The unstoppable Suzi Moon comes roaring back with a debut solo EP Call the Shots, a powerful clutch of high-impact songs which reaffirm her status as one of punk rock’s most vibrant performers! With a stellar rock & roll pedigree reaching back to when the then 15-year-old Moon joined her sister’s famed punk band, Civet, the singer-songwriter has followed through with songs that show her incredible growth. Recording two albums for Hellcat Records and touring with the likes of Social Distortion, Dropkick Murphys and Flogging Molly (all before she turned 21) Moon established herself as a ferocious punk truth-teller with both a distinctive personal style and a fiercely untamed stage presence. After Civet went on hiatus, Moon formed Turbulent Hearts, a high-intensity trio that quickly gained popularity in their hometown Los Angeles scene and earned followings in the US and Europe, playing such high stakes settings as the Rebellion Festival and Punk Rock Bowling.

The restless, boundlessly creative Moon next co-founded unique garage/punk/stoner female power trio L.A. Machina. The group almost immediately issued a memorable EP for Alternative Tentacles before abruptly flaming out in late 2020. Undeterred, Moon set about crafting the groundbreaking songs which comprise Call the Shots and was in the recording studio just months later. Set for a May 2021 release on Pirates Press Records, Call the Shots is classic Moon: hard-hitting, dynamic and thunderingly expressive, the perfect artistic antidote for today’s uncertain climate. A daringly mesmerizing performer and bold, intuitive, composer, Suzi Moon consistently delivers an appealing, high-velocity authenticity that is hers alone.

 

OK, Firstly it seems like a good place to start, what made you decide to go solo?

I always knew I would end up going solo. As a songwriter, it is important for me to take ownership of the music I create. I have a very clear vision for my art and have brought that into every collaborative project I have been a part of. It was really only a matter of time until I had the guts to really step forward and go solo. What have you noticed so far that’s different about playing under your name as opposed to being in a band? -It comes with new challenges. Now I am solely the one to blame if something goes wrong or if it doesn’t resonate within people, I am taking that very personally as the person who is the face of the project. At the same time, it is easier in ways, like I don’t have to get 3 other peoples opinion or approval before I make a decision.

 

Having seen you perform at Rebellion and reviewed your music previously both with Civet and Turbulent Hearts I must admit I was really impressed with the new EP? The energy you put into a live show is something you must be really missing with the Covid pandemic interrupting live shows and travel? How have you found the downtime? What have you found fulfilling that you’ve otherwise would have filled with traveling and touring?

Thank you! I am very proud of the EP and it is a natural progression for me. I am lucky to have worked with amazing musicians, engineers, and mixers on this new music that really set the bar higher, right where I want it, for this new chapter. I miss playing live terribly. It has been very hard to stay home every weekend. I really love being around other people and feeding off the energy of a live show. That is the reason for everything else – to get onstage. That is the real payback for me. The good thing is that I have been able to keep very busy during the pandemic preparing for my new releases and that has kept me sane and on track.

 

Going back to the EP. How did you hook up with Pirates Press?

Well, I have admired the label for many years. They have constantly released really impressive music and the product is such high quality. I do believe timing is everything, though, and when I started chatting with them in Oct. 2020, it just made perfect sense at that moment to begin a working relationship together. They are incredibly supportive and I love being a part of their awesome team.

 

What about putting the musicians together to work on your solo music? Did you have a plan? How easy was it to pick the songs for the EP?

I find that whenever I make a plan, the Universe has a better one for me, haha! I try to say “Yes” to as much as possible to keep the pathways to new opportunities open. The three songs on the EP are recorded with Rikki Styxx on drums because we had been playing together in L.A. Machina and had been spending so much time jamming together it just worked out that way! She is not formally a member of my band but she is close to me like a sister, and it was very special to build the foundation for Suzi Moon solo with her at my side. My guitar player Drew Champion is just amazing, he can play anything I ask him to, it’s really cool. He is still in the project but now I have a new bass player Patti Bo (from River City Rebels) and Sean Peterson (from The Split Seconds – with Drew) so I was able to round up these amazing players who are on board to tour a lot and they are all pro’s with experience. It was very easy to pick the songs for the EP because they were already written and ready to go and they all complimented each other.

