Sonny Vincent – Diamond Distance & Liquid Fury ’69-’76 (Hozac Records)

Sonny Vincent – Diamond Distance & Liquid Fury ’69-’76 (Hozac Records)

Sonny Vincent, known as the founding member of NYC punk heroes, TESTORS has unearthed a collection of never-before-heard recordings from his proto-punk days with this new LP collection. Compiling unreleased tracks from DISTANCE (1969-71), FURY (1972), and LIQUID DIAMONDS (1973-75), as well as one of the earliest TESTORS demos from 1976, this LP collection shines a light on one of New York City’s darkest corners of punk history.

Sonny Vincent has had his trials over the past few years but he’s a survivor and a lot of love was sent his way which shows the impact he has had on those around him we’ve not had any new new music but we have had a couple of compilation albums of Testors songs as well as some awesome tribute albums. I for one can’t wait to hear where Sonny will take us on his next record of original material so until then we have the treat courtesy of Sonny and Hozac records who’ve dug deep into his history and unearthed some proto punk gems from as far back as the late ’60s when Iggy and his Stooges were busy killing the hippy dream and the MC5 were kicking out the jams something was changing in music as it sped up into the ’70s and beyond.

The LP starts with Distance back in ’69 and considering what we know Sonny for with his killer punk rock with razor-sharp riffs this is more in keeping with what Hendrix might have been up to or early Sabbath maybe less heavy but once it goes into free form solo jammin’ its certainly interesting. ‘She’s Like Hiroshima’ certainly caused one eyebrow being raised. as we head into the seventies the riffs get rawer for sure as another couple of Distance songs flow by with ‘Lament’ being more recognisably Sonny vincent.

Fury certainly was appropriately named with the guitar licks coming fast and furiously.  with ‘100%’ being a raw as fuck guitar that must have sounded nuts at the dawn of the ’70s. ’73 NYC must have been one hell of a place to be creating music that sounded like the mean streets of the LES and Liquid Diamonds ‘Aw Maw’ is a banger.  Kicking out the jams for sure.  Whilst its nothing like the Dolls or early Kiss.  Sonny eases back with a great tune ‘All Day’ which has sweeping open chords. Testors make a brief appearance on the record as well with one track entitled ‘Scary’ from ’76 again not what you’d expect as its laid back on the verse before it raises its game only to chill back out. Then to wrap up this time capsule there is an alternative version of ‘Flying’ that neatly closes off this compelling peek behind the curtain of one of the finest guitar slingers to come out of NYC from the whole punk scene.

First ever edition of this LP is limited to 500 copies, with interview included on the printed inner sleeve, and a FREE 11×17 PROMO POSTER to the 1st 100 direct orders.  Get on this Testors, Sonny Vincent and punk rock aficionados you will love hearing how a great talent learnt his trade and what came before the storm.

Hozac Facebook

Sonny Vincent

Author: Dom Daley

The Broken Toys – Sugar ‘N Spice (Still Unbeatable Records)

The Broken Toys – Sugar ‘N Spice (Still Unbeatable Records)

The complete debut tape in full length + one bonus track! First time ever available on extremely limited vinyl! Remastered from the original tapes! that came out in the late ’80s An instant rarity for vinyl lovers and punk rockers alike. If you like your punk rock raw and without frills then this is for you its old school alright coming on like classic voidoids from the song titles to the subject matter ‘Junkie For You’ sets the tone of teen love then follow it up with the undertones like ‘I Want You To Be My Boyfriend’ it has shades of early Misfits as well like it was recorded together live on the hoof to save time and money and because its punk rock god damn it!

‘Waves’ is a more gentle meander down the rock and roll highway with piano and acoustic strumming happening a real NYC Lower East Side feel for sure. ‘Back Of My Hand’ is more upbeat with clashing clanging guitars accompanying the snotty lyrics its vibrant and has stood the test off time. ‘Love Story’ isn’t at all soppy or slow in fact its the one most likely to be used in some B movie Warriors street fight scene.  A decent melody and what’s not to love about those Thunders string bending skills a song born to pull big shapes to in front of the bedroom mirror with the tennis racket and hairbrush.

Flip this bad boy over and ‘The Lottery’ is up first full of piss and vinegar and a chorus even the most challenged glue bag fantatic can sing along to. The ante is upped on side two as ‘Let’s Have A Riot’ lights the oily rag in this Molotov cocktail.

As we Rock and Roll our way through side two there’s a bunch of energy still in these recordings and its a real trip checking out these tunes they deserve to see the light of day and be heard. The Broken Toys had it going on for sure and still don’t need ‘Drugs’ but we do need the snotty riffs and curled lips. We all have a debt to pay to the guys like Johnny Thunders and Broken Toys are paying it back with ‘Sugar ‘N Spice’ check it out its well worth it.

Buy Here  / Bandcamp

Author: Dom Daley

THE FALL BOX OF TEN #2 WITH FREE BONUS DISK – OUT 17TH APRIL 2020

THE FALL BOX OF TEN #2 WITH FREE BONUS DISK – OUT 17TH APRIL 2020

The Fall were an English post-punk band, formed in 1976 in Prestwich, Greater Manchester. They underwent many line-up changes, with vocalist and founder Mark E. Smith as the only constant member.

