Suzie Stapleton ‘Angel Speak’ video

Suzie Stapleton ‘Angel Speak’ video

from album  ‘WE ARE THE PLAGUE’
Negative Prophet Records/Cargo Records
VOTED TOP 20 ALBUMS OF 2020 
“A dazzling debut album of guitar rock, fused with the primal spirit of blues and gospel… Blending the spirit of Patti Smith and PJ Harvey with the soul of Nick Cave and Mark Lanegan.

The album, which Stapleton self-produced, was recorded with her band which shares members with The Stranglers and Jim Jones Revue. However, ‘Angel Speak’ is a stripped back affair with Stapleton making a switch to acoustic guitar and her delicate vocal taking centre stage.

Stapleton filmed and edited the video herself, collecting footage through the changing seasons over the past year around her home town of Brighton. “A year,” she says, “when great beauty has shone from small things often taken for granted and passed by in the rush of life.” Full press release below.

Stapleton will be playing her first shows in 20 months supporting Humanist in the UK in October. She is also working on a follow up album with funding from Arts Council UK.

Suzie Stapleton
Tour Dates October 2021
Supporting Humanist 

Saturday 23rd – Academy 3, MANCHESTER
Monday 25th – The Prince Albert, BRIGHTON
Tuesday 26th – The Lexington, LONDON (Sold Out)

Evo’s Songbook of Filth (the songs that help inspire the Metal Anarchy of Warfare)

Evo’s Songbook of Filth (the songs that help inspire the Metal Anarchy of Warfare)

Having just released the excellent ‘Songbook of Filth’ retrospective via Cherry Red/Hear No Evil Recordings. RPM’s Johnny H caught up for a brief chat with Evo, drummer and singer with UK punk metallers Warfare to discuss the songs that helped inspire the total armageddon his band unleashed on the rock world, initially back in the early eighties.

 

Hi Evo thanks for chatting with me today so let’s start at the beginning. What initially gained your interest is listening to music?

 

“When I was only a kid, I dreamed about making records and being on stage and ‘Turn It Down’ by The Sweet (from 1974’s Desolation Boulevard album) sounds amazing if played very loud with the bass up.  I may one day even do a cover of it only noisier.”

 

 

You’ve always called Warfare “metal punk” but what bands from the halcyon days of both those genres initially inspired you?

 

“It has to be UFO and ‘Let it Roll’ but the version from the Paris Theatre BBC in Concert 11th December 1975 (available in the UFO – At The BBC box set) that track really was a forerunner along with the Ramones ‘Commando’ live at the Rainbow Theatre on New Year’s Eve 1977 (from the ‘It’s Alive’ album). The aggression in both tracks is superb.”

 

Was there a song from those early days that made you think “I can do that”?

 

“I was always very anti conformist and raised hell in school but when I first heard ‘Do Anything You Wanna Do’ by Eddie and the Hot Rods (from the 1977 album ‘Life On The Line) my destiny became clear and indeed the guy who played bass on it, Paul Gray, also plays on the new Warfare album.”

 

 

There is something about that era of music here in the UK that just oozes class and attitude and when you look back at the charts from late 1978 to around 1981 its like a mini masterclass in how to write great tunes, would you agree?

 

“I just love rock ‘n’ roll period and there are many songs to choose from but for charisma and attitude and good lyrics I like ‘No Time To Be 21’ by the Adverts (from their 1978 album ‘Crossing the Red Sea with The Adverts’), ‘Ugly’ by The Stranglers (from their 1977 album ‘Rattus Norvegicus’ and ‘Over the Top’ (originally the B-side from the Bomber 7” released in 1979) by my mate Lemmy and Motorhead.”

 

 

You got to work with Lemmy when he produced your Metal Anarchy album and more recently you also worked with Lem’s old pal Pete Way (who plays bass on ‘Misanthropy’ from Songbook Of Filth). What was it like working with him?

 

“His bass sound is unreal and for that reason I’ll add ‘Fortune Town’ by Mogg/Way (from their 1997 album ‘Edge Of The World) which has the same sound Pete got for the WARFARE stuff. The legendary Thunderbird bass through an Ampeg amp. This is another song if cranked right up is great stuff.”

