The Boatsmen Interview Exclusive

The Boatsmen Interview Exclusive

Whilst the world is still in the grip of this Pandemic it’s always great to have a distraction from the daily grind of life currently under restrictions and social distancing and not being able to get out there and spend time with like-minded music lovers.  However, one thing this damn virus hasn’t stopped is the release of great rock and roll records and one of 2021’s most impressive releases so far is without a doubt the awesome new album from Swedens The Boatsmen so with our masks on we made contact with the self-confessed kings of Party Rock and Roll and fist-bumped before we engaged in the chatter that matters.  Welcome to your new favourite band kids please be upstanding for The Boatsmen…

 

Give us a bit of background to the band?  You formed in or around 2008 when the first demo came out but didn’t get around to releasing the debut album in 2013 right?

That’s right, we started out wanting to be a contrast to a lot of the other bands around at the time. The Boatsmen is about letting loose and doing exactly what you feel like, just for the fun and the thrills with no boundaries. Stop taking yourself so seriously, stop overthinking and psychedelick my ass. During our first years, the focus was more on partying than recording. After a while, though we had mastered the art of partying to its full extent and got to work with our first album.

 

 

Where is the band from in Sweden? What’s it like for music there?

Yes, the band is from Örebro in the middle of Sweden and we grew up with a great music scene with bands like The Accidents, The Peepshows, The Strollers and The Pricks. When we started the band however the scene had been losing some action and we felt the responsibility to show the kids how it’s done.

 

 

I’m curious as to where the name comes from?

The band is named after the dog “Båtsman” (“Boatsman”) in the Swedish 70s kids show Saltkråkan. We thought a logo with a big anchor as the T in the middle would look cool.

 

Who were your influences?

We have a big mix of influences but we have a steady ground in the old 60s garage music with band such as The Sonics and Music Machine but with the rock action from MC5 and The Stooges, some boogie from The Hurriganes and Eddie Meduza, and a whole lot of punk approach from bands like GG Allin, The Damned and Ramones. But the main influence is good songs in general. Of course, we listen to and love the Scandinavian rock scene with bands such as Turbonegro, The Hives, and The Hellacopters. Reigning Sound and Henry Fiats Open Sore are two other favorite bands.

 

 

Let’s get up to date with the new album just released on Ghost Highway and Spaghetty Town.  How did that arrangement come about did you tout the new record around or specifically target these guys?

We have worked with Ghost Highway before and we really like the stuff they put out and the way we work together. They also got American Spaghetty Town on this boat and we like many other bands dream of the US so we are really happy about that.

 

 

 

Where was the new record recorded?

We recorded ourselves in our rehearsal room/studio, Super Studios, that we have together with our friends in V8 Interceptor.

 

How has it been since Covid hit the globe?  Sweden didn’t strictly enter a lockdown is that right?  We there live shows then?

The main difference in Sweden compared to most other countries is probably that the lockdown is more about  “recommendations” than laws. No public gatherings with more than 8 people allowed so no shows.

 

Who writes the songs in the band and how do you come to the finished record?  Is everything done before you enter the studio?  Did any of the writing get changed much when you started recording?

The last record we rehearsed a lot before we went into the studio and recorded everything live, all songs in one weekend. This time we pretty much recorded every song as soon as it was made, less rehearsing. We jam the music up together and all the lyrics/poetry are written by lead singer Håkan.

 

 

What about how long it took to get it finished from the start of the process?

Martin the drummer moved to another city so we just met during weekends and partied and recorded. It took almost two years because we really like to party.  Also, we were waiting and hoping for the pandemic to be over before putting the record out, but eventually, we had teased ourselves too much and had to release it.

 

 

Live shows.  Are there any plans to come to Plague island the UK and bring the noise?

We would love to bring our rock’n’roll circus to the UK as soon as we can!

 

 

 

 

The Boatsmen profess to have a good time all the time.  What constitutes a good night out with The Boatsmen and where do we sign up?

