Singles Club Second Leg – August

Singles Club Second Leg – August

Again its another week and another bunch of brand new, hot off the press singles.  A few debutants and some seasoned vets of these pages get covered. I’m always impressed by the quality of some bands and labels and the lengths they go to to make the little records and this bunch of singles we’ve gotten hold of is no exception. If there was a prize for record of the week, month, the year there was only ever going to be one winner and that honour goes to the new one from The Black Halos.  So good it is and so passionate that we drafted in  Rich Rags to put pen to paper and pour his thoughts over the page on the release. It’s fair to say he does justice and some to such an awesome song. Now I’ll step aside so you can check out this weeks 7″ singles…

 

The Black Halos – ‘Ain’t No Good Time To Say Goodbye’ (Yeah Right! Records) Vancouver, Canada’s punk heroes The Black Halos pen impassioned tribute single for inspiration, legend and friend, SNFU’s Mr. Chi Pig.

After the critically lauded 2019 single “Geisterbahn II” and the sold-out shows that followed, many people were hoping that the new line-up of the Halos would continue as a going concern. And for now, it is. At its rock ‘n’ roll heart are the original members, frontman Billy Hopeless and the guitar team of Rich Jones and Jay Millette, joined by pals John Kerns (Age Of Electric) and Danni Action (ACIIDZ) on bass and drums respectively.

 

When the world’s plans changed due to the pandemic, traditional ways of creating and working had to change along with it.

This single was recorded in isolation. And you couldn’t tell if ya tried. Its rich deep sound and empathetic interplay of guitars, the ragged and street-sure confidence of the rhythm section… well…  it all gives a supportive encouraging shoulder for Billy’s aching anthemic send-off. Like the friends who embrace you while still donning their knuckledusters.

The boys surely have his back on this one.

 

The storied public life and works of Mr. Chi Pig (Earth Name: Ken Chinn) started with the formation of SNFU in Edmonton, Alberta in Canada in the ‘80s. I personally was from a couple of hours south, so let me impart to you the influence and huge amount of PMA that their explosive early existence created.  The shockwave was thus… You (yes YOU!) too can come from a city trapped within the mind-numbing cotton wool of hundreds of kilometres of prairie boredom and tragedy and still stand up, be counted and heard. He and his band let ya know you could reach out and connect… you just had to be willing to work. Hard.

Many amazing songs came from the greatest titled albums (“Something Green And Leafy This Way Comes” anyone?). From the “get yer hands off the waitress, asshole!” hardcore skirmish of “She’s Not On The Menu” to the achingly beautiful “Painful Reminder”, they showed everyone you don’t need to be a one-trick kid. Just yourself. Your humour, your heart, your anger… they all can have a chance. Get on that road and let ‘em live.

 

So I think it’s fitting this song was written and recorded by The Black Halos. The bleeding sunsets they themselves chased lit fires and branded hearts and minds across North America and Europe. All along the miles of matchbook stages, hotel beds and floors… looking at the same neon lights blinking through the drapes that SNFU had.

There’s a family-like connection in that, and it shows.

 

Billy and Ken were close friends, seeing each other regularly in Vancouver over the years. Hopeless’s love and pain are evident in the song’s lyrics. “If you’re hearing these words, one of us ain’t alive”… writing after the fact a common knowledge or pact they both carried. That whoever remained would surely remember. “I never wanted to sing these words…” pouring out of his perfectly poised poison heart.

 

He does sing them, though.

The great singers are obituary writers in their own way. They take the thoughts and feelings we didn’t say or find hard to share, no matter how difficult to face, and make sense of them for us. Billy has taken his personal loss and made it into something universal that we can all carry with us to help us through our own experience.

 

All of this is guided by the perfect touch of Rich Jones’ late-night beer-light to guide us songwriting. This is one of the very best and most emotionally realised works of their long partnership.

 

Getting better after all this time. Still inspired and inspiring.

 

The excellent cover of SNFU’s “Rusty Rake” rounds this off nicely, taking their song and giving it a respectful and energised spin back home.

 

I’ll leave you with the words of Billy Hopeless himself…

 

“Just know this; whether you cry or smile when you think of him, it’s because he reached you. And you should never let go of that.”

 

All proceeds of the single will be going to the Chi Pig Mural Fund, for a tribute to be displayed in Edmonton, Canada.

Author: Rich Ragany

In true Halos style and a touch of class, they have pledged to donate all profits from the sale of vinyl and digital copies of the single to the Chi Pig Mural fund and as such, the songs will not be available on any streaming services.  You know what to do, you good people, you always do. Pick it up Here

 

Adam West – ‘Hi-Ball’ 7″ EP (Savage Magic Records)  Savage Magic Records is turning 10! …and what better way to bookend the first ten years than to release an Adam West record! Their first release was the live Adam West EP ‘Merci, Bon Soir!’. Ten years and over 50 records later, They dish up this little gem.