 

Finally, as you’ve included tracks from your bands prior to Warfare (Major Accident, The Blood and Angelic Upstarts) on the new album what track has really stuck with you?

 

“An album that should have been much bigger, which I actually played on, was the Blood’s 1983 debut ‘False Gestures for a Devious Public’. the song ‘Degenerate’ is a belter and I would love to re-master the full album and get it released.”

 

Thank you, Evo, it’s been great chatting with you and discussing your influences. I wish you all the best with ‘Songbook Of Filth’, and here’s the video for Misanthropy for all our readers to get a taste of what Warfare sounds like in 2021.

 

“Cheers!”

 

 

You can read Johnny’s review of ‘Songbook Of Filth’ right here on RPM and you can pick up your own copy direct from Cherry Red Records via the following link.

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Author: Johnny Hayward

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The Libertines drummer Gary Powell has announced ‘THE INVASION OF…’

The Libertines drummer Gary Powell has announced ‘THE INVASION OF…’

The Libertines drummer Gary Powell has announced ‘THE INVASION OF…’ his first NFT via eco-friendly NFT platform Serenade.

 

‘THE INVASION OF…’ sees Powell collaborating with New York visual artist Josh Klaw and veteran Hollywood TV writer Jim Martin to create a unique digital art experience. ‘THE INVASION OF…’ is currently being developed as a graphic novel and animated film that serve as companion pieces to Powell’s debut solo album.

 

There will also be three limited edition NFT GIFs, and three numbered digital prints.

 

“There is no longer a libretto like brief to read at the back of an album to tell you what you have purchased or how the work was completed and by whom. There’s not even really the physical experience of playing your purchase as for the majority this has been digitised.  I want to take the experience we once cherished and place it into a familiar frame work that is the world we live in now so you can hold something whilst you listen and watch something that ties the whole experience together.” Powell says of ‘The INVASION OF…’

 

Renaissance man, Powell is a contributing writer for the New York magazine Ubikwist. He hosts his own radio show, DJs around the world, runs his own record label (25 Hour Convenience Store) and is an ambassador for the charity Restore the Music. He has toured with Dirty Pretty Things, The Specials and New York Dolls. He has released three albums with The Libertines – Up The Bracket (2002), The Libertines (2004) and Anthems For Doomed Youth (2015). Powell will be touring the UK with The Libertines in November and December.

 

Josh Klaw is a multidisciplinary visual artist and filmmaker. After years working for start-ups, big brands, ad agencies and private clients in the multiverse of commercial illustration, storyboarding, cinematography, feature films, fashion photography and influencer content, Mr. Klaw is transiting the portal from analog deliverables into block chain art and crypto culture. His previous clients have included Society 6, Athleta, National Geographic Channel, Merck, Novo Nordisk, Ecos, 3Doodler, Clorox, Temple Run, Dreamworks, Tillamook and Apple.

 

Writer Jim Martin is a BAFTA award / BANFF award / Webby Award / PGA Award winning Emerson College graduate who has written for film, television and the Internet. Jim’s first writing were on NBC’s HEROES. Jim wrote and produced HEROES’ web series’ and graphic novels, writing on Season 4 of the show (An episode he titled LET IT BLEED). Between seasons of live action TV, Jim has written episodes of myriad animated series including MARVEL’S SPIDER-MAN, Bleacher Report’s CHAMPIONS series, Blizzard/Activision’s Netflix series SKYLANDERS ACADEMY, as well as Hasbro’s MY LITTLE PONY. Jim has also been nominated for an International Emmy and an NAACP award.

 

About Serenade

Serenade is a ground-breaking new artist/fan-centric music platform, which aims to break down the barriers to entry surrounding Non-Fungible Tokens (NFTs) and make them easily accessible and affordable for artists and their fans.

 

Launched by Australian tech entrepreneur Max Shand, the eco-friendly music-based platform produces 1/44,000th of the carbon emitted by a standard NFT (or 1/10th of the energy usage of a Tweet) through an energy efficient NFT authentication method called ‘Proof of Stake,’ a counterpoint to the standard Ethereum ‘Proof of Work’ method.