Just write to us on Facebook, Instagram or theboatsmen@mail.com and we´ll start out with pizza and beer and end with beer and pizza.

 

I can’t get a copy of ‘City Sailor’ on vinyl any chance of a repress?  I’m sure when people hear the new album the back catalogue will be in demand.

There´s a discussion about a repress and we hope we can get it done soon.

 

 

What has the band done differently from album to album?  The new one is so good you seem to have hit a rich vein of form did it feel good when the songs were finished?  Having had some distance from finishing recording and releasing is there anything you’d have done differently?  What’s the process for The Boatmen.

For every record, we have had a different approach just to keep it fresh and not to do the same thing over again expecting a different result.  This record we did everything ourselves, even the cover design, so maybe next record we’ll do nothing ourselves.

 

Talk us through the songs on the new album.  Obviously, there are some reoccurring themes but are there any hidden depths we need to know about?

First off is the track “Action Delivery” and it’s about the anxiety and excitement of playing in a rock band that believe they´re the best. Next up is “Friday Night Forever” and that song is summed up in one of the lines of the lyrics: “Close your eyes and close your ears, be shitfaced don’t face your fears”. “Blame It On Me” was the first single from the album and it’s about the fact that everyone already thinks we are fucked up drunks, so if you do anything bad you might as well blame it on us. “Thirst Song” is a love song about a drunken relationship. “Saved By Rock” is about the fact that rock’n’roll saved us from boredom, sobriety, and virginity. “Even The Good Times Were Bad” is about how the times you thought then were good times can look like from behind. “I Don’t Wanna Lose This Time” is about not wanting the weekend to end. “When I’m Drunk” is about the superpowers you get when you’re drunk. Everything good that I have achieved in life I have done while being drunk. “Big Waves” is about remembering that you are the captain of your own ship. “Clap Canon” is a Swedish expression that describes when someone is really drunk. We have with our magic linguistic capabilities turned it into a story about making the audience clap their hands to keep the band on fire. “Gimme Your Money” is about the fact that alcohol is very expensive in Sweden. “Better Man” is what I keep telling my wife every day that I’m going to be. After Party In Hell is about the fact that if you end up in hell for doing the things you like I’d rather go there already.

 

 

What next for the band?

We would like to tour the world, but since the world is closed down right now we’ll release a bunch of music videos and do stuff online to keep the people’s thirst and hunger up until we can bring our exploding rock’n’roll chaos to your town! Cheers and thanks for the interview man, keep up the good work!

 

Verses The Boatsmen review Here

Buy the record from Ghost Highway Records or in the US at Spaghetty Town Records

You can pick up your merch from the bands Bandcamp  or visit their website Here

 

 

Punk The Capital – A Documentary

Punk The Capital – A Documentary
Punk the Capital: Building a Sound Movement
A documentary tracing the birth of punk rock in Washington D.C. (1976-1983)
Featuring Bad Brains, Minor Threat, Void, Rites of Spring, and more, with interviews
from Henry Rollins, Ian MacKaye, H.R., Jello Biafra, Joe Keithley, and many others
Premiering exclusively in Theaters and on Virtual Cinema nationwide beginning May 14th
DVD / Blu-ray to be released for National Record Store Day on June 8th via Passion River