First associated with the late 1970s punk movement, the Fall’s music has always pushed & challenged boundaries, with Mark. E. Smith at the helm on and off stage, the band has always been characterised by an abrasive, repetitive guitar-driven sound and tense bass and drum rhythms, along with Smith’s caustic lyrics, described by critic Simon Reynolds as “a kind of Northern English magic realism that mixed industrial grime with the unearthly and uncanny, voiced through a unique, one-note delivery somewhere between amphetamine-spiked rant and alcohol-addled yarn.”

The Fall have been called “the most prolific band of the British post-punk movement.” From 1979 to 2017, they released thirty-two studio albums. They were long associated with BBC disc jockey John Peel, who championed them from early on in their career and described them as his favourite band, famously explaining, “they are always different; they are always the same.” Earlier this year, Smith died at the age of 60, effectively putting an end to the group.

No other band in the world can touch The Fall’s magnificence and sheer volume, which are captured here in ‘Box of Ten #2’. Issued on Cog Sinister, The Fall’s official label, and following on from the “Set of Ten” released last year, this is a limited-edition set (only 500 units) of 11 discs of previously unreleased live recordings, spanning three decades. The earliest recording taken from 1984 and the most recent 2014.

Live in Cork 2012 is a bonus disc and will not be available to buy separately.

Each limited edition box set contains:-

The Fall – Live in Hanover 1984 The Fall – Live from New York Tramps 1984 The Fall – Live in Motherwell 1996 The Fall – Live in Edinburgh 2001 The Fall – Live at the Manchester MOHU 2009 The Fall – Live in Newcastle 2011 The Fall – Live in Leeds 2012 The Fall – Live in Cork 2012 The Fall – Live in Nantes 2013 The Fall – Live in Dublin 2013 The Fall – Live in Nimes 2014

Jesse Malin/Don Dilego – Leeds, Headrow House – 4th March 2020

Jesse Malin/Don Dilego – Leeds, Headrow House – 4th March 2020

After the demise of D Generation at the turn of the century, New York troubadour Jesse Malin traded electric for acoustic and has toured hard ever since. Traveling black tar rivers wherever they flow, plying his trade to all who will take the time to sip a beer and nod their heads. Along the way, he has written and recorded with the likes of Ryan Adams, Billy Joe Armstrong and Bruce Springsteen.

Last year saw him collaborate with Lucinda Williams on his 7th (or is it 8th?) studio album. The critically acclaimed ‘Sunset Kids’ is an introspective set of songs exploring death, departure and a host of character observation. It was one of my favourite albums last year and possibly his finest work. Jesse and his band have been touring hard since the release and this is the first of 3 separate visits he will make to our side of the pond this year.

 

Situated in Leeds city centre just a few doors from Crash Records, Headrow House is a new venue to me. With a 150 capacity, it’s a cool sized room on the first floor of a building that also houses a restaurant and a drinking establishment. As I catch the band soundchecking prior to an arranged interview with the frontman, I already get the feeling this could be a great show. It feels like a good space and the fact that it has recently sold out makes it even more exciting.

As the room fills up nicely, fellow New Yorker Don Dilego tales to the stage and warms us up with a fine set of pop-laced Americana. Cut from the same cloth as Jesse Malin, his between-song stories are engaging and his melodies memorable. Joined by keyboard player Michael Hesslein, Don channels alt country sensibilities with pop suss coming on like Joseph Arthur meets Talking Heads to the casual listener, which ain’t a bad place to be in my book.

His passion for collecting old, turn of the century photographs from thrift shops, which he uses to adorn his studio in NY is interesting and leads into the best song of his half hour slot, which for the life of me I can’t recall the title of. Guess I’ll have to check out his discography to find it, eh!

 

Sometimes the stars align at just the right moment and it all comes together. Sometimes the sound guy gets it just right, the band are tight and play the songs you really wanted to hear. Sometimes the room is dark and crackling with just the right atmosphere, the vocals cut through the instruments and you catch every last word the singer sings. Tonight is one of those nights.

A Jesse Malin show is always an immersive experience, full of stories and crowd interaction. I remember a show back in 2008, at Fibbers in York, where he had the whole crowd sat on the floor enraptured by his every word. That was a more intimate, acoustic based show, tonight is a rock ‘n’ roll show with a tight 5 piece band who bring the NY groove to Leeds.

It’s evident from the strummed chords of opener ‘Shining Down’ that tonight is going to be one of those great nights. With a smart, dark shirt and waistcoat adorning his slight frame, his black corkscrew hair in his eyes from beneath an oversized flat cap, Jesse looks the essence of New York rock ‘n’ roll cool. His vocals sound spot on, just the right amount of echo and reverb accentuate his voice, and the accompanying licks from long time collaborator Derek Cruz have the most marvelous tone to my ears.

