The Great British Alternative Music Festival – Minehead, Butlin’s – 28th February – 1st March 2020

The Great British Alternative Music Festival – Minehead, Butlin’s – 28th February – 1st March 2020

It’s been six years since I last ventured into a Butlin’s holiday camp for one of their boutique music events, and vowing never to return after the last one, it was always going to take something very special indeed to get me hugging Billy Bear once again. So, the first thing that grabbed me about this 2020 Alternative Music weekend event in Minehead was the fact that we could now seemingly get a room for six cheaper than we could back in 2014, okay it’s an entry level chalet (kind of like what you expect when booking a Travelodge) but when that equates to £75 per person sharing (and when you have the likes of The Wildhearts, The Undertones and The Boomtown Rats all playing) you don’t have to be a maths genius to work out this is great VFM. So, just when I thought I was out…they pull me back in for another weekend of great music, chips and Flash anti-bacterial wipes.

FRIDAY

Arriving on site early and then being allowed to check into our room at 2pm means that our bedrooms are allocated out and the cans and vodka are soon flowing warming things up rather nicely for Duncan Reid & The Big Heads who are opening the festival’s Introducing Stage in Jaks bar. The irony of this for such an already established musician is certainly not lost on the great man himself when he declares that in another 35 years he hopes he can make it to Centre Stage, however hearing the likes of ‘Terminal Love’, ‘Brickfield Nights’ and ‘First Time’ being sung en masse by the packed out audience simply reinforces the fact that Duncan Reid & The Big Heads are already way ahead of where the promotor must think they are in the punk rock nation’s hearts, something that must be a very rewarding feeling for the band themselves too.

Wandering around the Skyline trying the find something edible before the evening gets into full swing it’s interesting to observe that there a far less stag/hen weekenders here than during my previous visit. It really does feel much more like a mini Rebellion and of course just like Rebellion I quickly realise (thanks to the event’s very useful mobile app) that I have the obligatory stage clashes to contend with, and this is my only real criticism of how these weekends are run. I realise why it is done, but seriously with a few little tweaks (maybe have venues sub-themed by genre?) I think this could possibly be made a lot easier on the punters many of whom are having to make some tough choices. So tonight, we have to choose between Goldblade who clash with Plague UK and then we have The Wildhearts who clash with Angelic Upstarts. Thankfully having not seen Goldblade live in quite some time my first choice is an easy one and I’m in Centre Stage long before their 8pm start to witness the recently reunited “classic” line up with Johny Vincent returning on guitar. Kicking off with a riotous ‘Fighting In The Dancehall’ and along the way slotting in classics like ‘Black Elvis’ and ‘Strictly Hardcore’ Goldblade simply don’t put a brothel creepered foot wrong during their eleven song set and closing things out with ‘Hometurf’ the guys really look like all conquering homecoming heroes as they leave the stage.

With The Wildhearts up next the crowd in Centre Stage thins out slightly as people appear to opt for the Angelic Upstarts option down in Reds (something Ginger himself later professes to being gutted not to be able to watch), but having sacrificed going to the band’s recent co-headline shows with Backyard Babies safe in the knowledge that I would soon be seeing the band play in front of a largely neutral audience there is only one place I want to be, and that’s pressed up again the barrier ready to immerse myself in the aural delights of the self-styled ‘Renaissance Men’ of British rock.  ‘Everlone’ leads us into a hour long masterclass in how to do this festival malarkey just right with the band mixing old classics (like the opener) with newer tunes (like the amazing ‘Diagnosis’) and in the process winning over a crowd who largely openly admit to having not heard anything by the lads before. It’s heart-warming to see the 7-legged hit machine smiling and enjoying themselves quite so much and when the final chords of ‘I Wanna Go Where The People Go’ ring out I along with many “new” fans simply wish this could go on all night. Please excuse this opportunity to use a cliché but right now The Wildhearts really are on ‘Top Of The World’, and it was worth every penny of my admission money just to witness this performance. In fact, I could almost go home, albeit I quickly remember we have two more days to go yet and Big Country are hardly going to be able to follow what preceded them. So, after a couple of songs from a very polished sounding version of a band I once saw giving the headliner a run for his money when I saw them supporting Elton John in Wembley Stadium, tonight its all about reliving their 80s former glory, something I’ll leave to their legions of dad dancing fans as I head off for a quick night cap ahead of day two.