When punk rock erupted in Washington DC, it was a mighty convergence of powerful music, friendships, and clear minds. This film is the first to explore the incredible challenges that this subculture faced when it took root in the Nation’s Capital in the late 1970’s.
Punk the Capital situates DC punk within the larger narratives of rock n’ roll, working as a powerful multi-layered story for both fans and non-fans of punk rock. Featuring musicians such as Bad Brains, Henry Rollins, Ian MacKaye, and Jello Biafra, this film dives deep into the ideas and sounds from this transformative music scene which continues to be influential culturally and politically around the world.
Created by James June Schneider (Co-Director, Editor), Paul Bishow (Co-Director), and Sam Lavine (Associate Producer, Co-Editor), Punk the Capital is Punk the Capital has been on the road since its World Premiere weekend in Washington D.C. held simultaneously at the American Film Institute and the Hirshhorn Museum (Sound Scene festival). The filmmakers took the film around the USA and Europe to festivals, cinematheques, cinemas, galleries and community spaces. It has been selected for festivals including In-Edit (Barcelona and Brazil) BAFICI, Leeds International Film Festival, and Sound Unseen.
Each screening has been an event, with at least one of the filmmakers present and for the majority of dates, there has been a special guest (Henry Rollins, Ian MacKaye, Cynthia Connolly, HR of Bad Brains and many others.) The goal of the team was to reach 100 consecutive in-person events. They made it to 50 before the pandemic began.
Schneider states:
“We were touring the film like a band would until the pandemic hit. Now as things open back up, we’re glad to kick off the theatrical release for a variety of reasons. Some of the cinemas where Punk the Capital will be showing, I screened my films back in 1997 when filmmaker Martha Colburn and I hit the road together. I’ve been thinking about them as we piece this together. Before we release the film on DVD/Blu-ray we wanted to undertake a big push with a theatrical release, part virtual, part in person, that I hope will do its part in getting some of these struggling indie cinemas some much-needed support. And we also are looking forward to sharing the film in these times since it’s an optimistic film essentially about building something new and constructive despite the odds.
The final version of our film that we’re releasing now is just the intense tip of the iceberg – our first cut was 7 hours long. In the end, we wound up focusing on the untold and improbable story of punk rock’s beginnings in Washington DC, that happened concurrently with cities across the western world. We took a lot of our extra material that otherwise might never have been seen and edited it together to make short films that will be in the bonus section on the DVD (and Blu-ray). One of the shorts focuses on the band Scream and their family connections to DC’s 1960’s legendary garage band scene.
As we roll the film out, we’ve been blown away by the positive response not just from fans of punk and DC punk who see and hear a lot of unseen material. We’ve also heard from a lot of people even up to 90 years old who don’t really like punk but who nonetheless love the film. We’re glad to see that Punk the Capital works on a lot of levels and are hoping that it will reach a broad audience since the DIY ideas highlighted in the film about the DC punk scene go well beyond the music.”

Motörhead – ‘No Sleep ‘Til Hammersmith’ Deluxe anniversary editions

Motörhead – ‘No Sleep ‘Til Hammersmith’ Deluxe anniversary editions

‘NO SLEEP ‘TIL HAMMERSMITH’
GETS ANNIVERSARY EXPANSION

DELUXE CD BOX-SET AND SPECIAL 40th ANNIVERSARY EDITIONS OF
 ‘NO SLEEP‘ TIL HAMMERSMITH’
TO BE RELEASED ON JUNE 25TH 2021

PREORDERS & EXCLUSIVE MARCH BUNDLES Here

 

 

Back in the Summer of 1981, Motörhead got louder, dirtier and more universal, and you’re getting an invitation to relive this most glorious of achievements once again…

Following on from 2020’s year-long celebration of Motörhead’s iconic Ace Of Spades album comes the live album to end all live albums the undisputed definitive live record of all time; No Sleep ‘Til Hammersmith. To celebrate the 40th anniversary of this number one album, it is being presented in new deluxe editions.

There will be hardback book-packs in two CD and triple LP formats, featuring a new venue demolishing remaster of the original album, bonus tracks and the previously unreleased – in its entirety – concert from Newcastle City Hall, 30th March 1981, the story of the album and many previously unseen photos. Also, the album will be released as a four CD box set of all three concerts recorded for the album, released here in their entirety for the very first time and primed to gleefully shatter what’s left of your grateful eardrums.

Upon that original June 27th ’81 release, Lemmy is quoted as saying of No Sleep ‘Til Hammersmith after it crashed into number one in the UK charts; “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.” No Sleep ‘Til Hammersmith was Motörhead’s first and only number one record in the UK and is still the most necessary live album of all time.