These three tracks were originally intended to make up half of a split 10″ EP on Munster Records in Spain, but something happened (as things often do) and this entire recording session from 1998 was shelved and remained unreleased in any form until now. Celebrating ten years of doing the record label, Savage Magic wanted to do something special with one of their all-time favorite bands.so here it is kids – Adam West’s “Hi-Ball” EP! The opening track is a high octane rocket ride that’s running on pure adrenaline and is of the finest vintage and being left for a decade to ferment has done it no harm as it sounds like it was penned yesterday and fired onto the wax or bludgeoned by a hefty les paul. ‘Hi-Ball’ might be a blast but the bass line of utter filthy proportions on ‘For All I Care’ is a real rush and as the song rattles along its nasty and snarling like a rabid dog.  Adam West and Savage Magic you spoil us with these tunes. If these two weren’t enough there is a third, ‘Something Wicked’ is a rolling riff of gargantuan proportions and it’s making my tweeters and woofers rattle like some old man’s dentures. If this isn’t a slice of supreme Rock and Roll of the action kind then I don’t know what is.  Awesome!

Pre-order it now Here but be quick they’re limited in colour and quantity

Check out Adam West here: Official / Bandcamp

 

 

Manne Olander Following – ‘The Misanthrope EP’ (Savage Magic Records) First solo effort from Deadheads frontman. Some classic garage rock anyone? Manne Olander comes outta the blocks like his backside is on fire and only gets more intense as the track unfolds.  The EP only gets better as the second track ‘Dystopia’ has plenty of thump from the lower end as the bass absolutely rattles my speakers.  Flip this bad boy over and there’s a stonking Rocker ‘Backstabber’.  Uncompromising Loud Rock and Roll just the way it should be.  Outlaws dancing with the devil and playing all the best tunes. Oh and Manne Plays everything himself! let that sink in as you spin his single!

Very limited number here – 100 on solid red wax, 100 on white wax, 100 on black wax.  Buy It Here

 

Guerrilla Teens – ‘Mad Love’ (self Release)  Well, fuck all for an age then all of a sudden you put ’em on lockdown and they want to monkey around making new music.  Recorded remotely our new favourite noisemakers from the mean streets of Portland, Guerrilla Teens are back in the house and this time they’re bringing some ‘Mad Love’ and of course, it’s a fuckin’ banger, what did you expect?

Catchy, sharp and shorter than an orangutang not one more track but two. How about some snotty Steve Jones inspired punk rock and roll riffage entitled ‘Gateway’? what a tune this is.  Possibly the best this fledgling band have offered thus far.  I only hope some fair-minded label picks these up and when they don’t have to social distance they get into a studio and record an album full of these songs.  It’ll be in my top ten for the year no question about that.  Go pick em up without delay – Here

 

The Lurkers – ‘Fits You Like A Glove’ (Damaged Goods Records) Yeah you read that right it’s the fuckin’ Lurkers! Stride, Moore, Esso are back swinging with this catchy little ditty. With a great big dirty riff with plenty of Chugg all the way to that chorus with its understated melody.  We might be a bit early here but we couldn’t wait in giving you the heads up.  The B Side ‘ When You Are Borderline’ is a bruising encounter from the thuggish riff to the chorus it means business and is pretty damn good. The A-Side is taken from the new long-player ‘Sex Crazy’  oh didn’t I mention there’s a new long-player?  Well, there is and if its got better songs than the b side which is exclusive to this single then I can’t wait to get an ear full. Catchy and a bit nasty – perfect! Limited to 500 copies on Yellow vinyl keep your eyes peeled Facebook

 

Young Francis Hi-Fi – ‘I Wanna Hold You Tight (Tonight)’ (Self Release)  Young Brighton punks kicking up a bit of a storm on this up-tempo Banger.  They claim to pen two-minute pop songs about love and getting high, well, it is what it is and these guys have the chops with a confident melodic slice of energy which we like a lot round these parts and I guess they walk the walk as well as talk the talk seeing as its less than two minutes long, about Love but we can’t corroborate if they were high when recording so two out of three ain’t bad. To add some context here this Berlin-born Brighton based punk hooked up with those Rotten Foxes which might be why we love it so much and probably why we can confirm that their mission statements must be true and he does indeed love to get high and if it wasn’t for The Black Halos this would be our pick of the pile no doubt about that. – now can we have an album full of songs like this, please? thank you kindly.       Check it out Here    Social media – Facebook / Instagram / Twitter

The Jailbirds – ‘Dull My Brain’ (Golden Robot Records) Some classic hard rockin riff-a-rama from Canadian Hard rockin trio. With big riffs, big hooks and big vocals The Jailbirds turn the clock back to cock rock o’clock.  Man this band sound like they were born several decades too late and had this been the late ’80s they’d be contenders with the big boys. Warrant and Dokken or on a technical side Mr Big fans should be all over this.