SATURDAY

Given that a few of our gang had hit the vodka a little bit hard in the wee small hours it’s somewhat remarkable that two of us actually make it to Centre Stage in time for Knock Off to open up proceedings at half-past one. It’s also remarkable just how many others also achieve this feat as the place is packed out for such an ungodly hour on a Saturday afternoon. Knock Off guitarist and singer Andy Town might be unable to down his pint in one but he and the lads are soon ducking and diving their way through a truly memorable set littered with streetpunk/oi! anthems like the always amazing ‘This Ain’t No Love Song’ all spurred on by this early afternoon show of punk rock camaraderie.

As kick-off time comes and goes Centre Stage’s clientele changes from mohicans to mohair as Nine Below Zero play out a set of R&B standards with everyone seemingly waiting (myself included) just to hear ‘Eleven Plus Eleven’ just to see who can do the Rik from the Young Ones dance the best. In many ways watching Nine Below Zero here today was a lot like watching ZZ Top playing a mid-afternoon slot at some metal festival, they both exude coolness and charm that has everyone dancing, and that my friends is the secret to both band’s longevity in the music business.

In the search for something a little bit more frantic I head over to Jaks just in time to catch Nottingham’s Headstone Horrors who are barking out a mixture of hardcore and horror that in many ways has a lot in common with the likes Horrorpops and Dragster, and they go down an absolute storm with those sensible enough not to be watching a Clash tribute band over on Centre Stage. One of the guys in our gang picks up a CD and T Shirt for £15 so at least here in Jaks it’s great to see the bands keeping it real on the merch front. Please don’t get me started on the main stage prices.

After a few more cheeky ones watching the football results come in and then a quick bite to eat we are back in Centre Stage ready to greet Glen Matlock and band featuring the one and only Earl Slick on guitar. Playing a set of tunes mostly taken from his excellent 2019 album ‘Good To Go’ I have to admit I’m more than just a little star struck simply watching Slick do what he does best. The set highlight for me (just like on the album) is Matlock’s take on Scott Walker’s ‘Montague Terrace (In Blue)’ a song that just exudes class whilst finishing with a crowd pleasing ‘Pretty Vacant’ means this band are always going to be one of the most talked about following this weekend.

The clash of the stages is up again next with our gang splitting in half as some choose to stay in Centre Stage for all the fun of The Adicts whilst the rest of us cram ourselves into Reds early doors to catch The Undertones. At the top of this review I specifically mentioned The Undertones because they are a band who I initially didn’t get as a teenager. Now four decades on I absolutely love their back catalogue yet I’ve yet to see them live, until tonight that is. Granted Fergal Sharkey has long since retired from the microphone but I’d heard nothing but good things about his replacement Paul McLoone (he’s been fronting them for just over two decades now) and as the band hit the stage with ‘Jimmy Jimmy’ smack bang  on their nine thirty stage time I can see exactly why people rave about him (and them). Gambolling around the stage like a cross between Brett Anderson and Father Damo, McLoone is the perfect anthesis to Sharkey’s jumper and parka image, and with him singing their canon of hits with just enough of a hint of his predecessor the band achieve what so many other fail to do, replace the almost irreplaceable.

As for those songs its fantastic to finally hear the likes of ‘The Love Parade’ and ‘Here Comes The Summer’ live and when they can play a song as influential as ‘Teenage Kicks’ half way into their set and still not lose a single audience member after that you know you are witnessing something very special indeed. Just like The Wildhearts had done the night before The Undertones deliver an absolute blinder of a set, wrapping it all up with the essential pop punk anthem ‘My Perfect Cousin’, and everything in our troubled world feels right again.

Now shall I go and watch some more live music in the shape of Hung Like Hanratty or The Members or shall I head off into the night and have a few late-night snifters with the lads instead? Wait for me guys…I’ll have a large brandy.

SUNDAY

Waking early to sound of the local seagulls going ballistic over the first proper sunshine of the weekend, there’s only one thing to do to prepare us for our third and final day of live music, and a line up largely dominated by ‘80s UK Mod bands, and that’s to watch Jonas Åkerlund’s ‘Lords Of Chaos’, in fact I’m half toying with the idea of doing the final day corpse painted up I’m not entirely sure how well that would go down with the Ace Faces on camp as we head over to Centre Stage to catch From The Jam.

Breezing into our Sunday afternoon with ‘David Watts’ the sound levels are initially noticeably lower than for other bands and as a result Bruce Foxton and Co don’t so much hammer you to the wall with their energy as politely introduce themselves with a gentile handshake. How very British. It’s certainly great to hear the likes of ‘Going Underground’ and ‘Start!’ live but devoid of the adrenalin kick of the Weller years its all a bit too much like Big Country on Friday night for me and instead I head off to Jaks just in time to catch Pete Bentham & The Dinner Ladies.