The No Sleep ‘Til Hammersmith CD box set contains:

  • The No Sleep ‘Til Hammersmith album, remastered from the original master tapes. Featuring extra bonus tracks and newly unearthed, previously unreleased sound check recordings.
  • The three full recordings of the concerts that made up No Sleep, never before released in their entirety.
  • The story of No Sleep ‘Til Hammersmith told through previously unpublished and new interviews with the people that were on the road at the time.
  • Never before seen photos and rare memorabilia.
  • Double sided, A3 concert posters from 1981.
  • Reproduction USA ’81 tour pass.
  • Motörhead ‘England’ plectrum.
  • 1981 European tour badge.
  • Reproduction Newcastle City Hall ticket.
  • Port Vale gig flyer post card.

Motörhead in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980’s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut.

See below for full details of the No Sleep ‘Til Hammersmith releases and be sure to visit www.iMotorhead.com for news and updates!

 

Photo credit: Graham Mitchell

Teenage Fanclub – ‘Endless Arcade’ (PeMa / Merge)

Teenage Fanclub – ‘Endless Arcade’ (PeMa / Merge)

As the Fannies unveil their Eleventh Studio album it isn’t the Fannies of old say on ‘BAndwagonesque’ or ‘Thirteen’ nor would I expect them to be and this latest offering more ambles out of the speakers like a musical onion it offers up itself in layers rather than racing out of the traps as they once would.  More 60s San Fran alt-rock n roll than its earlier self.  With the departure of Gerald Love would we get the same level of songsmithery from the boys.

 

I would say that this album is striking due to its more elder statesmanlike level of energy and from a band that has no doubt matured over the years but still deliver some killer melodies and arrangements and rather than listen to this as one complete body of work I preferred to let it seep into my mind via a cheeky shuffle and bit by bit it unfolded like a blooming flower that will bloom and fall away only to return again seasonally.

 

Norman Blake and Raymond McGinley are the writers and their retro melodies and arrangements always make the blood pump with a fondness like whenever I hear a Kinks track or a Byrds song on the wireless.  I’m not sure where Teenage Fanclub sits these days they’re certainly not teenagers anymore but they’ve aged wonderfully as the songs like ‘The Sun Won’t Shine on Me’ will testify in its two and a half minutes of 60s bliss.   I did balk at the opening song weighing in at seven minutes but ‘Home’ builds and meanders really well as the listener gets comfortable with the sounds of a band who’ve I’ve shared a journey with most of my adult life and its cool that they’re not trying to be something they’re not and by the sounds of it totally happy with the skin they’re in and that’s making for a stronger more convincing album.  Not their best work for sure but comfortable and well worth shelling out for.

Twelve tracks with variety and some lush harmonies and twisted pop melodies from a band who knows their spot in the big picture be it gently rockin like Neil Young on ‘In Our Dreams’ or blazing a trail with the big pop hook of ‘I’m More Inclined’ or the melancholy sometimes cold and bleak surroundings of ‘The Future’  I’ll always have me some time for Teenage Fanclub great band with great songs and not every band who’s been around for as long as they have and consistently delivered the goods.

 

Buy ‘Endless Arcade’ Here

Author: Dom Daley

The Gadjits ‘At Ease’ (Hellcat Records, 1997)

The Gadjits ‘At Ease’ (Hellcat Records, 1997)

 

I think all of us have heard the old adage that you have your whole life to write your debut album, and it is the second one where it gets rough because now you have to write a whole bunch of new songs in a short amount of time. Now, imagine being a group of teenagers comprised of 3 brothers (Brandon Phillips (guitar/ vocals), Adam Phillips (drums/ percussion/ vocals), and Zach Phillips (bass/ vocals)) along with Heidi Blobaum (keys/ backing vocals) who have self-released a debut album and find themselves a year later signed to Tim Armstrong’s Hellcat Records at the label’s launch alongside other great bands like the Slackers, Dropkick Murphys, the Pietasters, Hepcat, and others. That second album becomes an even bigger challenge because Armstrong wants all new material for the album. That was the task the Gadjits were presented with when this album was released in 1997. Hellcat Records launched with Volume 1 of the ‘Give ‘Em the Boot’ compilation series which is outstanding from top to bottom, and ‘Beautiful Girl’ by the Gadjits was a song that I constantly had on repeat. By the time ‘At Ease’ was released, my anticipation was at a fever pitch.