Facebook / Twitter / Instagram 

 

 

 

 

The Slackers – ‘Nobody’s Listening / Sleep Outside’ (Pirates Press Records) The Slackers are a band that shouldn’t need any introduction. They fuse the best elements of Ska and reggae.  Here they release two brand new songs that showcase what they’re all about and should put a big fat smile across your face. To be fair they’re poignant and send out a timely message when they are so desperately needed.  Evoking a sense of nostalgia and sending a message to your feet to not stand still and whilst you’re taking in the lyrics (and Grinning from ear to ear) remember to dance like there’s no tomorrow oh, that sax break on ‘Nobody’s Listening’ is awesome.  Check it out.  Facebook

 

 

Borracho with Jake Starr – ‘Borracho with Jake Starr’ (Savage Magic Records) In the not too distant past well 2015 to be exact at the  Strange Magic Showcase Night #1 in Pomona, Jake Starr took the stage with Borracho and knock out two amazing versions of Adam West classics. I’m reliable informed it sounded incredible, So much so that plans were made about getting these two songs recorded in the studio and releasing a 7-inch. Lo and behold, and almost five years later it is actually happening!

‘Sixth Son of a Seventh Son’ from Adam West’s 2002 single of the same name, and ‘Bulletproof’ from Adam West’s 2005 album ‘Power to the People’ are reconstructed Borracho-style! Again super limited amounts of this available with 100 on solid purple wax, 100 on solid green wax, 105 on traditional black wax. The A-side is loud and fair play to Borracho they are fucking loud even when the volume is on low its LOUD! Stoner Rock whatever you’d call it a good tune will always be a good tune and this is proof no matter how its reimagined it’s still a banger As for ‘Bulletproof’ it sounds like something Lemmy would have recorded around ’79 – heavy fuckers . Available Here

 

Nekrokraft – ‘Witches Funeral / Return of the Kvlt’ (The Sign Records) From Ska to classic Black Metal complete with church organ intro anyone who knows me knows I’m quite partial to a bit of Black Metal and the likes of Venom and Midnight will always have a space in my Black Heart and classic noisemakers like early Mayhem and Hellhammer too. so, Nerokraft (top name obviously) manage to cram in as many cliches as possible from the gruff scary vocals to the double bass thump and spooky scooby doo intro I only hope they wear Monks robes to the supermarket and corpse paint 24/7 and their favourite tipple is a vintage bottle of virgins blood.  Anyway, the first track even ends with a clap of thunder so far plays to that whilst ‘Return’ has a thrashing metal riff that goes for broke and is easily the pick of the two on offer here. this Swedish five-piece have re-recorded these tunes and still thrash like satanic mofos so job done.  Horns up motherfuckers Nekrocraft are in da house and it’s rather splendid and I’m delighted that they resisted going into Danni Filth territory with the vocals. Nice one gents Facebook

Throwing Stuff – ‘ACIYHAB’  (TNS Records) With a take on the classic Black Flag artwork Throwing Stuff are here to raise some money for Black Lives Matter UK and Food Not Bombs Myanmar so we’re always going to get behind good causes through music.  The band themselves will match the donations which is a fantastic gesture. The single was recorded across the locked down cities of Manchester, UK, and Yangon, Myanmar, where vocalist Ben now lives.ACIYHAB, which stands for “all coppers inside your head are bastards”, is about how police forces serve to both consciously and unconsciously control those considered a “threat” to the status quo. In your face punk rock is the order of the day and it should be supported. Buy Here       Facebook / Twitter

Volcanova – ‘Super Duper Van’ (The Sign Records) With their stoner heavy fuzzed-out rock riffs Volcanova Its the third single taken from their debut album ‘Radical Waves’ its got a big harmonic chorus wrapped up in an even bigger riff that is true to its fuzzed-out roots and God damn it I hear a cowbell! Never will there be a point where I don’t smile upon hearing a song with a cowbell in it and this is no exception. These Icelandic Rockers are cool as a polar bear sitting on an ice cube and they know it.  Wear those Kaftans with pride gents you deserve it.

Fontaines D.C. – ‘A Hero’s Death’ (Partisan Records)

Fontaines D.C. – ‘A Hero’s Death’ (Partisan Records)

Fontaine’s opener merely walks out of the traps.  It hasn’t got its proverbial chest puffed up it just strides confidently with ‘I don’t belong’ coming across like a band weened on the reissues of Joy Division but hooked on melodies from Mozza but with that delightful Dublin lilt.  The track never breaks sweat but neither does it want you to look away either.

In a world where bands don’t have to conform or look like they’re in a gang and often look as far removed from being in a band of uncompromising post-punk noisemakers that you could possibly imagine.  Fontaines D.C are like that and I doubt they give a single flying fuck what you or I think as to what a band should look like in 2020.  In a world where Idles and Sleaford Mods can seemingly walk on water and breakthrough into the mainstream then there’s always room for another and Fontaines might well be that band. this sophomore release rides the coattails of the debut in double quick time in case the streaming generation might forget who you are with the click of a mouse.

It’s not until  ‘Televised Mind’ do they get out of that strut walk I mentioned and you can finally take a breath and maybe move if you want.  It builds very much along the lines of a joy division with the guts being wrung out of the guitars effects.