 

Purchases are made using a Debit/Credit card via Serenade’s check out facility, designed to function as a standard ecommerce site, with the platform handling the creation of a digital wallet and transfer of traditional payments into crypto currency.

 

Serenade launched in August 2021 with music-related digital collectibles that included unreleased tracks, limited edition artwork and VIP ticketing and experiences.

Serenade’s Environmental Credentials Explained 

Serenade NFT emits just 1/10th of the carbon of a tweet, which comes to 1/44,000th of the footprint of a normal NFT. We do this through an energy-efficient NFT authentication method called ‘Proof of Stake,’ a counterpoint to the standard Ethereum ‘Proof of Work’ method.

 

This marked improvement is a result of the Serenade platform being built on top of a layer two blockchain called Matic. Matic has a trusted relationship with Ethereum, which means it doesn’t have to go through the exhaustive process of proving every NFT transaction to the blockchain, but rather achieves this via collective proofs.

 

Not only does this lead to far better ecological outcomes, but it lowers the cost of creating NFTs so artists can be free to produce more work for their fanbases without bearing any gas fees.

 

Not sure what an NFT is? An NFT is essentially the same as a physical limited-edition merch item, like vinyl or an artwork, only a digital file. The owner holds the copy of the digital file but not the copyright within it, as they would with a physical item, and they can sell their item at any time to another fan.

 

“To date, the NFT market has been living in the cryptocurrency world; Serenade is here to shift that, opening up affordable access to NFT     s to true fans everywhere with a credit or debit card.”

 

Serenade is already providing unforgettable moments for music fans across the country. Head over to serenade.co to see how.

 

 Gypsy Hotel 15th Anniversary Show – Hootananny, Brixton – 25th September 2021

 Gypsy Hotel 15th Anniversary Show – Hootananny, Brixton – 25th September 2021

It’s been 10 years since I was first introduced to the crazy world of The Urban Voodoo Machine, and I have seen this East London based bunch of ne’er do well’s more times than I can remember. But what is it that keeps me coming back for more? I think it is the fact that every show is different, you never know what you are going to get and they deliver the most exciting and entertaining live show this side of the pond. Chief mouthpiece Paul-Ronney Angel also hosts a club night once a month called the Gypsy Hotel, showcasing the best in underground talent, whether that be rock n’ roll, outlaw country, comedy capers or fire breathing burlesque acts. An eclectic and edgy evening is always guaranteed and it’s all rounded off by the coolest soundtrack delivered by DJ Scratchy.

 

I’ve always fancied it, but never got my act together to go. Now, a combination of gig starvation due to Covid, a 15th anniversary show right in the heart of Alabama 3 territory of Brixton, and the added attraction of Jack White opening his London branch of Third Man Records in Soho on the same day. It seems the stars have aligned and I cannot miss this opportunity.

The Hootananny is a great venue, the perfect setting for this night in fact. Food, drink and conversation flow into the night before the first act Kelley Swindall takes to the stage to warm things a little after 9pm. The Georgia-born/NYC based solo artist blends soulful and whimsical folk with old school country to perfection. With a sparkly blue jumpsuit, a cheeky dollyesque smile and a Johnny Cash delivery she turns out to be quite mesmerising to watch and listen to in equal measures.

 

The skiffle scratch of ‘My Minglewood Blues’ fits the bills nicely and the tongue-in-cheek storytelling of ‘California’ is a hoot to experience. With a killer voice, a charismatic disposition and classic 70’s California looks, she sure has it going on.

 

Kelley has been touring dives and juke joints for 10 years, she sure knows how to work a crowd and you can tell these songs have been thoroughly road-tested. An enjoyable set that leaves me wanting to go check out more of her material.

Up next we have some old school burlesque entertainment with the cheekily titled Trixi Tassels. She struts her stuff to an extended version of ‘St James Infirmary’ and seems to enjoy every moment of her act as much as the guys and gals that are slowly but surely filling up the room. The whooping and hollering only spurs Trixi on as she removes item by item, ending up on her back removing her stockings with some feigned and brilliantly over-acted trouble. She even gets one undergarment stuck, hanging on the Hootannany sign right above her head where she threw it, and ends her show setting her nipples on fire for some flame-filled tassel twirling, much to the joy of the appreciative crowd.

