Bill Janovitz – Live In Isolation – Happy Hour

Bill Janovitz – Live In Isolation – Happy Hour

We live in strange times, and strange times call for creative solutions. Everybody has been affected but the coronavirus in one way or another, and for us musicians, it has meant an end to touring and all the financial and promotional complications that come with it. For fans, it has meant an end to memorable nights out with our favourite music. All is not lost, however, as we luckily (depending on your perspective) also live in the time of the internet, meaning musicians have sought to fill the gap by playing live shows across social media platforms. It works better for some than others, and while not replacing the dynamism of a live show, it at least offers us something to enjoy while we rot away at home, trying not to kill each other.

 

Buffalo Tom’s Bill Janovitz is certainly someone who makes good use of this style of delivery, and I am thoroughly enjoying the second week of Happy Hour with Bill. Using the opportunity to replace one of his cancelled live shows with these intimate performances, he is also donating much of the proceeds to help pay the wages of those working in independent music in his area, and to other worthwhile causes. Certainly a nice touch. Bill Janovitz is a natural entertainer, and it’s almost as enjoyable to watch him mix cocktails as it is to watch him play the songs. But of course, it’s the music that makes all this sitting at home among the crisis feel not quite so bad. Whether it’s the beautiful Overtime and All Be Gone (from the most recent album Quiet and Peace), the superb but rarely heard Bottom of the Rain (Three Easy Pieces), or a rousing version of Your Stripes (from Sleepy Eyed), acoustic songs on a live stream from his house is a warmth we could all do with these days.

 

This is the second week of the Happy Hour, following on from the success of the previous week. The two hour set tonight is full of gems voted for by fans through an online poll, such as Taillights Fade and Larry. His family jumping in to join in for a chorus of Tangerine the previous week and then again for another rendition of it here were highlights, as was him being joined by his daughter for covers of New Order’s Leave Me Alone, Simon and Garfunkel’s Only Living Boy in New York (also on Quiet and Peace), and the Everly Brothers Let it be Me. Moments like this at least offer us something we would never have got otherwise. Every cloud… These live streams we can all tune into will perhaps never replace what we love so much about live music, but they are a small, welcome Porchlight in the dark. And while times are hard for musicians as their careers temporarily stall, supporting them is something we should all be doing now if we’re able, whether they are in a position to donate earnings or whether they are merely trying to keep themselves afloat.

 

At the end of tonight’s show, Bill announced that he would probably be doing another one this Saturday. I certainly hope so – at least it makes a Saturday evening somehow feel like it really is a Saturday evening.

Find it on the Buffalo Tom Facebook page: Here

Author: Craggy Collyde

 

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

The Suicide Machines – ‘Revolution Spring’ (Fat Wreck Chords)

It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six albums. The break didn’t last too long because in 2009, the four-piece reconvened to play the occasional show and embarked on some even less frequent touring. There was no sign of new material on the horizon that is until now.

‘Revolution Spring’, their seventh album, and the first new material since 2005’s ‘War Profiteering Is Killing Us All’, was released March 27th.

What you get for your buck is plenty of bang with some Dropkick Murphy style lead vocals driving the rousing songs.  The band sound energised from the break.  you get the full force on opener ‘Bully In Blue’ but there’s plenty of skank on ‘Awkward Always’

There are sixteen songs on offer here and the band say they had thirty written so it’s not like they were short of inspiration.  They continue to dish up sharp sounds with an excellent production that shines on songs like ‘Babylon Of Ours’.

The songs deal with real issues to the band and whilst they’re at it they also have a far wider appeal. Police brutality, American Imperialism and class war are all covered so not such a superficial record. they don’t hold back with opinions either ‘Flint Hostage Crisis’ being a good case in point. Some heavy topics covered as well like attempted suicide but I have to say that the overriding feeling I get from listening to the record is how up and positive it sounds and out of bad situations comes a positivity.  ‘Trapped In A Bomb’ has a rollicking bass line rumbling away urging this song forward. Punk rock isn’t just for the kids and the older wiser guys can give the young pups a run for their money and this is proof.  A very American feel to the record when they cut loose like on ‘Detroit Is The New Miami’ they really hit their stride mixing some hardcore with their skank and not sounding out of place.

Old and new fans alike will find Revolution Spring an energetic anthemic, hardcore, ska-punk roots mixing pot and it’s good to have the band back making music that sounds fresh and vibrant and there’s a lot of music to get through here.

Get it Here

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Author: Dom Daley

Ryan Hamilton Quaran-Tour 2020 – get involved and enjoy the music

Ryan Hamilton Quaran-Tour 2020 – get involved and enjoy the music

Hey folks some news for these dark times and as we’re all self isolating Ryan Hamilton is gonna shine a little sunshine your way via some live performances.  He had this to say,

“As you may have seen, all of our scheduled Festival appearances and Tour Dates this Summer have been canceled or postponed. Very strange, and difficult times right now. But, we’re doing our best to roll with the punches.