 

This CD became one of my favorites of 1997 and rests comfortably in my favorite albums of all time with its combination of influences and originality striking a unique chord. ‘Bullet in the Mattress’ walks a delicate balance between a playful musical beat and some vocal skat with the story of someone getting killed. This has been one of the songs I will use to turn people onto the Gadjits. There is a ska influence in the beat but also combines with some traditional rock influences to create something unique. The guitar work stands out with some subtle touches. The band go from one strength to another with ‘Sh’Bop’ sounding a bit like Elvis Costello falling into some ska with some old 60’s soul influence through the band’s own musical lens. The quiet start to ‘Seat 6’ gives way to an addictive rhythm that will pulsate through your body. The way the song builds is magical, and I have always loved the line ‘subtlety is the best lesson I ever learned in school.’ Zach’s bass also stands out in the mix here.

 

‘Tell Yourself’ springs to life quickly with the rhythm again inducing movement in the listener. Adam’s work on the drums is stellar across the entire album with this just being one of fifteen brilliant moments. There is a slight breakdown in the song that really gives it an extra dynamic before the addictive chorus ends the song. One of the songs that gives away the band’s youth is ‘Traffic Tickets’ with the lyrics addressing the annoyance of being pulled over by the police. I love the ska influence in the music here as the band is extremely tight. I can overlook the lyrics and focus on the music. The slower beat of ‘California’ finds the band further expanding their sound with some excellent sax added to the mix.

 

One song was revisited from the band’s debut with the instrumental ‘Corpse I Fell in Love With’ coming in the middle half of the album. I always thought the bass and beat in the intro could have came from a spy movie before the band brings a heavy ska influence into it while working back in that spy movie motif a few times. The guitar work from Brandon is excellent. ‘Trusted’ has a slightly darker feel musically which corresponds perfectly with the lyrics. When it comes to relationship issues in music, the lyrics here may have been written by a teenager but still resonate with experiences most of us have experienced. Heidi’s work on the keys here also shines in the mix. The up tempo ‘Party Girl’ is again the band refusing to be pigeon-holed with the ska again meeting an Elvis Costello feeling with the lyrics here again perhaps lacking nuance but full of intent.

‘Back Up’ resonates on every musical level for me with the excellent groove combined with the cocky lyrics being one of the songs that would help me when I was feeling down after this album was released. Singing along to it can be like a shot of self-confidence with the vocal hook in the song being extremely catchy. Again, there is a subtlety to the guitar here where it gives the song perfectly what it needs without overdoing it. The band continue to channel musical excellence with ‘Holes in my Shoes’ by continuing to expertly blend ska, a punk attitude, and classic rock. One of two covers, ‘Skinhead Girl’ works perfectly with the sound on this album. For a 23 year-old like me at the time, it was definitely not an obvious song as I was unaware of the original way back then.

 

As we reach the final trio of songs, we start with the rock n roll infused ‘Need Yo’ Luv’ which is another song I used to introduce people to the Gadjits. Vocally, everything is stellar across the album, but I definitely want to highlight it here. This song feels a bit like going back in time to a room where the condensation is dripping down the walls while the likes of Jerry Lee Lewis tear the roof off the place. The other cover on the album is a bit unfortunate in retrospect, but I don’t think any of us could have imagined the connotations that come with ‘Mustang Sally’ all these years later. I will add though that the band is on fire here both musically and vocally so shove all those karaoke versions and such out of your head to try and hear the song in a fresh manner. The band close out the record with the superb ‘Beautiful Girl’ almost serving as an afterthought on the album. It definitely reflects how awesome the record is and is one of my lyrical favorites.