Swirling Hawkwind effects signal ‘A Lucid Dream’ is taking hold. With some frantic drumming holding this number together this could be best described as space rock for the Covid generation as it ebbs and flows. Last year, Fontaines D.C. released their debut album Dogrel to widespread acclaim, garnering a legion of fans worldwide along the way. They toured behind it relentlessly. In another time, this would be nothing but a success story: A young band delivering on the hype rather than being swallowed by it. They should have been riding high; it should have been nothing but a triumphant year. But to hear the band speak of it, the whirlwind experience almost destroyed them. 

 

‘A Hero’s Death’. It’s an album that has its moments of frantic, claustrophobic songs that gasp for air often challenging the listener in challenging times.  At times there are songs full of charm like ‘You Said’ which is simple song as is the lite and beautifully simple ‘Oh Such A Spring’

 

‘A Hero’s Death,’ ‘I Was Not Born,’ and ‘Televised Mind’  all predate ‘Dogrel’ so if you liked that then there’s a fair chance this is going to ring your bell as well. They’ve not gone and done a Radiohead and cut their commercial throat deliberately here because they haven’t.  Fontaines D.C. know what the do and what they’re good at and hammer it home and using those principles they’ll never go out of fashion nor turn in a bad record like Idles they aren’t always an easy listen and that’s good because different tunes will leap on you when you least expect them to and those records have longevity and I like that dip in and dip out but you know they’re there. ‘Difficult angular sharp sounds for difficult times possibly the perfect chaotic record for the chaotic times we live in. At times challenging and others soothing and just nice.

Buy Here

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Author: Dom Daley

Black Sabbath – Vinyl Deluxe Edition of their iconic album ‘Paranoid’

Black Sabbath – Vinyl Deluxe Edition of their iconic album ‘Paranoid’

BLACK SABBATH CELEBRATE THE 50TH ANNIVERSARY OF THEIR ICONIC ALBUM ‘PARANOID’

VINYL DELUXE EDITION OUT OCTOBER 9th VIA BMG

Five-LP Collection Includes Original Album Plus Rare Quad Mix

Along With The Vinyl Debut Of Two 1970 Concerts

 

Also Available As A 4CD Set

 

PRE-ORDER THE ‘PARANOID: SUPER DELUXE EDITION’ HERE

Widely regarded as innovators of the musical genre which came to be known as Heavy Metal, legendary Birmingham-bred Black Sabbath celebrate the 50th anniversary in 2020 of their multi-million selling album Paranoid with a 5-LP/4CD edition released on October 9th, featuring the vinyl debut of two 1970 concerts.

PARANOID:  SUPER DELUXE EDITION includes the original album, in addition to a rare 1974 Quad Mix of the album folded down to stereo, plus two concerts from 1970, from Montreux and Brussels, that are pressed on vinyl for the first time. The five-LP set comes with a hardbound book with extensive liner notes featuring interviews with all four band members, rare photos, and memorabilia, a poster, as well as a replica of the tour book sold during the Paranoid tour.

After the success of the band’s self-titled debut in early 1970, Ozzy Osbourne, Tony Iommi, Geezer Butler, and Bill Ward returned that fall with Paranoid. The record became the band’s first album to top the U.K. charts and has sold more than 4 million copies in the U.S. alone. Today, songs like “War Pigs,” “Planet Caravan,” “Iron Man,” and of course, “Paranoid,” continue to inspire a new generation of musicians around the world.

PARANOID: SUPER DELUXE EDITION first two LPs feature the original album plus a Quadraphonic Mix of the album. Originally released on vinyl and 8-track cartridge in 1974, but subsequently long out of print, the Quad Mix has now been made available as a fold-down to stereo mix on vinyl for this set.

The collection’s final three LPs mark the official vinyl debut of two 1970 live performances. The first was recorded on August 31 in Montreux, Switzerland shortly before the release of Paranoid. It captures the band, already a tight musical unit, thundering through new songs like “Hand Of Doom” and “Iron Man” while mixing in “N.I.B.” and “Behind The Wall Of Sleep” from their debut album. The second concert was recorded a few months later in Brussels during the band’s performance for Belgian television. Unofficial versions of this classic show have circulated in the past, but they’ve never sounded this good.

Pre-order the ‘Paranoid: Super Deluxe Edition’ HERE:

 

Bandcamp Friday – some recommendations for August

Bandcamp Friday – some recommendations for August
One of the few good things to come out of Lockdown is Bandcamp standing by their toiled artists and offering the consumer a day to purchase to their heart’s content knowing that their money is going straight into the artist’s pocket. These events have been highly successful and a much needed financial assistance to musicians whose income has taken a potentially massive dent. There is a lot of content on Bandcamp and this can intimidate all of us, not knowing where to invest our hard-earned cash. Here are a few of my recommendations to consider if you are looking to get involved.. 
‘Exile Parlour’ – the latest release from Merseyside’s Post Punk rising stars Eyesore & The Jinx. Hypnotic basslines, beautifully distorted guitars and targeted concise lyrics giving them the make-up of a coherent Fall. Released on Eggy records. Currently, on Bandcamp, the bands discography is available on digital format for the bargain price of £6.19. What are you waiting for?