SO….. for the next few weeks I will be hosting online shows from my home in Texas.”

April 2nd – Songs from Hell Of A Day

April 9th – Songs from The Devil’s In The Detail

April 16th – Songs from This Is The Sound

April 23 – Songs from The New Album
(brand new songs from the forthcoming album)

All shows are “Pay What You Can”.  We can’t let the virus stop the music!

stageit.com/RyanHamilton

Nikki Hill’s ‘Feline Roots’ gets Europe release through Hound Gawd Records

Nikki Hill’s ‘Feline Roots’ gets Europe release through Hound Gawd Records

Hound Gawd! Records will re-release Nikki Hill’s third album entitled “Feline Roots” on April 24, 2020 across Europe on vinyl and CD.  We first brought Nikki Hill to you when Gerald Reviewed ‘Feline Roots‘

www.houndgawd.com is the home for some amazing releases hit the link to pre-order

Hill lets her soul rip on this new collection of songs, displaying her now well-known stance to champion for the pioneers of roots and rock n’ roll, while remaining in perpetual forward motion, inviting anyone who wants to come along for the journey. Johnny Thunders straddling guitar, Bad Brains’ rock meets reggae, Stonesy groove, Sister Rosetta Tharpe rave up rockin’ gospel power, all receive nods of recognition. Hill is unafraid of her past or experiences and puts it out there for the sake of the song. The songs imagine the southern soul rocker at times waving her flag in surrender, then in the next moment finding her way back into the climb, bending through supercharged blues, punk soul, revival tent gospel, rockabilly shouts, whatever it takes to get there. It’s her version of rock n’ roll that can only come from her stories. Nikki has never been afraid to take the road less traveled, and it’s clear with “Feline Roots” that she’s living every word.

PROFESSOR AND THE MADMAN ANNOUNCE PRE-ORDERS FOR NEW ALBUM, ‘SÉANCE’

PROFESSOR AND THE MADMAN ANNOUNCE PRE-ORDERS FOR NEW ALBUM, ‘SÉANCE’

Title track from the forthcoming album is available now at all digital retailers; pre-order the album at www.professorandthemadman.com

Séance will be the band’s fifth album. Agnew, Elliott, and Scabies are founding members and comprised the lineup on Good Evening, Sir! and Election (both 2016). Gray joined in 2017 and appears alongside the trio on Disintegrate Me (2018) and Live at the 100 Club (2019). All four albums — as well as the upcoming Séance— are released by Fullertone Records.

“A séance typically refers to a ritual used to make contact with a person who has died,” says Agnew. “We see the songs on our new album as attempting to re-establish contact with an era, a way of life, that has died. More specifically, our goal is to evoke the strong connection we felt toward music in our youth — the ritual of bringing home an album from the record store and totally immersing yourself in its journey. We love albums and this group exists to celebrate them. Our new songs tend to be reflective, as we remember former friends and band members who may no longer be along for the ride.”

Tying in with the séance concept, Professor and the Madman has created a new board game which will be available at various pre-order levels. The game is played with a pair of dice, cards, and miniature game pieces. The Séance CD will come with a fold-out paper insert which constitutes the gameboard. The Séance purple vinyl edition will have the gameboard as its gatefold.

Visit www.professorandthemadman.com for full details on the various Séance formats.

“The new material is eclectic,” says Agnew. “It’s less punk-influenced than our previous albums. The 1960s and ‘70s musical influences are more pronounced. We’re big fans of the Kinks, the Beatles, Pink Floyd, David Bowie, Brian Wilson. Maybe even some Zep!”

CONNECT WITH PROFESSOR AND THE MADMAN

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Buffalo Summer – Desolation Blue (Silver Lining Music)

Buffalo Summer – Desolation Blue (Silver Lining Music)

My first encounter with Buffalo Summer was several years ago in Exeter when they were the support for one of the many incarnations of Heavens Basement. I came away from that gig thinking that Buffalo Summer were by far the better band on the night and their bluesy, ballsy rock n roll reminded me of a cross between Cry of Love and Silvertide (if you don’t know those bands check them out!). Since then I have seen the band on several other occasions and always found them to be a thoroughly engaging live band. However when it comes to their studio output I have always found they have fallen short of what they can do live, but will album number Three, ‘Desolation Blue’, change my mind?

The short answer is sadly no, and if anything I find ‘Desolation Blue’ a little bit more confusing than what has come before. The confusion comes from the band seeming to not know who or what they want to be. One minute they sound very soulful and bluesy, with the excellent ‘Dark Valentine’ being a standout track on the album, and then the next minute during ‘The Bitter End’, the band throw in big leanings towards grunge with the track having a very strong Alice in Chains feel about it, and this mixing of styles is quite noticeable throughout the entire album. Understandable considering the bands musical background. It’s fair to say they have the talent with Andrew having the perfect voice for this style and utterly convincing in his delivery whilst Johnny is up there with the best in this genre for riffs and solos whist the rhythm section holds everything together with class they clearly love what they do and do it with style.