Pete Bentham has been a regular feature at Rebellion for a good few years now but somehow I’ve never actually witnessed him live before today and whilst his band’s brand of artpunk might not be exactly my type of thing musically, what these guys have is set of songs (largely drawn from their ‘England’s Up For Sale’ and ‘This Is Kitchencore!’ albums) that you’d have to be a braindead moron not to enjoy. Easily the surprise band of the weekend for me, and I’ll be interested to see them live once again.

A band I’d been wanting to see live for quite some time now is The Blue Carpet Band so today is my chance to rectify that matter. Mixing pulsating rock ‘n’ roll beats with a garage punk attitude, in many ways The Blue Carpet Band are very much the band The Sick Livers always threatened to be.  ‘Back In The Trash’ sounds absolutely irresistible and ‘I Love The City’ almost wins the award for the best song of the weekend. I’ll hold off on dubbing them the best thing since sliced bread just for now though as I get the feeling the five-piece has even more to offer us via their second album due later in 2020, and I for one can’t wait to hear it.

Returning to our chalet for the last couple of tins we have left ahead of the final night’s stack of bands, and we have the March of the Mods to look forward to split across Centre Stage where The Chords are set to play whilst in Reds I can hopefully finally get to see Secret Affair live. To be honest it’s no contest though as after arriving early doors for Secret Affair they seem content just to be noodling away caught up in some acid jazz odyssey, so I quickly make a b-line for Centre Stage to watch the rest of The Chords who appear to be having the times of their lives and even though I don’t know a single song by them, they are still hugely enjoyable.

With The Boomtown Rats celebrating the imminent release of their first new studio album in thirty six years you can perhaps forgive Geldof and Co for opening with a couple of songs from said album (‘Citizens Of Boomtown’), and whilst drawing perhaps the second biggest Centre Stage crowd of the weekend it takes until the oldies for the floor to really start bouncing. ‘Rat Trap’ still sounds like the best Springsteen song he never actually wrote (or played) and if ‘I Don’t Like Mondays’ wasn’t already on everyone’s Spotify playlist before tonight then it most certainly would be come the morning.

It would be oh so easy to take a caustic swipe at Sir Bob especially after his toys out the pram “black t-shirt” episode with the crowd at Rebellion a few years ago, but really (the godawful 30 years too late ‘The Boomtown Rats’ rave tune aside) tonight is a great mix of old and new and the near perfect way to end the weekend. Yup I know The Stiffs and The Rezillos are still to play, but I’m absolutely knackered and need my pit, even if my roommate is already crashed out and is in the process of single handily gazumping all comers in the Butlin’s loudest snorer competition.

Thinking back to the last time I attended The Great British Alternative Music Festival I posed myself the simple question of “would I attend again?” and at that time I suggested that I might if some new bands be added so we could all take a break from the almost relentless emotional tourism of the nostalgia acts. Well, the Introducing stage proved to be the perfect answer to this call, so answering that same question six years on my answer would be a resounding “YES”. Now if only someone could sort out those stage clashes eh!

Author: Johnny Hayward

Psychedelic Furs release new video for ‘You’ll Be Mine’

Psychedelic Furs release new video for ‘You’ll Be Mine’
Seven weeks before the eagerly awaited release of The Psychedelic Furs new album, ‘Made Of Rain,’ The Furs are making available the song ‘You’ll Be Mine.’ This is the second new song to be lifted from their forthcoming album, alongside the breathlessly received ‘Don’t Believe,’ which was made available in January. Both tracks are available to stream now and download when you preorder the album from Here

 

The album is available on CD, Double Gatefold LP and limited splatter and colour variants as well as exclusive formats and signed options via Here

Further new tracks will be unveiled in the weeks leading up to the album’s release.

 