 

In this age of political correctness, it seems so fresh and exciting just being entertained by one of the oldest and simplest forms of club entertainment. Long may Trixi Tassels twirl her twirly bits!

 

 

It’s been nearly two years since my last UVM show and I believe they have only done a couple of gigs themselves in recent weeks leading up to this show, but you would never know by their performance tonight. The gang are all present and correct as they take to the stage to the instrumental ‘Theme From The Urban Voodoo Machine’ and it’s like they’ve never been away. With more black than red on show tonight, the lead players P-R Angel and saxophonist Lucifire lead the band through a shorter than usual killer set of spaghetti western tinged rock n’ roll with heaps of crazy, carnival sized goodness. The ‘In Black n’ Red’ one-two of ‘High Jeopardy Thing’ and ‘Cheers For The Tears’ is like welcoming back two old friends. The former, an old school juke joint classic, the latter a more bombastic statement of intent. Both full of brass, both completely rock n’ roll.

 

Recent past singles ‘Living In Fear’ and ‘Johnny Foreigner’ fit the set just right now, and lyrically both seem more relevant than ever. ‘Orphan’s Lament’ is always a live highlight and the following ‘Crazy Maria’ has become a personal favourite over the last few years. Guitarist Tony Diavalo has come into his own in recent years since filling the Cuban heeled boots of fallen brother Nick Marsh (RIP). Here, he takes to maracas and mariachi style hollering to add Mexican spice to proceedings.

The new single ‘Empty Plastic Cup’ is a cool taster for the upcoming album ‘Snake Engine Oil’, which is due at the end of the year. Full of twangy guitars, “hoo-haa” chants, bursts of brass, and a killer chorus refrain to sing until the Tories are ousted, what more do you need?

 

The energy and electricity created onstage reverberate through the now packed room and as the temperature rises, the drinks flow and people lose their inhibitions and the Gypsy Hotel comes to life as the club night I always hoped it would be.

 

‘Goodbye To Another Year’ seems the perfect set closer tonight. A celebratory drinking song and a testament to all that is good about The Urban Voodoo Machine. Much more than just a band, The Urban Voodoo Machine is a collective who ply bourbon-soaked, gypsy blues bop n’ stroll music and every show is a party. They were on fire tonight and it’s a much-needed welcome back to one of the UK’s greatest live bands.

 

You either have to be very confident or very stupid to follow a set from The Urban Voodoo Machine. Luckily The Future Shape Of Sound ooze confidence from every pore. No strangers to playing with P-R Angel’s mob or even playing The Gypsy Hotel, Alex McGowan (aka Captain Future) and his band make the night their own from the moment they step onto the stage at around 1 am.

“Welcome to the Church Of Rock n roll!” shouts the frontman with a statement of intent before launching straight into ‘Toe The Line’. Their brand of East London street gospel is bluesy, primitive, and downright infectious, and the packed and sweaty room lap it up. The band is basically guitar, bass, drums, and keyboard, but the addition of a four-piece, all-girl backing choir, stand-up drums, and ace-in-the-hole lead vocalist Debbralee Wells makes for a massive sound that fills the room.

 

With a domino mask covering her eyes, more sparkle than a clear nights sky and enough black feathers to fill a witch doctor’s duvet, she cuts a striking figure, but it’s that amazing voice that brings the show alive. Tonight, she puts the soul in rock n’ roll leaving Captain Future free to direct the band around her. Pulling off the Ronnie Wood meets Johnny Thunders look with ease while pulling licks on his guitar, he nods and gives cues to the band, especially to stand-in drummer Joni Belaruski from The Great Malarkey who doesn’t miss a single beat all night.