 

 

Was there a lot of music written and recorded?

Yes there IS currently a lot written and recorded! I have 13 other songs that are done – 10 are recorded for a full length and I am going into the studio in August this year to record the other. We have a plan for releasing these but I can’t say too much yet… When can we hear an LP? Then obviously see you perform them live? -The full length will be out for summer 2022. I will start playing shows this September 2021 and anyone who sees me play is going to hear a LOT of unreleased material! Going back to the beginning of this latest adventure you’re on.

 

 

What was the catalyst for going solo? Is there anything you miss thus far not being in a band situation? Is it liberating seeing your name on the artwork for your new record?

The catalyst for going solo was more like, I didn’t have a fucking choice. It was just time to do it. I had already put Turbulent Hearts behind me, and then L.A. Machina broke up, and I was in no mood to slow down. It just seemed like it was the right time.

 

What noticeable things would you consider an advantage now to being part of a band?

Advantages are being in control of every facet of the image/product/brand, disadvantages are being the person solely responsible for all that work, haha! I have been so lucky to be in some amazing bands over the years, and I think collaboration is one of the best facets of a band, but it’s not like I am totally alone doing Suzi Moon. I have a band, they have good ideas, it’s just that I get final say now. Which is really good because I like to be the boss.

 

 

How do you approach writing new music? Is there anyone you bounce ideas off of?

Well, I am always singing and making up little silly songs throughout the day, about random shit. Sometimes the melody is so good that I will hum it into my phone recorder and actually take it seriously. I have had songs come to me in my sleep, or when I am running. It usually starts without a guitar, and then I will sit down and figure out how to play what I am hearing in my head. After that I will wait a few days, weeks, months even and if the melody keeps playing in my mind, I know it is really good and worth finishing. So I will write the next part, and try to finish it to 90% before I bring it to the band. For years I have worked like this. It is only recently, since my boyfriend Drew has joined the band as lead guitarist, that I will ask for his opinion on things and we can work on it. He is a great songwriter in his own right, so I fully trust that together we can make something even better together. Of course, in the case of a song like Turbulent Hearts “Panic” or my new song “Nuthin’ To Me” – those are the kinds of songs that just wrote themselves in 20 minutes, ya know?

Every song requires something different!

 

 

The last couple of years have been a deep well of inspiration for songwriters with what happened stateside with Trump being dumped and what happened in January and Covid being such a mindfuck globally there’s been a lot going on out there. What has inspired you to write? Have you found the downtime from touring a productive period?

It’s really nice that Trump is out of office because he was such a fucking embarrasment but I would never give a politician space in my songs. It’s just not the kind of songwriter I am. I don’t really care for any of them, I don’t trust the system and it doesn’t feel like those guys truly have “our” best interests in mind. What I DO care about is the human condition, and I do care about the struggle and the experiences we share. This world is fucked. There is tragedy and pain all around us all the time. Please forgive me if I don’t want to relive that while I am doing something that I believe is meant to bring joy to people. I want folks to forget about their problems while they are at my show. For an hour, just have fun. There are poets and artists out there that just absolutely nail it when it comes to political statements. I respect and admire them greatly, but if it’s in everything we do, see & hear… That is pretty fucking depressing. Sometimes you just need to forget about it for a while.

 

 

The sales of the EP must have delighted you and exceeded your initial expectations. Is a repress on the cards for when you hit the road and more people want in? -Absolutely I was overjoyed and it is still very surreal! It’s been really fucking special. I can’t give out too much information yet about what’s up next but… For those people that bought one of the 200 Cyan colored records – be stoked cause those are the only ones of that color that will ever be made!

 

 

What can you tell us what’s next record-wise? Is there an album in the can? What about other titles can you let us in on what you’ve worked on. -Yes, there is a full length that is coming and another release, too. I can’t give too much away yet, but I promise it’ll be rad!