‘Made Of Rain,’ The Psychedelic Furs eighth album and their first in nearly thirty years, is released on May 1st 2020 . The band tour the US in April and as previously announced play their first ever show at the Royal Albert Hall in London (May 14th), with Jah Wobble & The Invaders Of The Heart as special guests, before heading to Europe and back to America for more shows. Tickets for the Royal Albert Hall are available here 
From its exhilarating opening bars, Made Of Rain is classic Psychedelic Furs in both its sound and
execution. It’s a joy to hear again, fresher than ever. Their peerless permutations of art, aggression and ambience drive the dynamics, and it’s always been this originality which has set them apart, a cut above. The album was produced by Richard Fortus, whilst mixing duties were handled by Tim Palmer (David Bowie, U2, Robert Plant).
Led by vocal and lyrical genius Richard Butler with his brother Tim on bass, The Psychedelic Furs released seven critically acclaimed studio albums – ‘The Psychedelic Furs” (1980), ‘Talk Talk Talk’ (1981),  ‘Forever Now’ (1982), ‘Mirror Moves’ (1984), Midnight To Midnight’ (1987), ‘Book Of Days’ (1989) and ‘World Outside’ (1991). They released many classic singles throughout the ’80’s and into the 90’s, including: ‘Sister Europe,’ ‘Love My Way,’ ‘The Ghost In You,’ ’ Pretty In Pink,’ ‘Heaven,’ ‘Heartbreak Beat,’ ’All That Money Wants’ and ‘Until She Comes.’
In recent years the band have toured continually completing a tour of North America in 2019 and played acclaimed shows at The Hollywood Bowl, All Points East, Hyde Park and Benicàssim. A celebrated handful of UK shows including headlining the prestigious Meltdown at the Royal Festival Hall at Robert Smith of The Cure’s request. This past October, the band played a sold-out tour of the UK and Europe which culminated in a triumphant show at the Roundhouse in London.
The last few years has seen the band’s legend growing, highlighted by the fact they have scored over 150 million streams of their songs worldwide. Their influence since arriving on the post-punk scorched-earth landscape four decades ago has reverberated and resonated from everyone from The Killers to REM to Foo Fighters to Bob Dylan has sung their praises.
The Psychedelic Furs are sounding stronger than ever and as anyone who’s seen the band lately knows, Butler remains one of the most watchable frontmen in the game.

The Professionals release new video for third EP

The Professionals release new video for third EP

Lead Track from The Professionals third EP release. Twenty Twenty Vision, the third EP from The Professionals’ 1, 2, 3 EPs 2020 series on Yellow 10″ Vinyl EP, from a limited edition of 500 and CDEP. This one features exclusive live ‘Join The Professionals’ and ‘Good Man Down’ Each 10″ record has exclusive tracks and comes on coloured vinyl all are limited editions.  Get on it kids or pick up the bundle with signed print over Here.

Website / Facebook 

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

After many hints and teases Manic Street Preachers have confirmed the reissue of a deluxe edition of their 1993 second album ‘Gold Against The Soul’. Available as a 120 page  A4 book featuring unseen images from the bands’  longtime photographic collaborator Mitch Ikeda, many personally annotated by Nicky Wire and original typed and handwritten lyrics from the bands own archive. Pre-order now in CD Book, on Vinyl and in a bundle.

Pre Order Here

THE 2020 VIVE LE ROCK AWARDS GOES LARGE ON THE MAGAZINE’S TENTH ANNIVERSARY!

THE 2020 VIVE LE ROCK AWARDS GOES LARGE ON THE MAGAZINE’S TENTH ANNIVERSARY!

THE LEGENDARY ROCK ‘N’ ROLL EVENT CONFIRMED TO TAKE PLACE AT THE 02 SHEPHERD’S BUSH EMPIRE APRIL 1ST

 

RENOWNED PRETENDERS FRONTWOMAN CHRISSIE HYNDE CONFIRMED TO RECEIVE ICON AWARD

 

Staking its reputation as an essential rock ‘n’ roll date in the annual calendar, with two now fabled awards nights at the 02 Islington Academy in 2018 and 2019 which saw a vast array of iconic artists performing and rubbing shoulders, the 2020 Vive Le Rock Awards is confirmed to take place this coming April 1st.

 

This time, however, the event has gone bigger and bolder, moving to the 2000 capacity 02 Shepherd’s Bush Empire for the party of the year that also celebrates Vive Le Rock’s tenth anniversary in print, having published its first issue in 2010, it is now the world’s biggest rock ‘n’ roll and punk magazine, independently published by Big Cheese Publishing Ltd in London.

 

The two previous years have featured live appearances from The Damned, The Stranglers, Shakin’ Stevens, Suzi Quatro, members of AC/DC, Sex Pistols, The Specials, Buzzcocks and even England football legend Stuart Pearce, and the event this year continues to grow in stature and size!

 

This year the 2020 Vive Le Rock Awards takes great pleasure in honouring Chrissie Hynde, the primary songwriter and frontwomen for the enormously successful American rock band The Pretenders, with a much-deserved icon award. Chrissie Hynde has long been the embodiment of rock’n’roll cool; a woman of principles and a gifted songwriter with a voice that can melt hearts. Her pivotal role in the early days of punk saw her working in Malcolm McLaren and Vivienne Westwood’s Sex shop, leading to musical involvement with the majority of punk’s key players, including even a brief stint in Johnny Moped’s band, before embarking on a multi-million selling rock career with smash-hit songs such as ‘Brass In Pocket’ and ‘Talk Of The Town’.  She is truly worthy of this special award.