Recent single ‘Chemical Heart’ follows, the jangly, upbeat melody inciting crowd movement and Rob Clores cool keyboard refrain giving it that kooky feel. The Pogues classic ‘If I Should Fall With Grace From God’ follows and fits the upbeat party vibe of the set just right. A perfect opening trio of songs.

Jesse tells stories about the album between songs and announces they are going to play lots of new material and a few surprises are in store. ‘Black Haired Girl’ is an early highlight, yet it’s the groovier, funky stuff such as ‘She Don’t Love Me’ and ‘Dead On’ that really shine tonight. When Jesse loses the guitar and takes to the mic, he becomes edgy and the old D Generation punk rock attitude shines through. You can take the punk outta Queens, but he’ll always have some of that fire in his belly. He stands on the bass drum, stalks the stage and he’s off in the crowd. Jesse has the ability to make every person in the room feel like they are involved.

‘Russian Roulette’ is my favourite Lords Of The New Church song and I was not expecting it tonight. The singer’s cinematic introduction reels off his tongue like poetry, referencing Deer Hunter and Apocalypse Now like some punk rock Gil Scott Heron, before he’s off in the crows yet again. This is one of those rock ‘n’ roll moments I will remember for a long time to come.

The main set ends with the song that opens ‘Sunset Kids’. It’s no nonchalant decision that ‘Meet Me At The End Of The World’ was re-recorded to open the album. Personally, I feel it is one of Jesse’s finest moments. It has that New York groove, that Lou Reed feel to it, it’s a modern rock ‘n’ roll anthem for these trying times.

That was a killer set! The old, the new and the obscure rub shoulders. How could you not dig the likes of ‘Hotel Columbia’, ‘Turn Up The Mains’ and ‘Cigarettes & Violets’?

Jesse returns solo, with his acoustic for a chilled run through of The Clash classic ‘Stay Free’, before inviting the band back for an emotive ‘Broken Radio’. And while The Boss was a no show tonight, it’s still a classic Malin tune that deserves more recognition than the minimal Radio 2 playlisting it got on release.  A high energy ‘Do You Remember Rock ‘n’ Roll Radio’ sees the singer ditch the guitar for good to give the Ramones classic anthem the full on treatment it deserves, before sending us off with his chilled ode to The Pogues frontman that is ‘Shane’.

 

Tonight Jesse and his band set the bar very high indeed. He’s been at this game for a long time now, and has honed his storytelling and performance to perfection. He has the songs and he has the players and they delivered the kind of show I feel every rock ‘n’ roll band worth their salt wish they could deliver.

Author: Ben Hughes

 

Outtacontroller – ‘Sure Thing’ (Alien Snatch Records)

Outtacontroller – ‘Sure Thing’ (Alien Snatch Records)
Wielding buzz saw guitars, power-punk riffs, and fuzzed-out garage vocals OUTTACONTROLLER comes crashing out of the gates of North End Halifax with frantic, gritty pop songs about girls, gumption, and graveyards.
As soon as the first sonic blast hits the airwaves you know you’re in safe power pop punk rock hands as the familiar Ramones influence of lush melodies infuse with that caustic Buzzcocks raw guitar and skin-tight percussion.  Hell as the record unfolds its like the layers of an onion as the influences get peeled away.  The Boys, Ramones, Buzzcocks, as well as a whole host of chart lovelies from the 70s and 80s fill the airwaves.  To be fair who wouldn’t be influenced by some top turns in the new wave punk rock scene ranging from Husker Du and the American alt scene or college radio days but always in the back of the engine room looms The Ramones.
Songs like ‘Operator’ ease more into the laid back new wave category whilst I love the straight down the line rock and roll of ‘Nothing Comes From Nothing’ with its happy go lucky chord changes and gang vocals it gotta make you feel good and it bloody well does.
The songs never outstay their welcome and they run through their set with consummate ease like their having the best of times and why wouldn’t they?  ‘You For You’ rattles along as tight as hell with the treble up on the bass as it thumps out the rhythm towards the chorus. Great stuff.  That buzz saw tempo is maintained for the next few tunes as we rattle along to the finale.
Maybe if they used some keyboards you’d be hailing their Attractions influences but these guys don’t meddle too much with the formula and as we enter the home straight we double down on the Brudas gang vocals and melodies and wrap up a most enjoyable record.  Nothing groundbreaking but like I say enjoyable none the less.  They pay their respects to their forefathers and get lost in some great pop hooks along the way it certainly is a ‘Sure Thing’ that this was going to light up my day and have me singing along before I could even press loop on the old player.
Power pop no matter how many bands play it as long as they do it well it always sounds great.
Author: Dom Daley

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

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

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

FRIDAY

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

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

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

SATURDAY

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

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

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

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

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

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

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

SUNDAY

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

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

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

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

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

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

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

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

Author: Johnny Hayward

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

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

 

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

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

 

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

The Professionals release new video for third EP

The Professionals release new video for third EP

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

Website / Facebook 

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

Manic Street Preachers reissue ‘Gold Against The Soul’ Finally

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

Pre Order Here