 

Neonic Sunrise
‘Lies Paradise’ – Debut LP from Moscow based Neonic Sunrise. Very hard to categorise this group with the sound changing and adapting track to track, with influences coming in the form of Garage Rock, Post Punk and Shoegaze. Stand out tracks for me being Heal and single Taste Your Lips being my favourite single of the year so far.

 

 

 

 

 

Bambara
‘Stray‘ (Wharf Cat Records) – Finally we have the third outing by the Southern gothic trio Bambara. This LP came out in February and was criminally overlooked but its not too late to get it on your album of the year list. Often compared to Nick Cave, although I feel they are an intimidating mix of both the Bad Seeds and the harsher Birthday Party with excellent Cow Punk chops giving a nod to the Gun Club at the same time.

 

 

 

 

Author: Dan Kasm

 

JSK & The Lockdown Lovers – ‘Lockdown Lover’  A late call up comes in the shape of Johny Skull Knuckles and his Kopek Millionaires who’ve recorded a special track for this special Friday on Bandcamp.  He’s also promised a special video to accompany it as well so get stuck in ya rock and rollers. Of course it’s good. Its got plenty of heart and exactly what you’d expect from Johny, great chorus and all the sleazy Rock and Roll chops you could want. the second track sees Skull Knuckles reach lofty notes he’s not reached in a while I’d guess? but he’s riffin like a good un here and turning up the Rock! go Johny and go good people of RPM Online world and support these artists on this Friday seeing as Bandcamp have done the right thing and given a bit more back to the artists who underpin their success.  (Take note Spotify and other streaming sites) Bandcamp

Rob Moss Interview Exclusive

Rob Moss Interview Exclusive
If Rob’s name is familiar it’s because he was a member of Government Issue and Artificial Peace — two iconic Washington, D.C. hardcore bands.

Looking to get back into the rock ‘n’ roll game, Rob called up old friends and friends of friends to record an album of new material. While a bass player in his past, Rob now plays rhythm guitar and sings lead vocals.

Tell us about your current album. How did it come together?

Rob Moss and Skin-Tight Skin is the first music I made since I was the bass player in Artificial Peace and in Government Issue in the early 1980s. A few years ago I picked up a guitar and taught myself some covers. Then I wrote a bunch of originals and posted them on Facebook. A friend asked if I wanted to record them in his studio.

You have a different lead guitarist on every song. Why is that, and how did you get them to play on your album?
I wasn’t sure I had time to put together a working, touring band. And asking a lead guitarist to record 14 songs as a favor would’ve been a lot to ask. I thought it might be easier to ask 14 guys to play lead on just one song. So I called up old friends and friends of friends, thinking the worst they could say is ‘fuck you!’ Only two turned me down.

 

But kidding aside, it gave me the chance to work with guys who mean a lot to me. Back in 1979, I first saw Marshall Keith in the Slickee Boys. They were having so much fun on stage that I wanted to start my own band even though I didn’t know how to play an instrument. And around the same time, I first heard Bob ‘Derwood’ Andrews on the first Generation X album. That those two guys – and many more of my favorite musicians – would play on my new album is beyond tremendous.

 

How did you get ‘Derwood’ to say yes?

I just asked him.

 

What’s the response been to the album?

Many people comment on the song quality. That even after hearing the album once, they find themselves humming the songs. The earworm thing. To me, that’s the best compliment.

 


What was the early Washington, D.C. scene like for you?
It was new and fun, and things happened fast. Brian Gay (the original bass player in the GIs) and I started writing songs before the Teen Idles or any of the Dischord stuff happened. But there were almost no all-ages shows back then. Marc Alberstadt (original drummer in the GIs) has brother a few years older than us. He’d sneak us into places. That’s how we first saw the Slickee Boys, the Bad Brains, Tina Peel, Sorrows and other bands.

Musically, Brian and I took cues from :30 Over DC – a compilation album of local bands that came out in 1978. We formed a band called The Indians around the same time that Government Issue started. Brian on guitar, me on bass, Mike Manos on drums and a female singer. After one show, Steve Polcari replaced her and we changed our name to Assault and Battery.

 

We were still in high school and played shows with S.O.A., Minor Threat, the GIs and others. In September of 1981, Brian went to art school in Chicago. So Pete Murray, who’d been in Red C, became our new guitar player and we changed our name again.

As Artificial Peace we played mostly in the DC area, Baltimore and New York City. We were on the bill with a lot of early hardcore bands, including the Bad Brains. We also played with Black Flag on their Damaged tour. Recording-wise, we did a few sessions. One of which had three tracks on the Flex Your Head album and that entire session was later released as an album on Dischord.

 

I was going to University of Maryland, while the rest of the guys in the band were going to community college or not at all. I’d come home on weekends to practice. I had limited time, I wanted to work on new songs. But, at the time, they were less driven. That led to the band breaking up. They formed Marginal Man, and I went on to join Government Issue and play on their ’83 USA tour.

 

After the tour I learned I got accepted to transfer to a school in Boston. Stabb and Marc understood. But Tom was not too happy, knowing he’d have to break in another bass player. And by that time, for me, the scene was not so fun. People took themselves too seriously.