 

 

Vive Le Rock are also very proud to welcome London rockers The Only Ones onto the line-up. Frontman Peter Perrett returned in recent years to launch a  successful solo career with two fabulous albums in 2017 and 2019 and now we celebrate The Only Ones legacy, who will be picking up a ‘Classic Song’ award for their timeless 1978 hit ‘Another Girl Another Planet’, which will be performed on the night.

 

Also confirmed to join the melee is soul-brother Jim Jones; Hypnotic, Righteous Mind and Revue, a man who IS rock ‘n’ roll incarnate, who will bring his hand-clapping grooves to the night, alongside former Hellacopters and Backyard Babies guitarist, Swedish rock-god Dregan, who will present an award on the night.

 

Then, just when you thought the evening couldn’t get any hotter, along comes the crazy world of Arthur Brown with his red-hot 1968 hit ‘Fire’, bringing his wild show and worldwide number one smash hit to the event.

 

These join the previously announced artists, Original Rudeboy – The Specials Neville Staple, along with a very special one-off reformation of 80’s goth rockers The Lords of The New Church, fronted by Finnish Hanoi Rocks legend Michael Monroe on vocals. The Vive Le Rockers all-star band will once again back specially invited singers and compere for the night which will see the return of Ed Tudor-Pole of Tenpole Tudor fame (and also 80s T.V show, The Crystal Maze!) and The Damned’s Brian James will accept the Pioneer award.

 

There will be a special section for rockers we have lost in 2019 including Gang Of Four’s Andy Gill, Eddie and The Hot Rods Barrie Masters (who played the 2019 VLR awards) and surf guitar legend Dick Dale.

 

The audience will comprise of invited members of the media, television, fashion and the music world as well as an allocation of tickets for the general public. The VLR Awards are a truly unique, international event celebrating the legends of our music scene. “This isn’t some chicken in a basket awards show, this is a party with the coolest people in rock n’ roll” said Vive Le Rock editor Eugene Butcher.

 

Tickets available HERE:

 

Find Vive Le Rock HERE:

 

You can watch action from the last two VLR Awards here

 

 

Dealing with Damage – ‘Ask the Questions’ (Little Rocket Records)

Dealing with Damage – ‘Ask the Questions’ (Little Rocket Records)

Dropping this baby onto the virtual deck and what leaps out in opener “Stop everything” is a sound grounded in the underground, hinting at punk, fuzzed-up rock “ala” the MC5. Does it move towards the new genre that I seem to hearing about everywhere “Action Rock”, I don’t think so, even though this will appeal to anyone with more than an affiliation to the underground. No, it draws on a much richer musical tapestry, but ultimately pinning your ears back and screaming “LISTEN TO ME!!!!!”

 

Next up “No Money, No Peace”, moves up the intensity, there’s a hint of the much-missed Stiv Bator’s sneer, but blink and you’ll miss it, this ain’t prog in any way shape or form.  Moving into “How much will this affect us” and things get a darker heavier feel, that bass run holds you, before the guitar demands your attention, I really like this track it’s a real burner. “Worlds within a world” hits the raw fuzzed up psychedelia of the fuzztones, while at the same time kicking it up the arse, with that incessant punk underpinning.  “Language Lesson” comes tearing out of the speakers, that iggy and the stooges madness taking centre stage, this is a blinder, but for once I’d have liked it a bit longer!!, “Slow Shadow”, moves to a very different beat, more commercial? Dare I say? Yup, it would make a cracking single, this just drips fuzzed-out psychedelia, dropping into 13th-floor elevators territory, complete with the space rock exit!

“The Process” kicks in with a tasty Tribal drummed intro, before it takes off and moves you on a very different path, this is rapidly becoming a fave for yours truly. “Strange Melody” again revisits the psychedelic sounds of the sixties, but with an added pop sensibility reminiscent of The Only Ones.

 

It’s at this point you begin to realize how good an LP this is, crammed full of ideas, honing a musical heritage, taking hints of the past, reimaging them for a current listening audience. I’m starting to drift here but I’m as always thinking about how this will play out live and smiling to myself. Maybe these years Camden Rocks?

 

“Shark Bait” again grabs you from the start, holding that crossover vibe, hinting at a more commercial line, there’s an almost gothic Guitar underpinning and extra to this track.  “Some Colours”, “No Barriers” and “The People I see” maintain the power and intensity, “No Barriers” in particular mixing up the vocal style and again rapidly becoming a favourite, while “The People I see” moving into territories held up by The Ruts.