 

 

 Is there anyone you’d like to work with as a solo artist? you can go anywhere you like with this what would be your dream? If you could get on a tour or record a split with someone what song would you want them to record? Any videos planned that we can watch? What about live streaming?

Living, I would love to work with Billie Joe Armstrong, and Laura Jane Grace from Against Me! Dead, Tom Petty. I have two music videos out right now for “Special Place In Hell” and “I’m Not A Man” – there will be one for “Nuthin’ To Me” next. I don’t plan on doing any livestream concerts because real shows are coming back and I want that to be the focus.

 

If I’ve missed anything here’s your chance. What would you like to let people know that I’ve missed out? I have a Youtube show called “Rockin’ Closets” where I interview other musicians, creators, business owners about their wardrobes and what inspires their fashion choices. It has been very rewarding to make the show and learn new things about these people. I just finished Season One and the show will be back again in the Fall with all new guests! All of those episodes are on my Youtube channel or you can watch them on my Instagram. I suggest for anyone who likes my music to check out the rest of the Pirates Press Records catalog. They have an incredible roster of bands that are doing really cool shit. I plan to tour a lot for the next few years. I will definitely be back in England during Summer 2022 so I hope to see you then! Thanks for the interview! Xo Suzi

No, your right he doesn’t need any introduction and any self-respecting rock and rolla should know the guy’s pedigree.  He was one half of D Generation at a time when music was screaming out for Rock and Roll bands – real Rock and Roll bands and this guy slung his six-string around like his life depended on it and helped save Rock and Roll in the 90s. He left he came back and in between, he released his own album and managed to come to plague island and shake his shit for those of us cool kids who were in the know.  He’s had Sami Yaffa sling his four-string around and his Jet Black & Beautiful is one of my most treasured CDs.

Well, unknown to me or I might just have not been paying too much attention but ‘Viva La Wattage’ kinda just sneaked out into the ether and I had to get one of my stateside besties to pick up a copy for me and ship it over.  I don’t remember being this excited to spin an album in a long time.

 

There are a few tunes redone from previous outings and whilst they are neither better they are certainly no worse than previous offerings like the blistering ‘Pugnacious’.  With The luckiest Girls being Jimbo Britt on the Bass, Bill Eagan on Drums, Danny Ray on saxophone, Larry Burlison on guitar, and Lutie Cain on vocals this band make a pretty impressive noise and ‘Perfect Example’ is just that.

 

I love Bacchus’ vocals there is a dreamy quality to it that’s engaging and trusting Hell I’ve no idea why that is but it always feels good to hear his taking me on a lyrical adventure with a smirk on his lips and a cheeky glint in his eye no doubt.  The songs though,  the bloody songs. There is a Clash-like rugged charm about them especially the epic ‘Oh Brother’  its smokey late night down the LES and the saxophone is a great addition to the mix – man, it’s such a Noo Yawk saxophone even Johnny Thunders would have approved.  But Wait, What?  Flip it over and side two begins with the smoldering beast that is ‘Adios Muchacho’ where the Saxophone rules as it meanders through the cracks of the music being laid down by the band.  What a tune, No I mean it.  Sure as a writer maybe I should try harder to express how the song goes but I can’t.  It’s fair to say I love it so much I had to lift the needle to give this one a standing ovation once it finished. From the strummed acoustic and sax wheeze to Bacchus’ storytelling unfolds into a heaving beast of a late-night deal with it I’m smashed kinda song.

 

Bacchus understands what it takes to write Rock and Roll it must be coursing through his veins you can’t teach it you either have it or you don’t and these cats have it.  ‘The Luckiest Girl’ is a beauty, it’s the morning after the night before, and walking home at 7 am with a leather jacket over the shoulder and a pair of cool shades on its effortless cool that’s what it is. My only gripe is it’s only twelve songs and not more.