 

Today it’s easy to know what’s going on in different cities. How did you do that pre-Internet?

I had pen pals. Vote Vasko in Finland. And a bunch of kids in LA, Northern California, Toronto, Vancouver and elsewhere. We’d send each other letters about what was happening. We’d trade flyers, fanzines, cassettes and vinyl. So, we were aware of what was going on in different scenes.

 

Of course, there was Yesterday & Today Records. Skip Groff, the owner, would bring back records from London. He’d stock imports. Other than trading, that’s where I got most of my punk records.

What’s your plan, post-pandemic?

Well, I was never completely set on forming a touring band. I’m more interested in songwriting. So how things will affect me once venues open up is unclear. And I’m not sure I could find one lead guitar player who could do all those songs justice. As far as recording a follow-up album, I’ve written more songs that are as good or better than the 14 on the current album. I’d like to record them. We’ll see.

 

The album’s available as a CD and digital download on Here on Rock On Records

 

Note: the full list of musicians on the album can be found on the Bandcamp page and the album’s available as a CD and digital download on Bandcamp at the link above

Folk Devils release first new music in three decades

Folk Devils release first new music in three decades

FOLK DEVILS have returned with their first new music in 33 years. The band blazed a trail across the UK’s independent music scene of the mid-80s with their unique brand of post-punk energy, known for their acclaimed indie-chart singles ‘Hank Turns Blue’, ‘Beautiful Monster’, three John Peel sessions, plus live dates opening for Nick Cave & The Bad Seeds, The Fall, The Gun Club, Screaming Blue Messiahs and others.

The 3-track Forever EP lands on 10” (clear red vinyl) and digital on 18 September via Optic Nerve Recordings and features two new compositions, the title track ‘Forever’ and ‘My Slum Soul’, plus an incendiary new version of an old live favourite ‘Ink Runs Dry’.

Recorded at London’s famous Konk Studios in North London and mixed and co-produced by Grammy Award-winning engineer Rik Simpson, the re-born Folk Devils drew inspiration for new recordings from the release of their 2016 career retrospective Beautiful Monsters (Singles & Demo Recordings 1984-86) and the excellent reactions at subsequent live shows around the UK with kindred spirits Membranes, Inca Babies, The Wolfhounds and The Cravats.

Founder members, guitarist Kris Jozajtis and bassist Mark Whiteley, reformed the group by recruiting members of a short-lived 1987 version of Folk Devils; guitarist Nick Clift and drummer John Hamilton. Together with singer Dave Hodgson they soon discovered they had created a well-oiled twin-guitar juggernaut that brimmed with the same restless, twisted blues that characterized the first and second iterations of the band from 1983-87 when they were fronted by the highly underrated and now sadly-departed singer/songwriter Ian Lowery. Hodgson, a fellow transplant from the North-East, had known Lowery in the early 80s prior to Folk Devils, when the two were in their respective post-punk bands Ski Patrol and Parting Shots.

Bandcamp / Facebook

THE BIRTHDAY MASSACRE / DIAMONDS UK TOUR 2021

THE BIRTHDAY MASSACRE / DIAMONDS UK TOUR 2021

THE BIRTHDAY MASSACRE
DIAMONDS
UK TOUR 2021

28.07.21  YORK Fulford Arms
29.07.21  NEWCASTLE Cluny
30.07.21  EDINBURGH Opium
31.07.21  GLASGOW Ivory Blacks
03.08.21  MANCHESTER Night People
04.08.21  NOTTINGHAM Rescue Rooms
05.08.21  WOLVERHAMPTON Slade Rooms
06.08.21  BRISTOL Exchange
07.08.21  LONDON Garage
tickets and information
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Due to the ongoing Covid-19 crisis, Canadian post-punk goth act The Birthday Massacre have been forced to postpone a November 2020 UK tour to promote their new album, ‘Diamonds’, which was released in late March. All nine shows have now been rearranged for the summer of 2021, as per the itinerary above.

The tour will be the first opportunity for UK fans to see two recently installed group members, drummer Phil Elliott and bassist Brett Carruthers, perform with the band. Carruthers is also the frontman of fellow Toronto-based act A Primitive Evolution, who released an excellent album of industrial tinged rock entitled ‘Becoming’ on Metropolis Records in 2018 and have remained an ongoing concern.

Thee Evil Twin / The Missile Studs – ’10 Piece Feed’ (Dirty Flair Records/No Front Teeth)

Thee Evil Twin / The Missile Studs – ’10 Piece Feed’ (Dirty Flair Records/No Front Teeth)

Always love a split when I like one of the bands and have no clue about the other but the fact they’ve tag-teamed means the odds are good that I’m gonna like what I hear. I’ve reviewed Thee Evil Twin before and love what they do.  It’s a no brainer for me I love me some sloppy loud punk rock with a tune like playing some pop song but trying to play tough to impress a girl so rough it up and chew some bubble gum Stiv style whilst you’re at it well that’s Thee Evil Twin that is.  ‘Let’s Go Again’ has got the 50’s girl group backing vocals repeating the guy lyrics and a super sloppy solo with a great hook on the chorus and plenty of handclaps – I’ll take it.