 

Finishing up with “For Barbara Dane” an acoustic gem with an underlying message, think The Kinks meet the Subways!!! Before the lp plays out with “The American Empire”, I love this Hardcore blast and what a way to finish up a powerful LP from a band that I’ll look forward to picking up on the live scene, and definitely an LP I’ll be investing in.

 

Find Dealing With Damage at WEBSITE / FACEBOOK / BANDCAMP / TWITTER / INSTAGRAM / YOUTUBE

Author: Nev Brooks

 

EP Club Round Up feat Motherfuckin’ Motherfucker, The Suicide Notes and more

EP Club Round Up feat Motherfuckin’ Motherfucker, The Suicide Notes and more

 

Well when one EP arrives you can bet your bottom dollar that another is close behind. the thing this month is when one os followed by another then another and another how could we ignore them?  We couldn’t and when they are as varied as this bunch we tell you were blessed to have such talent sent our way. But above all this bunch of EPs and splits were of such a high standard it would be a crime had we brushed over them or not given them all a fair hearing.  If another month dishes up a collection stronger than these then I’ll eat my favourite hat.

 

Motherfuckin’ Motherfuckers – ‘Dance Motherfucker’ EP (Lux Noise) What an exhilarating rush this is. Easily the best songs the band has penned so far. Sure its a breakneck blood rush but fuck me sideways it’s good.  Like the kick off a defribulated donkey with size 13 hoofs, the title track lasts the length of a blink of an eye.  It’s a beauty alright. So its sweary, Hard, Fast, Loose n loud but the tunes are absolute Boss.  ‘Cat In Hell’ also comes with a beautiful guitar solo that sounds like a fuckin’ Jedi lightsabre being wielded around the studio pure bliss.

‘It’s All Shit’ is a bruiser with a great slasher intro as it builds into the frenzy you want it to. Where are the scandi bands who used to do this so well?  A pair of nerdowells from middle England and a couple of reprobates from Switzerland are leading the charge and doing it so well.  Now when are the tour dates to do this shit live.  We don’t want it we demand it! oh and the cover is a banger too but we all kinda knew it would be.  Essential purchase? Of course it is.

Bandcamp

 

The Suicide Notes – ‘Pleasures Of Despair’ (Self Release) When Billy and Alex first had the idea of doing some fairly lo-fi recording of ‘a couple of acoustic numbers’, I bet they weren’t expecting it to seel out its initial 100 copies quite so quickly and before it even had the chance to be birthed properly.

So the idea was to record some tracks in Alex’s studio, maybe record a live version or a cover or something, somewhere, unique to the EP, and then package it up with some exclusive artwork from Billy and put it out there. The fact that they are now discussing artwork and packaging for a second, non-limited ‘general’ run over and above the limited first 100 will come as a relief to everyone who didn’t get in there. Let’s run through the damn thing then.  ‘Mama Sang The Blues’ sees the whiskey and cigarette vocals of Billy croon over the acoustic shanty of the first track.  It’s called Mama Sang The Blues what do you think it sounds like?  It’s late, we’re all drunk and the band has got the tunes nicked from the devil and if you howl loud enough they’ll sing em. ‘Ragdoll’ is a haunting acoustic rendition and with less of a party going on its a wonderful melancholy number. Sure there’s an elephant in the room but hell if it sounds like the Dogs D’Amour did back in the 90s then so what if it’s good then that’s all that matters its a big world out there and there’s more than enough room for a few singers with velvet tones wrapped in too many cigarettes.  Its a simple song but the delivery is spot on. Talking of cigarettes next up is ‘Smoke It Like A Cigarette’ this initially came out with an accompanying video if I remember correctly and dark and brooding its a wonderful slice of the darker side of the city and again the delivery is superb.

To wrap up this one you have the slide guitar and harmonica honking of ‘Take A Bullet’. Sounds to me like the electric versions and studio album can’t come quick enough.  the Suicide Notes are happening and I’d love to see them blow right up because the devil hasn’t got all the best tunes The Suicide Notes have nicked some of ’em the cheeky scamps. I expect big things this year and hope that this is just the very beginning.

Facebook

Craggy Collyde – ‘Wrapped Up In Ribbons’ (Self Release) After a cracking 7″ single last year this duo are back for more except this time they are armed with a 10″ record that contains a nicely varied six tracks. Totally self-financed and independent Craggy Collyde are killing it and as the opening track says “worth investing in” RPM says Hell yeah! Built around a nice 12 bar riff and cool backbeat ‘Dead Refrain’ is a great opener. We stay on it for ‘Roll Me’ as the good times keep playing. sure its a well-trodden path but when it’s done well who cares,  The backing vocals and melodies are great.