 

‘Rise Up’ brings the party early. Like a mix of the Clara Ward Singers and the Blues Brothers hosting the party at the end of the universe, it sounds sublime. What I do notice is that, unlike a lot of gigs in recent times, everyone is dancing and joining in, ok so it is way past the witching hour and the drinks have been flowing for a good few hours, but this feels like a proper club show rather than just another gig. I love this. People of all ages are dancing, singing and falling over, a young couple are getting off with each other to my left and groups of young girls who have probably never heard the band before, or even been to a live show before, will have their lives changes…maybe forever.

The slow groover ‘Number One’ comes on like Aretha singing Alabama 3 and is a welcome breather before ‘Joy’ takes us to church. That cool Hammond introduction, the sweet soulful lead vocals. It kicks in, as upbeat as you like it. The band giving it their all. The full backing vocals fill the room and everyone goes wild.

 

Various UVM members join for the closing cover of ‘Help Me Jesus’ and then they encore with an alternative version of ‘Rise Up’.

 

A night at the Gypsy Hotel exceeded all my expectations. All the acts were on fire (some literally!), the setting was perfect, the atmosphere was electric and the crowd very, very drunk! I can see why it has the reputation it has and is still going strong after 15 years. The Gypsy Hotel attracts rockers, ravers, lovers, and sinners and we all come together to celebrate and escape the reality of everyday life to create our own reality.

 

Get a night at the Gypsy Hotel on your bucket list and thank me once you’ve recovered. The benchmark has been set for gig of the year.

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Author:Ben Hughes

Photos: Ben Williams

 

 

 

 

Sonny Vincent – ‘Snake Pit Therapy’ (Svart Records)

Sonny Vincent – ‘Snake Pit Therapy’ (Svart Records)
Sonny Vincent, perhaps the ultimate Punk Rock’n’Roll survivor. He may not be a household name or even show up on your atypical ‘punk’ Spotify algorithm playlist, but he has led a life and acquired a CV that cannot be overlooked or dismissed. Having worked with an array of different musicians deep inside the pop culture subconscious from the Stooges to the Damned, from the Velvets to the Replacements, and seemingly everyone in between.
With all this and his countless solo offerings, you would be knee-deep for months trying to do an inventory of his Discogs page in order to ascertain what number we are at with the current release ‘Snake Pit Therapy’. Kicking off with a couple of solid alt-rock and garage punk-tinged tracks, it’s the third song on this record, ‘The End Of The Light’, that really picks you up and starts brawling off of the speakers. Bob Mould esque in all the right places (this guy really truly knows how to get the right guitar sound). Minneapolis certainly rubbed off on this guy. And the same can be said straight after on ‘The Rain Is Black Again’, less of a brawler and more of a fun, upbeat anthem drenched in Californian or Frisco sunshine. Catchy as hell.
It’s hard not to admire Sonny’s honest, weather-worn lyrics. Songs like ‘Never Tired’ hitting you full throttle, revealing to the listener what it’s like walking in his shoes on a seemingly endless journey, yet showing us almost endless optimism in the next breath. Listening to the lines in ‘Another Land’; not looking back because of the hurt but still dusting yourself off and moving forward. ‘Ruby Diamond’ is a freight train hitting a borrowed riff of ‘Train Kept A Rolling’ but amped up and spat out.  Sonny may never be nominated to be poet laureate but what he says is beautiful yet rough around every last edge, like a rock’n’roll Mickey Rourke.
A great attribute for this record is that it’s a good starting point for those, like me, who are uninitiated with the majority of Sonny’s work. The record itself is an all-rounder for showing off his wears but builds a fire inside and a desire to seek out the rest. We all know too often how intimidating it can be to break into an artist’s substantial body of work. You needn’t worry in this case, ‘Snake Pit Therapy’ will slip into your record collection, as comfy as an old pair of Converse offering the listener the best jumping-off point to deep dive further.
Sonny is the legend in your lifetime with a heart as big as a bass drum pounding out tunes with relentless quality and craft, grab it now rather than reading up on it 30+ years from now full of envy for the past.
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Author: Dan Kasm

Rainy Days & Mondays

Rainy Days & Mondays

John E Vistic is a British-Australian, Bristol-based singer-songwriter, and the lead singer and guitarist for The John E Vistic Rock N Roll Soundsystem. Vistic is also lead guitarist with James Ray and the Blackhearted Riders, most recently touring and playing on their Broken Glass & Bullet Holes album. James Ray is known for his work with Gang War and The Sisters of Mercy. Vistic was lead singer with the band Crippled Black Phoenix on their ‘No Sadness or Farewell’ album and tour. Vistic’s last solo album Welcome Down the Night, was produced by Tristan Longworth (Jon Allen/The Third Degree). It features collaborations with members of Primal Scream, Morcheeba, Jon Allen, the Marc Ford band, and Rachel Stamp, as well as Katey Brooks and Vistic’s own band The John E Vistic Rock N Roll Soundsystem.