If you’re wondering if there is scope for some of that Bacchus ska tip well fear not kids ‘Goochi Boxer’ will service all your needs.  To close this one off there’s a ragged romp through ‘Bankrobber’  and why not?  All in all a bloody top-notch record but I expected nothing less but it is nice to know that some artists never let you down.  Don’t leave it so long to follow this one up please Mr. Bacchus.   Hurry to the link and secure your copy before they’re all gone gone gone because they say there are no more after this limited press.

 

Buy Here

Author: Dom Daley

Dubbed “The most elegant-decadent rock n’ roll unit of the 21st century” and hailing from Montreal, Canada; DANGEREENS have signed a deal with burgeoning rock label Golden Robot Records.

Drawing comparisons to bands like The Strokes, DANGEREENS blend touches of 70s glam rock, punk, power pop, southern rock, 60s garage rock, 50s R&B and rock ’n’ roll all into one tasty soundscape. Their numerous influences shine, in what is a totally addictive rock smorgasbord.

RPM Introduced the band early this year when we interviewed them Here

Dangereens are the most elegantly decadent rock n’ roll unit of the 21st century, period. Their sound and aesthetic combine touches of 70s junkshop glam with sleazy, primal 50s rock n’ roll. Known locally as one of Montreal’s finest toe tapping acts, theses cats are guaranteed to make you scream and shout, while wearing your finest glitter and sequin blouse!
The band formed in the spring of 2017, and since then they have engaged in a feverish song writing streak that led them to put out their self-titled EP, their proudest and most accomplished release so far.
Since their formation, the band have toured restlessly around countless Canadian cities like Montreal, Toronto, Ottawa, Quebec and Halifax, as well as American cities like New York and Boston. Their live performances include theatrical elements mixed with high energy, glitter punk attitude.

Now joining forces with Golden Robot Records, the band is ready, willing and able to take on the rest of the world!

 

Instagram / Facebook / Golden Robot Page

The Chuck Norris Experiment just released this awesome video for Let The Wheels Roll from the recent split EP with Scumbag Millionaire!

We have a few copies of the record left, so enjoy the video, have a laugh, and get a copy of this amazing 7″ while you still can!

The Chuck Norris Experiment and Scumbag Millionaire…two high energy rock ‘n’ roll bands from Gothenburg, Sweden that need no introduction. The Chuck Norris Experiment contributes two exclusive tracks, including an acoustic version of my all time favorite CNE song “Dinosaur Fire!” If you were at the Savage Magic Label Night last February, you saw them play it this way live first time ever for my birthday! Scumbag Millionaire contributes one exclusive track and a track from their debut LP Speed that was never released on a single (until now). These four rippers combined with the amazing layout by our good friend Dario make this one hell of a release!

The album “The King Is Dead” by The Cutthroat Brothers and mike watt (recorded by Jack Endino; with artwork by Raymond Pettibon) right off the bat is an absolute fuckin’ joy from top to bottom, start to finish its wall to wall bangers.  If the king is indeed dead this’ll wake him up!

I’ve been a fan of the cutthroat duo so far and loved everything they’ve done thus far and the lockdown live release well needs a vinyl press considering how bloody good it was and sounded.  Then this banger creepy crawls without bells and whistles or fanfare with added Mike Watt delivering some low-end power that really elevates these tunes into the something special category.  Basically it’s the last studio album but with the Watt factor that was lost in the interweb ether but turned up after the album had been cut.

 

As soon as ‘Killing Time’ kicks in with a swagger and a truckload of attitude, these boys come out swinging like the wanderer’s gang with baseball bats lashing out and jumping like a cat on a hot tin roof and before the second chorus has passed you’ll be joining in on the “killing Time”.  After such an energetic opener that swagger turns into a strut as ‘Medicine’ is buzzin like a lunatic on class A’s.

 

The title track is a throbbing brooding throwback to better times. Watt adds a phat sound that is a sonic jump and an already big-sounding band goes supersonic.  It adds something special and the loose blues of the menacing title track is epic in sound and feel.  When the band raises the tempo it raises the menace and my speakers start to shake rattle and roll.