‘Don’t Put Me Down’ has a nice mellow intro before breaking out with a melody straight from Alternative American radio that gave us the likes of Buffalo Tom. ‘Better Than A Lie’ is a chilled out laid back vibe and Craggy tells a decent story like lying on your back on a deserted beach staring at the sky as the clouds roll by its another side to the band and another really strong song. ‘Wrapped Up In Ribbons’ is an acoustic ensemble with a rolling piano and shuffle snare beat and possibly my favourite on the EP for sure. An excellent song well written and well played out.  To wrap up this record there is the excellent ‘In The Shade Of The Wide Oak Tree’ with its sparse intro you keep waiting for it to break out but it doesn’t which helps keep you engaged.  All in all, another super-strong offering that covers all of Craggys loves from the Rockers to the acoustic laid back minstrel a most worthy addition to anyone’s collection.

Website / Bandcamp

Glitter Piss / The Damn Shebang – Split EP (Guru Disques) I jumped on this the minute it became available this week and boy what a glorious decision that was. The Damn Shebang kick off with the shimmering seedy Rock and Roll of ‘Molly’ gets things off to a top start.  Part Sleazy Gallon Drunk Part punk rock part Urban Voodoo Machine part Cramps is just where you want a band to sit. ‘Molly’ deserves to be played loud, no not loud,  LOUD! you fuckers. If that doesn’t stir your Rock and Roll pants then surely song title of the year ‘Goths On A Beach’ will. Love it Love It Love It! love the guitar tone, love the solo, love the vocals love the backbeat love the lyrics. ‘ave it! If you thought the first two were good then get up and lace up those creepers because ‘Richochet’ is a dance floor filler with attitude. Don’t put away your flick knife comb yet ‘Be Your Baby’ is a howling good time. and this is only the first four on this must-own Cassette EP split!

Glitter Piss.  Hell yeah, what a great name. ‘Nothing To Lose’ is the sound of a band being fired out of a canon with their asses on fire.  fuckin’ champion tune. If youre not convinced yet then shove ‘Suck My Soul’ up your backside. Garage rock with attitude and a whole bunch of Riff-a-rama to boot – awesome stuff. when they say ‘Party Town’ sit up and listen for fucks sake.  Shaking like Iggy shitting on a hot tin roof this is a blast. With a final blast of VFM the eighth track crammed onto this split is the groovy ‘Not Like You’.  If I don’t hear another split all year it doesn’t matter because it can’t and won’t be better than this bad boy.  Now if you haven’t already rushed over to the link to buy a copy then what’s the matter with you?  Do it before they’re all gone.  You need this bad boy RPM Online Fact of the day #1.

Bandcamp

 

Mansion Harlots – ‘Happier Alone’ / ‘Until We Work It Out Tomorrow’ & ‘KUNM Sessions’(Magic Cat Records) Whilst doing the rounds to promote the Mansion HArlots record back in 2018 Baz and Rachel ended up in Luxembourg City at a radio station and laid down A quite exquisite rendition of ‘Happier Alone’ and ‘Until We Work It Out’ as Baz lets loose as part of his radio sessions found here.  Also last year Baz ended up in New Mexico where he recorded six tracks that make up the KUNM Sessions anyway Baz lets the music do the talking with a heartfelt and thunderous take on songs from across his solo album and Mansion Harlots.

‘Live, Raw as it is’ Baz is a unique talent with a fantastic sense of melody and a keen ear for a great delivery raw and live without a safety net it’s engaging and at times quite beautiful. ‘Until We Work It Out’ is a beautiful number and laid bare here sounds majestic and proves that the art of balladeering is alive and kicking as Baz is in fine form. As for the KUNM Sessions again yet more proof of the exquisite talent that is Baz Francis Duarte. ‘Eyes Of A Fool’ is chilling whilst ‘Panda Eyes’ stripped back works really well. A great melody is a great melody be it electric or acoustic and Baz knows how to write both. Lay back chill out and get an ear full of Mansion Harlots and Baz Francis Duarte you won’t regret it and if you’re here reading this you deserve it. Quality counts in a world that moves so fast sometimes music can be overlooked and we wouldn’t want you to miss out.  Hit em up folks.