 

The Gadjits continued to flesh out their sound in the years to come. Their Hellcat Records follow up ‘Wish We Never Met’ has never connected with me in the same way ‘At Ease’ has. The band would then move over to Thick Records for ‘Today is My Day’ which is an album that constantly grows on me with the band having more of its rock and soul influence coming through. If you have not spent time with ‘At Ease,’ I highly recommend you change that immediately. I would suggest following it up with ‘Today is My Day’ and then checking out what else Brandon Phillips has done over the years in the Architects, Brandon Phillips & the Condition, and Mensa Deathsquad.

 

Pick up ‘At Ease’ Here

Author: Gerald Stansbury 

*Interview coming next week*

 

Dinosaur Jr – ‘Sweep It Into Space’ (Jagjaguwar Records)

Dinosaur Jr – ‘Sweep It Into Space’ (Jagjaguwar Records)

Here we have album number 12 from the alternative rock stalwarts and the fifth since reuniting the much welcomed classic lineup of J Mascis, Murph and Lou Barlow. And for this reviewer their strongest release in this new era of the original band.

Although there are radio-friendly songs present, such as lead single ‘I Ran Away’. It’s the first two tracks on the record ‘I Ain’t’ and ‘I Met The Stones’ that give the listener a well-painted picture of the group as the loud rock entity they are in the flesh. Nicely finished off with third track ‘to be waiting’ which is quite surprising that this has not been utilised as a single considering it’s a Dinosaur Jr classic waiting in the wings. I imagine this will be on their setlists for years to come, up there with ‘start choppin’ and ‘freak scene’.
Midway through we get a number penned and sung by guitarist Lou Barlow, ‘Garden’. A very well-written track with a bit of an anthemic, radio-friendly, College Rock vibe, but unfortunately sounds a little out of place on this record. Certainly not as savage and pummelling as his Sebadoh output which I have always been a big fan of. In the end Barlow makes up for this on his second stab with the final song on the album ‘You Wonder’, with an overall more complex and interesting sound.
We get back on track with ‘Hide Another Round’ which is a bit, J Mascis, by numbers but still showcases the band and leads on nicely to ‘and me’ which is very reminiscent of J’s recent solo work Elastic Days. Even more so with ‘take it back’ where the overall makeup is almost like the band taking on classic Elton John but muddied up with their own beloved elements added to the end result.
On the whole, the album is a strong effort with a lot of familiar bits to please the die-hards and the deviations are more successful than not, complementing rather than challenging their classic sound. 35 years in with more than a few bumps in the road, seeing trends come and go and contemporaries fall by the wayside. The band is still here, sounding confident, competent and thankfully not tired and going through the motions.
Most reunions for rock fans have an all too recognisable sight of gritted teeth with a need to top up the bank balance rather than a genuine desire to play. Dinosaur Jr are still out there most years, playing mid-sized venues looking like they’re having a blast. Here is hoping this will be the case for many years to come.
Buy ‘Sweep It Into Space’ Here
Website​  / Twitter​ / Facebook
Author: Dan Kasm
*This May, Dinosaur Jr. will play two socially distanced shows in the Northwest. Following, they’ll host their beloved Camp Fuzz and then kick off a North American tour later this year. Tickets for all dates are on sale here. Additionally, to celebrate the release of  the album, Dinosaur Jr. will play a livestream performance from the Sinclair in Boston, MA on May 1st at 9pm EST. Tickets are available here, with upgrade options for exclusive merchandise and VIP Soundcheck Experience.*

Aggronautix introduce legendary Circle Jerks skank Man to their collection

Aggronautix introduce legendary Circle Jerks skank Man to their collection

Hey, you punk rock collectable fiends.  Check out the latest Throbblehead off the Aggronautix conveyor belt.

Aggronautix is pleased to present the Circle Jerks legendary “Skank Man” mascot in Throbblehead form.

The figure is limited to 1000 numbered units, stands at 7 inches tall, and is made of a lightweight polyresin.

Displayed in a vibrant full-color box, the Circle Jerks “Skank Man” is sure to liven up the pit of any Throbblehead collection!