These guys go through the gears and show off a play on the variations of what we call Rock and Roll and the melodic catchy ‘Out Of Control’ has a slice of power pop with its main course for what is one of the records high points as it did on the bands sophomore record but as it was meant to sound.  Released for RSD this is a fantastic slice of Garage Rock n Roll that any self-respecting rocker will want to hear.  If you can find a copy then do so and play it loud!

Buy Here

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Author: Dom Daley

Checking out what feels like the my first listen of an AFI album in over fifteen years, it seems this Warped Tour caterpillar has come out of the cocoon a full on goth death’s head moth with layers of lush 80s pop to boot. Finally completing the inevitable metamorphosis they began at the turn of this century.
AFI always seem to have a bit of a mixed legacy, somewhat down to their Hardcore roots and their association with Dexter Holland’s Nitro label. The band has come a long way since then and doesn’t get the credit which is due to them a lot of the time. The group has a strong stakehold in the dark 80s revival of the early noughties, making waves long before Emo raised it’s fringed head. Perhaps a classic problem for this bands place in the world: Too young and fresh for the original Misfits fiends and too much like the old guard for the younger Emotionally Melodic Hardcore ones.
Album number 11 kicks off with Banshees tinged number ‘twisted tongues’ with everything from the urgent drum beats to the stirring guitar lines, setting up the listener for this tour de force of goth emblazoned post punk. If there were any trepidation in the groups genuineness, track two completely kicks the doors down. Sounding like a forgotten relic from the Modern English back catalogue coupled with the irresistible singalong vocal delivery of frontman Davey Havok.

The band manages to dip it’s toe into more mainstream waters whilst maintaining their integrity, particularly with some cleaner production and electronic beats. Imagine the Killers during their more respectable runs had a creative epiphany when listening to a shit load of Bauhaus.
The main takeaway from this record is that the band has clearly shown growth without losing identity. The album is accessible without compromise and the band has shown different angles of their sound without falling into pitfalls or being pigeonholed. The strength of songs such as ‘no eyes’ and ‘looking tragic’, the brooding of tracks ‘back from the flesh’ and ‘tied to a tree’ show the potential to reach a whole new audience who may have put AFI in a box a long time ago without considering the groups ability to adapt within their skill set.
I for one have been pleasantly surprised by Bodies and cannot wait to coerce my friends into rolling the dice on this not so hidden gem. Give it a listen and surprise yourself. You’ve got nothing to lose.
Buy Here
Author: Dan Kasm

Formed in 2013 by guitarist Jesper Lindgren and describe themselves as a three-piece gang of rockers that reinvented glam rock by mixing the pop harmonies of the ’70s with the heavy sound of today. There have been changes in personnel and switches in record companies along the way but the band’s fortunes received a significant boost when they signed to a deal with Wild Kingdom/Sound Pollution earlier this year but to deliver an album so dripping in retro goodness and smeared with sequins and guyliner you can almost smell the stage soaked sweat that’s infused in each and every groove.  A band slavishly dedicated to the lifestyle that to suggest they walk the walk would be an understatement and quite frankly offensive to their platform booties.

Sulo Karlsson of the Diamond Dogs produced and wrote the tracks together with the band and with a stroke of genius he infused their probably already awesome tunes that little bit of big brotherly know-how and class that he’s helped create a beast of a record and also drafting in some Hellacopters and Backyard Babies for good measure shows that these cats aren’t just pretty faces they know what it takes to rock and roll as well.

It feels inspiring and exciting to have signed a deal with Wild Kingdom. After working our asses off for years jumping around on different record companies it feels like we finally found our home. Wild Kingdom got the distinct rock ’n’ roll vein that we all love. Together we have made this glammy high-energy rock ’n’ roll album that we feel very proud of. A wam bam beat that will knock you of your feet.” 

