two-band double slam dunk ahead of them it’s totally understandable that Le Pub need to run a tight ship here tonight.
So, it’s at 7:45 precisely that Southampton hardcore crossover outfit Grove Street are let off the leash with their own brand of metal meets hardcore by way of a hint of rap, and I can’t help but have a smile on my face that stretches from Town to George St bridge. That’s because there’s tonnes of chugging metal riffage to keep the headbangers happy, lashings of double time aggression to kick off the first circle pit of the night and yes that really is a lyric lift from Grandmaster Flash in the middle of ‘Lessons of The Past’. Grove Street look like they weren’t even born when some of tonight’s audience would have been first launching themselves off the nearby Newport Centre’s stage to the likes of Nuclear Assault, Dark Angel, and Sepultura, but the young guns can hold their heads high knowing that their performance tonight had more than one of my mates yelling in my ear that they reminded them of Suicidal Tendencies. I shall certainly be keeping an eye out for the band’s debut album ‘The Path To Righteousness’ when it’s released in September.
“The best thing about being Welsh has surely got to be you have a dragon on your flag” quips Cancer Bats frontman Liam Cormier mid set during the briefest of moments of between song respite, before adding “tonight we are going double fucking dragon on you guys, so who is with me?”
It’s been quite some time since I’ve crossed paths with Cancer Bats on the live front it’s certainly the first time I’ve seen them since guitarist Scott Middleton left their ranks, and Covid break aside I’m not exactly sure why. It’s great to see that nothing has really changed in that time though, Cormier is still the consummate showman cajoling, teasing, and maybe even terrorising the audience in equal parts, whilst his trio of bandmates literally pummel our senses into a mush thanks to their ridiculously heavy and indeed LOUD sound, and these guys do it night after night, and yes of course, twice nightly if need be.
I’ll also rather awkwardly admit that I’ve yet to add a copy of the band’s current album ‘Psychic Jailbreak’ to my Cancer Bats’ collection, but as one of the highlights in tonight’s set just happens to be ‘Radiate’ that album’s opener, I’ll most certainly be putting this matter to right first thing tomorrow.
The Cancer Bats I first fell in love though has always possessed the near perfect blend of stoner groove and punk rock attitude and there’s a point tonight where towards the end of their hour long set they unleash, ‘Hail Destroyer’, (their cover of) ‘Sabotage’, Bricks and Mortar’ and ‘Lucifer’s Rocking Chair’ all in quick succession and it feels like I’ve been swept up in some maelstrom of heavy metal excellence. It’s the near perfect way to get those with tickets all salivating for the band’s second set, but sadly I’m not one of those. So, at 9:45 exactly, I’m out the venue doors and on my way home green with envy for those lucky enough to be sticking around for the band’s late-night set.
Nights like these are very special indeed, make sure you take the time to experience them whilst you still can.
When you begin your musical career by releasing a debut record as genre defining as ‘Appetite For Destruction’ or The Stone Roses’ ‘Self-Titled’ album you’re always going to get people asking if the new one is as good as that record. Dirt Box Disco have that very same albatross hanging around their necks too as their debut ‘Legends’ is easily one of the best UK punk rock records of all time in my book, yet somehow, they’ve managed to dodge that metaphorical debut bullet, largely because they have consistently released strong follow up records ever since that astounding album first appeared back in 2012.
Here in 2023 with the imminent release of the band’s eighth studio album, ‘Rokapokalips’ what strikes me now, perhaps more than ever, about the “almost veteran” Dirt Box Disco, is that (to my ears at least) they have more than just a proclivity for atrocious spelling in common with a certain 70s/80s rock band from the Black Country known as Slade.
Okay granted the opening word from singer/guitarist’s Spunk Volcano masked mouth to introduce ‘# Bollocks’ is never going to be viewed in the same endearing way as Noddy’s immortal “Baby, baby, baby” holler, but there is just something about this all new ten track record from the Dirt Box gang that immediately makes me think of Slade’s early 80s renaissance, and I’m not exactly sure quite what it is.
Perhaps it’s the fact that the band (by their own workaholic standards) have been a bit quiet of late, or that whilst the terrible musical chemical laboratory experiment that helped create Dirt Box Disco will forever be embedded within the band’s musical DNA, here on ‘Rokapokalips’ they’ve broadened their sound palette to include a touch of ska during the verses of ‘Kill The Music’ (just like Slade embraced the Celtic jig to once again attain chart success) and in ‘Land Of Hope & Glory’ Spunk, Maff, Danny and Chris have a song that could very easily sit on a Cockney Rejects or Cock Sparrer album (and Slade were of course as equally at home playing to punks and skinheads as they were heavy rockers back in the day).