Find John E Vistic online at:WEBSITE / BANDCAMP /YOUTUBE

 

Produced by Bitch Queens (2021). Camera & Cut by Christian Taro. Assistance by Dominik Asche. Drones by David Löffel & Simon Lichtenberger. Spotify: https://spoti.fi/3BNrYoY Shop: https://store.bitchqueens.com

 

RISKEE & THE RIDICULE HIT THE ROAD! with new EP

RISKEE & THE RIDICULE HIT THE ROAD! with new EP

RISKEE & THE RIDICULE HIT THE ROAD! LIVE DATES ANNOUNCED FOR 2021

 

BUY/PLAY THE EP HERE:   /  WATCH THE VIDEOS HERE:

 

 

 

Bar a couple of decidedly new-un-normal ‘socially-distant’ gigs in 2020, like all bands and music fans, Kent punks Riskee & The Ridicule have been completely starved of the very air and nourishment that makes life worth living and keeps us alive, the lifeblood that is live music. But it’s coming back, big time…

 

“It’s finally looking like we’re getting back to some version of normality for the time being,” states frontman Scott Pickering. “I’ve been grafting in the rain and shovelling shit for the last year. Everyone’s pissed off and aching to get back on stage or in the pit. You don’t know what you’ve got till it’s gone, so expect Riskee & The Ridicule to be the biggest, loudest, angriest beast you’ve seen. We’re going to take every opportunity with both hands and excel. We’ve put together the songs we released during this weird time in one new EP to mark the moment and move forward, we can’t wait to get out there. See you soon…”

 

Making up for lost time, Riskee & The Ridicule have a series of gigs to keep them going for the rest of the year (full dates below), and the new EP titled ‘Too Young To Be Blue’ out through Bomber Music on September 10th that, as Scott states, collates together the three tracks the band released online throughout the pandemic, that they recorded just before Covid hit.

 

Featuring the Brexit-baiting ‘Blue Jacket’, their majestic cover of Lana Del Rey’s award-winning 2013 smash-hit, ‘Young and Beautiful’, and ‘Backwords 2’, a song that links back to the song ‘Backwords’ that was featured on their 2017 album ‘Blame Culture (“a song about the influence of the media on the general public, how they can be so easily swayed by spun truths and false words,” stated Scott), the ‘Too Young To Be Blue’ EP wraps up this strange and restrictive time in the bands lives and with hope, they can move on and detonate on stages across the world forever more…

 

Play and buy the ‘Too Young To Be Blue’ EP HERE and watch the videos HERE:

 

Catch Riskee and the Ridicule at the following dates in 2021:

 

October

30 – Music Hall, Ramsgate

November

6 – Ghost Road Fest, London

19 – Patterns, Brighton

20 – The Hobbit, Southampton

December

2 – Fulford Arms, York

3 – Old Cold Store, Nottingham

26 – Ernesto’s, Sittard, NL (with Jaya The Cat)

27 – Garage, Saarbrëucken, DE (with Jaya The Cat)

28 – Batschkapp, Frankfurt, DE (with Jaya The Cat)

29 – Conne Island, Leipzig, DE (with Jaya The Cat)

30 – Resonanzwerk, Oberhausen, DE (with Jaya The Cat)

THE CHARLATANS 30TH ANNIVERSARY TOUR DATES + NEW BEST-OF COMPILATION ‘ 15 OCTOBER – CD, 2CD DELUXE, 2LP, 3LPX EDITIONS

THE CHARLATANS 30TH ANNIVERSARY TOUR DATES + NEW BEST-OF COMPILATION ‘ 15 OCTOBER – CD, 2CD DELUXE, 2LP, 3LPX EDITIONS
THE CHARLATANS proudly announce their (Covid) delayed release of their 30th Anniversary tour and a career spanning best-of entitled: ‘A Head Full of Ideas’. 
 