Its an album crammed full of cliches but acceptable ones and authenticity which is the all so important quality that gives this record the edge and makes it so enjoyable.  From the riff-a-Rama of ‘Backstreet Liberace’ with the aforementioned big-hitting friends  like Dregan and Andersson lending their enthusiasm and voices (n guitar skills) its class from the gang vocal chorus to the hook on the guitar to the scrumptious melody but what lifts this one is the horns and that party hard piano.  An absolute Glam-banger.

 

Its not rocket science what you’re buying into here its Rock(et) n Roll and big fat loud n proud Glam Rock n Roll done in the best possible taste. Sure there is a familiar edge with Sulo on board writing the songs but that a bonus (especially if you love a bit of Diamond Dogs) the opening party anthem of ‘Driving Down A Mountain’ sets the tone right from the off and it doesn’t relent until the final strains of track eleven fades into the rearview mirror.

 

‘Jaded Eyes’ would have been a TOTP regular with its power-pop muted riff and melody and that chorus. The more I play this album the more outrageous it gets and the more I love it.  ‘Sound Of Sirens’ is one your girlfriend will love and probably motivate her to get a poster of the band on her bedroom wall.

 

Hell they even get the acoustics out for the campfire swing of ‘Midnight Sunshine Serenade’ you keep waiting for it to break out and go big or go home but it doesn’t it remains understated and reflective. Bloody lovely.  Then to follow it with some Mott The Hoople inspire drum rolls and swagger before signing off with the big sing-a-long of ‘You’re The Revolution’ without a hint of coming across as corny or retro it’ll have you swaying to the rhythm waiting for the inevitable fire works to sign it off.

 

What a joyful record of wonderfully crafted rock and roll tunes that are delivered with passion and obvious love for what it is they do.  Now, where can I order one of these bloody Glitter Suits I want one so bad no damn it, I need one and so do you.  Quite simply buy this record.

Buy Here

Author: Dom Daley

UK DATES RESCHEDULED FOR THE 7TH TIME

 

NEW SINGLE ‘I, MORON’ FEATURING IGGY POP RELEASED JULY 9TH VIA EGG RECORDS

 

NUMBER ONE SELLING NEW ALBUM ‘I AM MORON’ OUT NOW!

 

The Lovely Eggs do not give up. Ever. The proudly independent Northern psychedelic punk rock duo have now, since the beginning of the pandemic, rescheduled the tour originally intended to promote the release in April 2020 of their ‘I Am Moron’ album, a staggering seven times. And again, with the cancellation of ‘Freedom Day’ this week, The Lovely Eggs have once again had to reschedule the gigs they had set to start in early July and have successfully pushed the dates back by a couple of weeks to meet the new restrictions.

 

“It’s part of the DIY culture,” explains singer/guitarist Holly Ross. “You just don’t give up. So as soon as we found out that re-opening had been pushed back, we set about heaving all our tour dates back into late July/August. We didn’t want to wait till next year. And within 24 hours we’d re-booked our UK tour for the seventh time! We are all just ready for the party now. Everyone has been looking forward to these shows for over a year and we can’t wait to bring it to em!”

 

These shows will be a long-awaited celebration of the critical and chart-topping success of ‘I Am Moron’ and also follow on from the band’s forthcoming collaboration with Iggy Pop for the July 9th release of new single ‘I, Moron’ via their own label, Egg Records.

 

“Being in The Lovely Eggs we’re kind of used to surreal experiences but collaborating with Iggy Pop takes the biscuit,” exclaims Holly. “It’s actually unbelievable. For him just to say nothing but “moron” over and over again fitted in with the sentiment of the song perfectly. He just GOT it. We are all morons. In a world of moronic things. In a world of moronic ideas. You are moron. I am Moron. We are Moron.”

 

In a further homage to Iggy, the B-side features The Lovely Eggs own take on ‘Dum Dum Boys’ from Iggy’s defining 1977 album ‘The Idiot’.

 

“For the B side it made real sense to us to cover one of Iggy’s songs off “The Idiot”, says drummer David Blackwell. “There seemed to be a real synchronicity to it. I had this album on cassette, and it was one of the first albums that I got really into. Dum Dum Boys struck a chord with us, kind of missing the old days and the old gang we used to hang out with.”