As a pre-order incentive, the first 100 customers will also receive a “Skank Man” keychain (see HERE).

The Damn Truth – ‘Now or Nowhere’ (Spectra Musique)

The Damn Truth – ‘Now or Nowhere’ (Spectra Musique)

I heard the first single from this album and was grabbed immediately by the music and the powerhouse vocals. The Damn Truth have been around for several years now (which has me getting caught up on the back catalog too), and this album should make them a lot more fans. ‘Now or Nowhere’ is their 3rd album over the course of their 9 years of existence. Their sound conjures images of hard rock, a hippie vibe, powerhouse hooks, and originality being stuffed into a blender. This is a 2021 album that I can write down as a strong album of the year contender.

‘This is Who We are Now’ doesn’t so much open the album as rip the door off and throw it 100 miles away. The music is huge, and the chorus knocks your head off with Lee-la Baum’s powerhouse vocals (also guitar) delivering a statement of intent. This is a killer hard rock song without those vocals but soars to another level with them. Tom Shemer opens up ‘Tomorrow’ with a cool guitar riff that burns like a fuse to unleash the groove by PY Letellier (bass/vocals) and Dave Traina (drums/vocals). This is another huge chorus that needs to be played on the radio. What has struck me with this song is that it would have been right at home on the radio in the 90’s, early, 2000’s and up through the current.

The gorgeous slow start to ‘Only Love’ gives way to another great rock song where Baum’s vocals would be stealing the show if it wasn’t for the equal excellence of everyone in the band. The vocal notes in the chorus and the inflections induce feeling positive and smiling in me which is a neat trick for someone who can quite enjoy going into the depths of darkness in songs. The rhythmic ‘Lonely’ builds from a campfire song to the whole city singing in unison. Perhaps my biggest grief of the entire album is with this song because it is not long enough… At less than three minutes, I would love to see this one go on as about seven or eight minutes live. The midpoint of the album arrives with the semi acoustic based ‘Everything Fades’ feeling like a long lost 70’s treasure that has resurfaced in today’s world. Baum again delivers an absolutely killer vocal that carries heart, grit, hope, love, perseverance, and more.

The back half of the album begins with an inferno with ‘The Fire’ which reminds me a bit of Soundgarden in its power. The song then carries forward on musical waves which just totally blackout anything going on around me. The lead guitar work from Shemer shines throughout this record with this song simply being another standout. ‘Look Innocent’ could have come from the likes of Big Brother and the Holding Company with Baum’s vocals her reminding me of Janis Joplin and Sass Jordan. The backing vocals in the chorus are also perfectly placed. This song digs deep into my heart as the music and vocals are equally powerful.

‘Full on you’ finds another great groove by Leterrier and Traina which then has a great transition into the chorus before falling back into the groove. Another musical reference for The Damn Truth for me would be the much missed Mother Station. Shemer lets loose another great guitar solo. As a finale, the band turns to the beautiful ‘Shot ‘Em’ where the band take an acoustic intro into an epic chorus and have created, for lack of another term, a great power ballad that closes the album in style.

This is an incredible album that has laid the gauntlet for 2021. Bob Rock produces six of the nine songs on here, and I will say that I did not pay attention to see which ones are his productions. The production on the album is killer throughout and sounds cohesive across all nine songs. I will continue to enjoy this stream until I can buy the actual release which should be a mandatory purchase for the world in 2021.

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Buy Here – Website

 

Author: Gerald Stansbury

Capra – ‘In Transmission’ (Metal Blade Records / Blacklight Media Records)

Capra – ‘In Transmission’ (Metal Blade Records / Blacklight Media Records)

Looking for a fresh focus following a ninety-day stint in rehab in 2016, guitarist Tyler Harper formed Capra with drummer, Jeremy Randazzo. With bassist Ben Paramore and vocalist Crow Lotus completing the line-up, ‘In Transmission’ finds the Lafayette, Louisiana outfit hitting the ground running with a debut album that is as equally brutal as it is thought-provoking.