Released on Then Recordings through Republic Of Music,‘A Head Full of Ideas’ will sum up their remarkable progress from 1990 Manchester scene hopefuls to one of the UK’s most enduring and best-loved bands. 
 
Over the years, the band have notched up 13 Top 40 studio albums – three of them number ones – alongside 22 hit singles, four of them top 10. The rollercoaster highs have been accompanied by some shattering lows, any which one of them could have felled a less resilient band, from nervous breakdowns to near bankruptcy and the deaths of two founder members.
 
Somehow, they have not just carried on but adapted and transformed. The classic Charlatans sound – driving Hammond organ, Northern Soul and house-influenced rhythms, swaggering guitars and Tim Burgess’s sunny yet somehow yearning vocal – is instantly recognisable. And in spite of everything they have been through their music is now more relevant than ever, The Guardian described their last album, Different Days as “one of their best ever”. 
 
The ‘A Head Full of Ideas’ album will also be available as a 6 vinyl LP Box Set. This limited edition set, is a diverse collection portrayed over five Transparent blue vinyl LP’s, spanning their hits, classic live performances, unheard demo’s and rarities and remixes. Within the box will also be an exclusive Original Demo’s 7” featuring ‘Indian Rope’/’The Only One I Know’, as well as a signed print of a tour poster from the early 90’s, a booklet featuring unseen photographs and sleeve notes by friend and journalist Dave Simpson. Their iconic and hugely adored live track One To Another (circa 1997) provides the titles for the individual vinyl collection within the box set. Each piece of vinyl is named after a lyric from the song. 
 
There will also be triple vinyl LP version and 2CD deluxe version featuring the hits albums, plus a bonus live album ‘Trust is For Believers’, and finally a cd or vinyl of just the hits albums.
 
In celebration of the new best-of album, an accompanying Winter Tour will begin at Belfast, Limelight 22/11/21 and finish in Aberdeen on 20/12/21. With tickets on sale now, full dates and details are as follows: 
 
30TH ANNIVERSARY – LIVE DATES:
November 2021
22nd Belfast, Limelight
23rd Dublin, Olympia
25th Buckley, The Tivoli
26th Bristol, O2 Academy
27th Birmingham, O2 Academy
29th Bexhill De La Warr Pavilion
30th Bournemouth, Academy
 
December 2021
02nd Oxford, O2 Academy
03rd Cambridge, Corn Exchange
04th Manchester, O2 Victoria Warehouse
06th Lincoln, Engine Shed
08th Liverpool, Invisible Wind Factory
09th Newcastle, City Hall
10th London, Brixton Academy
14th Exeter, Great Hall
16th Nottingham, Rock City
17th Leeds, O2 Academy
18th Glasgow, O2 Academy
20th Aberdeen, Music Hall
21st Edinburgh, Corn Exchange 
Tickets are on sale now, available from:  https://www.thecharlatans.net/gigs
 
 
* * * * * 
 
AVAILABLE AS: CD, 2CD DELUXE, 2LP, AND 3LPX EDITIONS
PRE-ORDER HERE
 https://www.thecharlatans.net/

Plastic Tears – ‘Doomsday Girl’ Video

Plastic Tears – ‘Doomsday Girl’ Video

Plastic Tears releases the new video and single for ‘Doomsday Girls’.

Doomsday Girls is taken from the critically acclaimed ‘Anthems For Misfits’ album that was released earlier this year through Wormholedeath Records. It’s clear from the first beats of the song and video that you’re in for an energetic and fun rock’n’roll burst. Friday-Saturday-Sunday-Doomsday!

The video was edited by Eco Inkinen and shot at Suvilahti skatepark and Hietaniemi cemetery in Helsinki. These two surroundings contrast each other well and Elina Laine does an excellent job as the doomsday girl.