 

Once again, the single will feature artwork (featuring a three headed Iggy/Eggy beast) by the brilliant Casey Raymond on one thousand yellow coloured vinyl 7” singles, recorded by The Lovely Eggs in Lancaster and mixed by Dave Fridmann at Tarbox Road Studios, NYC

 

 

Catch The Lovely Eggs live at the following dates in 2021/2022

 

July 2021

Fri 23 Gorilla, Manchester SOLD OUT

Sat 24, The Brudenell, Leeds NEW SHOW!!

Thur 29 02 Academy, Sheffield

Fri 30 The Garage, London SOLD OUT
Sat 31 SWX, Bristol [Venue upgrade. Original tickets still valid]

 

August 2021

Sun 1, The Bullingdon, Oxford
Mon 2, The Joiners Southampton [Venue change. Original tickets still valid] SOLD OUT

Tues 3, Concorde 2, Brighton [Venue upgrade. Original tickets still valid]
Wed 4, Metronome, Nottingham

Thur 5, District, Liverpool [Venue change. Original tickets still valid]

 

April 2022

Thurs 7 Castle and Falcon, Birmingham SOLD OUT

Fri 8, Heaven, London

Mon 11 Junction 2, Cambridge

Sat 16, The Brudenell, Leeds SOLD OUT

 

May 2022

Thur 26 The Cluny, Newcastle

Fri 27 Stereo, Glasgow

Sat 28 The Mash House, Edinburgh SOLD OUT

Sun 29 The Crescent, York

Mon 30 Sub Rooms, Stroud

Tues 31 Clwb Ivor Bach, Cardiff

 

June 2022

Wed 1 Face Bar, Reading

Fri 3 02 Ritz, Manchester

 

Find The Lovely Eggs online at:

 

WEBSITE

FACEBOOK

TWITTER

INSTAGRAM

 

It’s been a long time coming. That’s not a phrase I’d normally use when talking about a new album from Rich Ragany, the Canadian singer/songwriter who between 2015 – 2017 released three superb records with his then band the Role Models before in 2019 releasing his debut solo record the also most excellent ‘…Like We’ll Never Make It’. A record which in turn helped pave the way to this, his latest band venture with The Digressions. Prolific really should be Rich’s middle name, and if he’d had his way 2020 probably would have seen the release of his first album written with his new band…but then a little something got in the way of things. So, as the world at large felt like it was grinding to halt, Rich seized the opportunity with both hands to make his most idiosyncratic record to date.

 

Just listen to what the man had to say when asked to describe the dozen tracks he and his bandmates have come up with for ‘Beyond Nostalgia & Heartache’ and you can hear the confidence he exudes right now…

 

“This album means so much to us … it’s about finding strength and celebrating life throughout heartbreak and loss. The cyclical renewal in life. The acceptance of love and joy, despite the bruises. The shards of sunlight cutting through the hangover drapes. Hope you like it… we loved making it. “

 

Normally when I’m chatting with Rich on social media it’s about our mutual love of obscure NWOBHM bands and what he does as a day job kind of takes a backseat, but here (for once) he’s only talking about the day job and how much he loves what he’s doing with the Digressions.

 

He’s got very good reason to love his band too, not only because with Gaff and Kit Swing on guitars, Simon Maxell on drums, Ricky McGuire on bass and (producer) Andy Brook on keyboards it’s probably the most diverse, yet cohesive, set of musicians Rich has ever worked with, but also because ‘Beyond Nostalgia & Heartache’ is without doubt his finest hour yet as a songwriter/storyteller. Yes, of course the punk rock influences of his past are still very much there at the bedrock of it all, but with ‘Beyond Nostalgia & Heartache’ Rich has transcended the bravado of those much-treasured Role Models albums, and the tenderness of his solo venture to come out the other side of the global pandemic sounding like he’s discovered himself as a writer all over again.