 

 

Fusing metal, punk, and hardcore, ‘In Transmission’ is, according to Harper, “like being trapped in a tiny room with an unforgiving monster.” Quite a novel USP, I’m sure you’ll agree. There is a viciousness to this album, yes, but also an intelligence courtesy of the lyrics of Crow Lotus. Being a woman and also the child of an immigrant, Lotus throws harsh truths at the listener from all lyrical angles; from the more personal on the heavy-duty ‘Paper Tongues’ – detailing the troubled relationship with her mother when growing up – to the tribulations that women face every day of their lives on ‘Red Guillotine’. Given the brutality of the music on offer here the fact that these lyrics can be picked out with ease is testament to not only her talent as a lyricist, but also a vocalist.

 

 

What impresses me most about this album is the fact that, although the majority of it was recorded in December 2019, three of the songs – ‘Deadbeat Assailant’, ‘Mutt’, and ‘Transfiguration’ – were recorded during lockdown (with the band members entering the studio individually to record their parts), yet fit the sound of the album perfectly. You thought that the sound of lockdown was 8pm clapping and the banging of pots and pans, right? Think again.

 

I am reminded of the angular uneasiness of Norway’s Blood Command at times here – no doubt because of Crow’s vocals – and I pick up a ‘Birthing the Giant’ era Cancer Bats vibe on certain tracks. All in all, this is a bit of a noisy gem.

 

Capra online: Facebook /  Instagram

 

Author: Gaz Tidey

Civic – ‘Future Forecast’ (Flightless Records)

Civic – ‘Future Forecast’ (Flightless Records)

I first came across the work of Melbourne Garage Punks Civic when I happened to be browsing Bandcamp and ‘New Vietnam’ leapt out on me and I duly ordered the cassette tape (hipster) resisted growing a beard but had the EP on repeat for a while.  The band then emerged releasing a trio of singles over the past few years, including a cover of The Creation’s garage classic ‘Making Time’ Time really does fly by even during a pandemic as ‘New Vietnam’ was out in 2018 its now 2021.

They’ve made a considerable leap to the cleaner, sharper more purposeful sound on display here. the band brings a melodic edge to their muscular Garage punk without losing any of their intensity or grooves.

‘Future Forecast’ moves through the gears with ease from the more catchy songs like the single and opening ‘Radiant Eye’ through ‘As Seen On TV’ to the lap steel guitar and brutal riffs of ‘Tell the Papers’. It’s a really confident record that has a swagger and a cockiness that says Civic knows they’re good and ‘Future Forecast’ will have many people sitting up and paying attention to what they’re hatching down under.

 

 

If you (like me) loved ‘New Vietnam’ and are worried they might have moved on and left behind the punk and power then fear not because ‘Another Day’ is straight out of the ‘Young Loud and Snotty’ songbook,  ‘Hollywood Nights in Hamburg‘ with its retro proto-punk leanings is a real blast of energy, ‘Just a Fix‘ (with its raw riffage is a blast) and ‘Velvet Casino‘ all crackle along with the attitude and snot of their humble beginnings. Making this album an absolutely essential purchase.  If you love your music with riffs, attitude and above all great songs then this is for you.  It’ll breathe life into the Garage Punk Rock and Roll fraternity and give other bands a jolt and a tap on the shoulder because these boys are moving in and taking over.

 

Many of us have been heralding a new dawn for Australian music, ok sure The Chats and Amyl & The Sniffers grabbed a lot of overseas plaudits and rightly so but scratch the surface and there beats the heart of the beast and bands like Civic are rising up with killer albums like ‘Future Forecast’.

 

I’ll make a prediction, along with Stiff Richards, civic are the dingos danglies and more dangerous than 90% of the wildlife also residing on their island.  Get on it before it’s too late. Civic is the band ‘Future Forecast’ is the album so pour yerself a cold VB and get on it.  Now if they could get some UK and Europe Distro the job would be a good un and my work here would be done.

Buy Civic Here or Bandcamp

 

Author: Dom Daley