Granted these are only very tenuous links though, largely used to bring an album you’ve yet to hear fully to life and I should add that this is still very much the Dirt Box Disco we all know and love, albeit there are just enough new things going on to keep us all thinking, whilst also singing along, and of course smiling, as one listen to ‘Up The Dirtbox’ (fnarr, fnarr) will no doubt prove.
After the knockout punch that was ‘TV Sex Show’ the band’s 2020 debut Weab-less record, it was always going to be tough to follow the likes of the glorious ‘Unstoppable’ and anthemic ‘Barebones’ where the band had sounded revitalised, but when you have the songwriting machine that is Spunk Volcano revving his engine and penning such instantly memorable tunes as this album’s title track, the insanely hummable ‘Cinderella’s Motorhead Tattoo’ and ‘I Don’t Wanna Go Without You’ (yup I had to read it more than once too) you’re never going to be a shortage of amazing songs with which to fill your next record. Just give top sing-a-long-a-Dirtbox ‘Happy Pills’ a play and tell me I’m wrong. It’s a song chock full of the band’s trademark “Woah Oh” gang vocals, albeit here the underlying lyrical theme does appear to be a little darker than usual.
For those of you who have pre-ordered ‘Rokapokalips’ from Avenue Recordz directly you should be getting your CDs and LPs anytime soon, and for everybody else the album is being released on July 21st, but you can also hit THIS LINK and get the masked menaces to send you your copy pronto!
And remember, “We’re strong, together we are stronger, and we don’t quit, Dirt Box Disco Armageddon, Rokapokalips”
What do you get when you combine two Canadian music legends into one guitar-heavy, power-pop unit that strives to sound like Minneapolis in the 90’s? You get SLIP~ons! They come by their brand of rock honestly, with Brock Pytel of The Doughboys on guitar and Brian Minato of Sarah McLachlan on bass. Add to the mix Rob “Shockk” Matharu of TheSpitfires on guitar, and Shane Wilson on drums and you’ve got a rock ‘n’ roll quartet with a vibe not unlike The Lemonheads, Hüsker Dü, Ash, The Replacements or Dinosaur Jr.
After a long run of obstacles, SLIP~ons have finally been able to announce their debut EP Heavy Machinery (mixed by Dave Ogilvie of Skinny Puppy fame). It took some effort for the band to get there with serious health concerns, the global pandemic and demos which just weren’t finding the band’s live vibe. Reflecting on the process bassist Minato said, “I think the songs on this EP are sonically and musically the closest we’ve come so far to representing who and what we are as a band. The songwriting, singing and playing and the arrangements have definitely pushed us forward as a group in a really awesome way. I’m very happy with the way the record has turned out. The artwork for the EP is also totally fantastic and I recommend picking up a copy on vinyl.”
The album was masterfully recorded at both Monarch and Vertical Studios in Vancouver by Olivia Quan (RIP). Unfortunately, part of the process was marked by tragedy. Pytel recalls, “Olivia passed away maybe a week or ten days after our last overdub session. I think I learned about it via an Instagram post from Monarch/Tom Dobrzanski, and obviously it was a shock. I mean, she was only 25 and the picture of vibrant creative health. We all feel like this recording is the first to really accurately sound like us, and Olivia was a big part of making that happen. Her technical skills were flawless and effortless, and she was always calm and positive.” In an unrelated twist of bad luck, Pytel explains, “a week or two after Ronan Chris Murphy finished our masters, a huge tree fell on his house and destroyed his studio.”
Heavy Machinery is marked by Pytel’s signature gravelly vocals and tongue-in-cheek lyrics paired with slamming backbeats, punchy guitars and rolling bass lines that drive the melodies. Sparse but poignant gang vocals round out the sound and add an interesting depth to the songs. Looking at the EP as a whole, Pytel shares “Lyrically, some of the songs were about working through loss. Soldier, Don’t Say Goodbye’, Heavy Machinery and Mosquito came together a short while after Ken Chinn (a.k.a. Mr. Chi Pig) died, and I, personally, was going through a rough breakup and feeling super vulnerable. Soldier is maybe the angry approach, while the title track is maybe a bit more nostalgic. I kinda think of it as a love song, since it’s probably the closest I’ve ever come to that. The mosquito thing was a metaphor for problems that just keep on you, no matter what you do.”
![SLIP~ons – Heavy Machinery [Official Video]](https://rpmonline.co.uk/wp-content/uploads/2023/07/a2112055903_10-750x350.jpg)
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