 

With that in mind, I’m actually not going to skip from track to track here, as ‘Beyond Nostalgia & Heartache’ is an album in the most traditional of senses, one that demands you listen to it from start to finish. From the soaring ‘Sometimes You Can Hear The Voices’ with its glorious mid song coda and Ronson-esque guitar work through the joyous lead single ‘Heartbreakers Don’t Cry’ to almost doo-wop vibe of ‘This Is How You Spell Tonight’ this record is Rich Ragany & the Digressions truly seizing their moment, and in turn releasing the definitive Canadicana record.

 

When RPM’s head honcho Dom Daley tempted a few of us old Uber Rockers out of retirement to once again write about new music, it was (for me at least) all about being able to enthuse about albums like this. Ones that come at you from slightly left of field and in the process leave you breathless. I mean I can probably count on one hand the albums I own with a banjo on them, but that number will be doubled once I get my pre-ordered red vinyl record of ‘Beyond Nostalgia & Heartache’ through the post in late August and you only have to hear the awesome ‘Fade In Blue’ once to fully understand what I’m on about here.

 

What makes ‘Beyond Nostalgia & Heartache’ such an essential record for yours truly is the strength in depth that comes with repeated listens (that’s why picking out single tracks feels like such a crime), and with the added vocals of Kit Swing Rich has finally found the perfect counterpoint from which to hang his superglue strength melodies. Once heard, never forgotten, ‘Beyond Nostalgia & Heartache’ is the definitive soundtrack to 2021 an album chock full of musical twists and turns that will live long after we have all left this planet, and that folks really is the mark of a truly great record.

 

Pre-orders for ‘Beyond Nostalgia & Heartache’ are open now via the link below, and as Shades Records once used to proudly say in all their ads…this one really is BUY OR FOAD!!!!

Buy Here

Author: Johnny Hayward

 

 

 

 

Punk the Capital: Building a Sound Movement
A documentary about the rise of punk rock in the town that needed it most… Washington D.C. (1976-1983)
Available digitally everywhere on June 29th – Pre-order now on Apple TV and iTunes
Featuring Bad Brains, Minor Threat, Void, Rites of Spring, and more, including a never-before-seen entire Super-8 archive of early DC punk footage and interviews from Henry Rollins,
Ian MacKaye, H.R., Cynthia Connolly, Jello Biafra, Joe Keithley, and many others
Blu-ray and DVD available now includes 50+ minutes of bonus shorts with
Scream, Void, The Cramps, and The Slickee Boys available via Dischord Records

When punk rock erupted in Washington DC, it was a mighty convergence of powerful music, friendships, and clear minds. This film explores 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 that not only redefined a genre but that created a widely employed model for DIY culture and political engagement.
Created by James June Schneider (co-director, editor), Paul Bishow (co-director), and Sam Lavine (associate producer, co-editor), Punk the Capital was theatrically released in over 50 cities, selected for key festivals (BAFICI, In Edit Barcelona, etc) and has garnered enthusiastic reviews from fans and the press alike (Rolling Stone, Film Threat… %100 on Rotten Tomatoes).
Since its premiere at the American Film Institute, most of the 60+ in- person screenings have been special events, with Q&As with the directors and Ian MacKaye, Henry Rollins, curator/publisher Roger Gastman, Bob Boilen, just to name a few.
Punk the Capital will be available on all digital platforms on June 29th, but is now available for pre-order on Apple TV and iTunes.
The film was released on Blu-ray and DVD in the US for Record Store Day on June 12th via Passion River and in the UK for Record Store Day on July 12th via Wienerworld. A portion of all DVDs and Blu Rays sold through Dischord Records will go to the DC based charity We Are Family.
As an added bonus, the discs contain 50+ minutes of short films from the archives of Punk the Capital:
  • Scream Meets The Hangmen: Featuring all of Scream including Dave Grohl
  • Void and Friends: A portrait of the cult hardcore band from the DC suburbs
  • The Seminal WGTB Concert: The legendary first punk concert for so many DC kids, The Cramps and total chaos
  • The Slickee Boys: Extra material on the band who got DC punk off the ground circa ’76