Don’t leave the room though because ‘Say The Wrong Thing’ is coming like a runaway train as it steams through your speakers. Call it garage Rock and Roll or garage punk call it what you like just make sure you call it. This release is tinged with sorrow as well for this is their swan song as Thee Evil Twin are bowing out and calling it a day which makes these songs a little bittersweet because as a band they totally rock and have some top tunage. But wait that’s only the half of it because as far as I know Their split partners The Missile Studs aren’t calling it a day so its a G’day from these Shitsville SA punks (Adelaide I’m led to believe). Five tracks from each is the order of the day and Side AA sees The Missile Studs open with Their theme tune and in fine snotty form its perfect Briefs, Ramones territory of punk rock.  The songs sound live and full of trash and they can count to four as they show off on ‘Stockholm Love’ as the sound hits you in waves of Dee Dee like melodies and Johnnys downstroke guitar thump.

It’s a very pleasant rendition of the Subs classic ‘C.I.D’ they do a wonderful job to be fair not fucking around with it yet giving such a classic the respect it deserves – good work. So Ten songs from two bands kicked out like ’77 never happened with passion and verve and I like it – its nice to just leap around the house to some Australians spitting out punk rock because they do it so well.  Get on it folks you know you want to.

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Author: Dom Daley

Tommy Ray Interview Exclusive

Tommy Ray Interview Exclusive

Well, with a brand new album on the horizon we wanted to get the lowdown on whats going on with Tommy Ray and where he’s at musically. Having been a long time admirer of The Cry! and his punk rock record The Decayed Tommy branched out as a solo artist with an impressive debut solo album so, it was time to find out what makes the guy tick and where he’s at with the new record so here’s what we got once we tracked him down…

Solo record number two already you seem to have hit a rich vein of songwriting.  Are you writing all the time?

Literally, “all” the time. It’s how I see life; big hooks and jagged verses. My mind is always busy making verse or thinking through a production.  Right now, not including “Handful of Hits” LP and the dozen tracks I am holding back for a third “The  CRY!” record (hopefully),  I have over 50 titles in some active stage of production.   I will never have time to finish them all.

As far a the quality of songs, I guess that’s up to the listeners.

I think most people saw The CRY! as your vehicle and you are their focal point for sure.  Where are you at with The CRY!?  Could you not just have released the solo album under The CRY! banner?  starting over even in the internet age seems like a bold move.

Naw. The CRY! is a band and that owes its sound from the members creating collaboratively. TOMMY RAY! Is me doing me.  They are similar sounds for sure but my solo stuff has a much harder edge and the lyrical content is more real-life and not as clean cut.

Right now, The CRY! is dormant. Brian Crace (singer/guitarist/co-founder) and I have some pretty bad blood going that needs to get taken care of before we can work together. In time I think we will work it out. Brian is my favorite guitar player and life is short.  I do have an LP worth of material and have five or so tracks nearly completed but there doesn’t seem to be the same energy to complete the project with Brian and I not working together.  Also, our bass player (Michael Cortichiato) recently left Portland to play with Dr. Boogey in LA (I love those guys and wish them all much luck).

Photo by Michael McDaniel Photography.

Going back to the debut solo record, I think it was a familiar sound obviously with your voice on it but there’s more of an edge to the sound, is that fair?  In your opinion was it the best record you’ve made to date? Even songs like ‘Coming Back’ whilst having the keys is a rougher edge.

All fair!  But the records are all different.  But, here goes:  It is really close but I like the first CRY! record better than the ‘Dangerous Game’ LP.  I recently listen to both and was really proud to be part of that.  They are both really great records but I like the rock & roll feel of the first record just a bit more than the glammy feel of the second record. Brian wrote more of the 2nd record (‘Seventeen’, ‘Hanging Me Up’, ‘Toys In The Attic’. He also co-wrote a few tracks) and that is reflected in the overall sound of the record.

Also, Evan “Maus” Mersky and Dave Berkam also were HUGE contributors to both studio LPs by The CRY!. Maus recorded, engineered, and played amazing drums while Dave is simply a brilliant all-around musician.  His current band “The Reverberations” are pretty cool.

I like the song-writing and production on the TOMMY RAY! Records because (as you accurately stated) the songs are honest, gritty, and produced only as much as needed to get the point across.  My mind is a pretty chaotic place these days and I think that that gets across.

Bottom line: I like the new “Handful of Hits” collection…(until the next record) Buy it!

The Decayed is real buzz saw punk rock DIY record?  What’s the story behind that record?

That’s my shit!  The Portland street-punk scene is where I grew up. I am proud to say that these songs were NOT all written by me. There are songs written by my early bandmates that we played at hard-core house shows and notorious drunken events.  We had no way of recording tracks at the time, I didn’t want the songs to be lost, and I still feel the youthful angst so I figured it was time roast those old chestnuts one more time.   My old bandmates are super psyched to see me bring back those piss & puke proven classics!   My next record project will likely be a 2nd Decayed record.

Coming up to date tell us about the new record?  Whos playing on it?  Where was it recorded?  What’s it sound like?