Listen here

Dboy dish up awesome blast of Punk rock live in the studio

Dboy dish up awesome blast of Punk rock live in the studio

Three piece punk band DBoy, hailing from who knows where (allegedly Welland, ON), came by and blasted off one quarter of their latest album ‘New Records in Human Power’ – “Why Do You Only Luv a Dboy (Who’s Down?)” / “Thumbless” / “Red Ultra Glide”. Sideways opened its doors and arms to the boy, and in turn the boy gave us one hell of a performance.

We can’t get enough of em here at RPM and seeing as its Friday and it looks like the world is being derailed by a virus we thought you could drift away with this so check-in and drop out in self-isolation with DBoy.

 

DBOY | Instagram | spotify

 

RANCID Skeletim V2 Limited Edition Throbblehead & HR Bad Brain is back

RANCID Skeletim V2 Limited Edition Throbblehead & HR Bad Brain is back

We love pop culture here at RPM so why wouldn’t we be all over this bad boy.

SHIPPING NOW – ORDER HERE
Limited to 1000 hand-numbered figures
RANCID’s first “Skeletim” Throbblehead was such a hit, they asked them to make another one!
This version is limited to just 1000 hand-numbered units, stands at 7″ tall, and is made of a high quality polyresin.
Skeletim is rocking a studded denim jacket, black docs with white laces, and a lime green mohawk.
Whilst were on the subject of statues HR of Bad Brains is back!  ORDER HERE
 
The return of a classic from PressPop (Japan), this officially licensed figure of H.R. is made with PVC and ABS and has articulation in the neck. His shirt and pants are made from fabric. Designed by Sof’boy comic creator, Archer Prewitt. Comes in beautifully designed large box packaging. Sculpted by Japanese master sculptor, Tomohiro Yasui.

Therapy? – The Greatest Hits (Marshall Records)

Therapy? – The Greatest Hits (Marshall Records)

Enduring and endearing that’s the threesome that makeup Therapy? they’ve have never been ones to follow convention even when they do something quite conventional like releasing a greatest hits album.

‘The Greatest Hits’ takes tracks from throughout their career of highs and maybe not so highs. This their 30th-anniversary run sees this new album breathing a fresh breath of brutality into already fiery songs.  I’ve always seen Therapy? as an iron fist in a velvet glove kinda band.  they can write some right out and out abrasive in your face slabs of noise but they can also be touching and heartfelt whilst delivering that punch (if you know what I mean?)  Oh and before I forget it also comes with a bonus live album.  Always offering value for money. I always thought the old adage about Motorhead applied to Therapy? because they will survive after any holocaust along with the cockroaches then probably put on a show before feasting on the mites such is their dogged determination to push on and never stand still even when looking back at themselves and what they’ve achieved they twist it and push the boundaries rather than offering up some cut and pasted best of and that’s because they give a shit about their legacy, their fans and the future.

‘Teethgrinder’ is first up and with a sparkling production, it has to be said. The band worked with producer Chris Sheldon, who produced the original ‘Troublegum’ album as well as working on ‘Semi-Detached’, ‘High Anxiety’ and ‘Cleave’ so a safe pair of hands – someone who knew the band and what they were/are about and was able to give them that extra piece of x-factor needed on this project.  No cost spared as they headed for Abbey Road none the less and its paid off in spades.

The 12-track album includes all their UK hits including ‘Screamager’ and a reworking of ‘Diane’; Featuring James Dean Bradfield of the Manics.  I forgot how fuckin’ menacing ‘Turn’ sounds with that grinding bassline twisting the listener’s inner ear throughout.  The one thing that stands out is how damn fresh these songs sound.  They never suffered from a shit production but this is another level as 2020 sees songs reborn.  ‘Nowhere’ still sounds epic and a real rush of adrenaline.  I can’t help but feel there’s a little chuckle being made having James Dean Bradfield singing on ‘Die Laughing’  maybe they should have renamed it ‘Dai Laughing’.

‘Diane’ is one of my favourite song from the band and this new take is brilliant.  Welcome to the church of noise one and all and those old-timers this is a great celebration happening here and those new to this band you’re most welcome but where the fuck have you been you maniacs? Heres to the next milestone and something else from Therapy? Oh, I guess I should mention the bonus disc, well, that’s fifteen songs one from each album live as a bonus with the CD version. It’s a great time to be a fan of the band then with so much going on as they head out the door to promote their 30-year plan so you can see them after you’ve played this greatest hits package to death.

As far as greatest hits go this one is up there with the best in the noisy bastard genre. Still on fire – Still not compromising – Still doin’ the biz. Therapy? I love em

Greatest Hits (2020 Versions) here

Facebook

Author: Dom Daley