Grindhouse – ‘Sex Punk Power’ (Popcultcha)

Grindhouse – ‘Sex Punk Power’ (Popcultcha)

Album number four from the sex bombs from down under and its more punk rockin – more filthy – more depraved – more coloured vinyl than ever before kids, but worry not,  Mick is still sporting the cape and speedos and as the cover artwork can testify he’s even gone for some sussies the dirty boy.  Covid hasn’t interfered with the bands’ depraved modus operandi and best of all vinyl junkies can pick up copies be it in the USA  or The UK and not have to weep at import fees and postage from Australia.

 

Grindhouse play hard and fast and with a nod and a wink to UK legends The Hip Priests they also write lyrics that’ll make yer nan blush and from behind the cape n speedos Mick ‘Two Fingers’ Simpson has the coin purse to pull off this rapid filthy slabs of Garage punk and by the sounds of it, they’ve spent their lockdown chomping on snags and bbq’s and rockin out hard!  They’ve taken the first three albums put them in a blender poured in some top strength lager and poured out their finest cocktail to date and taken the Grindhouse style & sound to the next level.  when you want your fix of depraved and sweary garage rock n roll and Turbonegro seem like a long distant dinosaur up step the boys from down under.

 

Hailing from the Gong, Melbourne and Geelong, Grindhouse has been prominent players on the bountiful Australian punk rock and garage scene setting the pace for others to follow and by releasing ‘Sex Punk Power’ its obvious they’ve taken it to the next level and set the bar for others to follow. ‘Sex Punk Power’  is mixed and mastered by the one and only Steven McDonald (Redd Kross, Melvins, OFF!) in Los Angeles and it’s given the band a bigger sound.

The dirty, punk-rock, garage sound is obviously still the mainstay but the overall sheen of the record is glossier.  sure, It still features the catchy filthy lyrics of front-man Mick ‘Two Fingers’ Simpson who knocks out some stunning riffs alongside guitarists Ricky ‘Pony Club’ Audsley and Shannon ‘Candy Cocaine’ Cannon who also provides excellent, female vocals throughout the album.  The lyrics are still the expletive-filled sweary kid from Viz style non-conformist Dwarves to the next level stuff I mean I was playing ‘Phone Sex’ in my headphones whilst walking down a canal path and felt I had to walk faster in case anyone was behind me it was unnerving stuff hearing the dual vocals whispering in my cans about kissing my hips.

 

Some of the riffs are exactly what’s needed – filthy hot rod stuff – take ‘Drive Straight’ is the pure rocket fuel that is an absolute punk-rock Banger. ‘Hello Hamburg’ is sleazy and like a soundtrack to Germanys Reeperbahn with added paranoia as the riff swirls round and round and on repeated play ever other words seemingly being the F-Bomb is exactly what’s needed – sure it’s not going to win any Pulitzer prize for poetry but fuck it just shake your shit and turn it up.

What you get for your bucks is twelve tracks of pure, heavy, Australian rock’n’roll that’s right up there with the best albums this year and why wouldn’t you love Mick whispering “Have You seen my mother fucking Pony” just before they riff on a bastardised Batman theme ‘Fathers On Bail’ an absolute classic. The chorus will stay in your head like a slow-release earworm.

 

There is variety as well mind from the vitriol and poisonous riff that is ‘Shit Together’ and the piano tonk of the album’s masterpiece ‘Do It All The Time’ a slow-burning Garage banger that slithers like a Bond theme they’d never have but should.

 

‘Teenage Heart’ blows off the cobwebs like a Stooges fueled stomper you wish Iggy would play again which makes way for the pure gold of the albums goodbye ‘Holden Goodbye’ with its Malcolm Young inspired slow groover that has those six-string wailing like a stray dog as Simpson sings his heart out on what is, without doubt, their best album yet.  Don’t snooze kids because this will become a modern-day garage punk classic Hot as fuck in many many ways – not afraid to stretch the boundaries of what they’ve done before even if it is marginal it’s the quality on display that wins the day.  Fantastic songs on ‘Sex Punk Power’ that deserve your ears so lend em and get involved.

 
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Author: Dom Daley