Truthfully, I played guitar of only a handful of The CRY! recordings.  We had better players in Maus, Dave and Brian so I was happy to just write songs and sing my parts.   We always said that the best player should record the parts, and they did!   Of course, I played the parts live.

Now, I have learned how to play all the instruments so when I made “solo” music, I did it solo.  I mean, I recorded all the parts tracks myself here in Portland.    I think Brian may play a guitar part (like on Suzanne from the last LP) and Corsh was involved with recording a couple of tracks but the most part it’s all me.

It sounds like me.  Not sure who to compare it too… it’s honest…

What’s the lockdown been like for Tommy Ray?

Fucked.

I don’t like it.

I just don’t like it.

What influences have been coming out in your new record? I remember hearing a banana stand performance where you did modern kicks and thinking it was the perfect cover for you and you totally owned it?  What other covers you been jamming on?

I seem to recall you asking this question a few years back and my answer is the same as always. Ramones. Exploding Hearts.  Ramones. Paul Collins. Ramones. Beach Boys!

I really like a 3 min pop song that moves.  You know, “Don’t bore us. Get to the chorus.”

I’ve been playing tons of music and busking in downtown Portland during the recent protests.  Where there are people, I will play music.   I play mostly standards from the past 50 years.  Never gets old.  It’s my favorite thing to do.  My dad plays a little guitar and slams through the old hits like a savage for hours.  I learned from him…

Pandemic easing what are the chances of you coming to Europe and the UK for some shows?

Hell yeah, invite me and I’ll bring the boys and kick it.  I’ve never been to the UK.  I would like to tour Scandinavia too.  My “never suck” policy means the shows would always be epic!

What other bands and performers out there currently delivering the good in your opinion? Who would you think were the right bands for you to go out on tour with?

I’d love to tour with Green Day.  They bring the goods and I could learn a ton from Billy Joe. Mad respect there. Tuk Smith and the Restless Hearts are crushing it these days. Love his shit.   Shit, there are so many great talents out there    I will tour with anyone that is not boring.   Too many live acts are fucking boring.  Great skills, okay songs, but boring and lacking any “rock & roll”.

So there you have it. the new solo album is out in October and its a belter if you’re already a fan then you’ll love it and if you’re not – why not?  Its only Rock n Roll kids and Tommy Ray does it really well.

 

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KERBDOG ANNOUNCE REISSUES OF SELF-TITLED DEBUT & “ON THE TURN” OUT NOVEMBER 6TH

KERBDOG ANNOUNCE REISSUES OF SELF-TITLED DEBUT & “ON THE TURN” OUT NOVEMBER 6TH


The cult Irish alt-rock quartet, Kerbdog, have today announced that they have teamed up with Hassle Hindsight, the recently launched re-issue label from the team at Hassle Records, to re-release their 1994 self-titled debut and its heralded 1997 follow-up “On The Turn”, their last full studio album before their first break-up in 1998.

Despite a small handful of re-union shows over the last decade, working on new material and putting out a live record, “Congregation”, released to acclaim in 2014, the setlists for those shows have been almost entirely made up with songs from their much-revered two 90’s albums.

“On The Turn” – which was recorded with Garth Richardson at the legendary Sound City Studios in Van Nuys, California – was a near perfect album, one that front-man Cormac Battle most recently described as “the right album, at the wrong time”. Their 1994 self-titled debut was recorded with Jack Endino, the producer of Nirvana’s “Bleach”, at Rockfield Studios, with Sepultura recording Chaos A.D. at the same time next door. Cormac says of their raw debut record: “I think some of what they were doing seeped into what we were doing. It made the record heavier and more chunky than we intended, but we were happy with the results.”

The band’s songs were powerful and inspired – like those early Dave Grohl songs of the same era – by the likes of Husker Du, and then Bob Mould’s subsequent work in Sugar; both direct and melodic, heavy but immediate. Kerbdog were, to many, their new favourite band.

However the explosive success of Britpop meant that their singles were at odds with daytime radio playlists and the mainstream press of the time, seeing them subsequently dropped by Mercury Records, two albums into a six-album contract. They struggled on for a year before playing their final show in Dublin the following year.

While the band looked initially destined to reside in the footnotes of rock history, their fan base unexpectedly grew and their albums, while out of print, seemed to find their way into the homes of determined rock fans. Recently an LP copy of “On The Turn” went for an eye-watering £300 online.

The attendances for their reunion shows – often five times the amount of people they played to while touring “On The Turn” – and the clear interest from people in hearing these records again inspired long-term fans Hassle to assist the band, and who will be releasing the records complete with their original artwork and liner notes.

Cormac says of the reissues: “It’s truly humbling to be bringing out the two Kerbdog albums on vinyl. They’re for the fans who’ve supported us from the beginning and vindicated those albums across the years, for those who came on board after we thought the albums were dead and buried and also for ourselves – mainly because I have only one copy of the On The Turn LP and I can’t afford to pay the extortionate prices on eBay!”

Pre-order “Kerbdog” and “On The Turn” HERE