It’s not to say that the album is bad (it is certainly not), there are some fine moments on it like the previously mentioned ‘Dark Valentine’, the hard-rocking and catchy ‘If the walls could Speak’ and the brooding album closer ‘Pilot Light’, but for every impressive moment, there are a lot of moments that while pleasant, are just easily forgettable. At this moment in their career, Buffalo Summer really needed to produce an album to open themselves up to more people outside of their current fan base, but with ‘Desolation Blue’ I don’t think they have done that, and while that won’t affect their ability to carry on as they are within their comfort zone, playing great live shows and impressing their fans, they have missed a chance to really push on. They have so much to offer as a band this, however, is still above average and maybe with time will be a grower.

Buy ‘Desolation Blue’ Here

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Author: Nigel Taylor

Baby Chaos – ‘Ape Confronts Cosmos’ (Three Hands Records)

Baby Chaos – ‘Ape Confronts Cosmos’ (Three Hands Records)

Affectionately referred to as the ‘Baby Wildhearts’ back in the day, Scottish rockers Baby Chaos disappeared off the radar after 2 critically acclaimed albums and high profile tours with the likes of The Wildhearts and Terrorvision. Even re-inventing themselves before the turn of the century with a different line up as Deckard was a short-lived move, and we assumed Chris Gordon and his cohorts were assigned to rock ‘n’ roll history with all the other coulda-shoulda-woulda beens.

Luckily, a certain Ginger Wildheart persuaded then to reform for a few support gigs, which led to inspiration, new musical ideas and a re-emergence for one of Brit Rocks brightest hopes. In 2015 the band finally released their third album, the ambitiously titled ‘Skulls, Skulls, Skulls, Show Me The Glory’, which was as spectacular as the title suggests.

4 years have passed and they are back with ‘Ape Confronts Cosmos’. A new challenge for the band, now bolstered to a 5 piece with the addition of a third guitar player in Alan Easton. The slate has been wiped clean and Chris Gordon has written an album full of completely new and fresh musical ideas.

 

Once you get past the fact that ‘Ape Confronts Cosmos’ has possibly the worst cover art of the year, if not the millennium, once you pull out that beautiful slab of red vinyl, place it on the turntable and let the needle drop…that’s when the magic takes you. You see Baby Chaos are one of those bands that have the ability to take you on a journey. They are an album band, and by that I mean this album needs to be listened to as one piece of music to get the full, desired experience.

Words such as ‘epic’ and ‘grandiose’ are thrown about nonchalantly in reviews, but when it comes to Baby Chaos, they truly are justified. There are gargantuan walls off riffage, cascading harmonies and melodies to die for at every turn and in every song. Muse comparisons are rife, especially in the likes of ‘You Won, You Won’ and ‘Run Towards The Roar’, but don’t be scared! Yeah, Chris Gordon’s vocal style is not dissimilar to Matt Bellamy, but the triple guitar attack and clever song dynamics easily outsmart the Teignmouth trio in my opinion.

With a stabbing rhythm and an almost PIL style vocal delivery, ‘Out Of The Blue’ opens the album with a post punk influenced statement of intent. It leads into a euphoric, other-worldly chorus, then out again quick as a flash. The top notch production job courtesy of main man Chris Gordon just helps to accentuate the  3 way  jagged guitar interplay, and it sounds quite frankly …massive!

Regimental riffage a-la The Wildhearts, layered Queen-like harmonies and urgent, precision drumming make the likes of ‘Mouse. Lion. Mouse.’, and the aforementioned ‘You Won, You Won’ and ‘Run Towards The Roar’ utterly essential listening in 2020 and we have only digested side one!

 

The picked acoustics of ‘I Belong In Battle’ give a respite from the hard rock assault, but its short lived. You see, Baby Chaos have a penchant for delivering a relentless refrain of guitars that just keeps on coming and they create soundscapes that put them right up with the best in their genre.

Side 2 opener ‘Orphans On The Moon’ has a grandiose, alt rock feel. Like The Smashing Pumpkins meets Thirty Seconds To Mars, it eyes up the stadiums of the world for recognition. They even come across like Sparks on ‘A Quiet Jubilation’ with one finger keyboard notes, as an underlying vocal melody weaves beneath the main operatic gang vocal. That then segues into the massive sounding ‘Everything I Counted On Has Been Proved Wrong’. A killer, power pop hook that’s up there with the likes of Silver Sun and guitars that crunch as heavy as Metallica, what more could any discerning rocker desire?

It’s not all an assault on the senses though; Chris Gordon is a diverse and creative songwriter. Just lay back, close your eyes and drift away to the dreamy, acoustic lullaby ‘The White Witch’. A tripped out ride to take the listener to another plane in these troubled times.

Elsewhere, the closing ‘Cut Through The Ocean’ sounds live in the studio and I wouldn’t be surprised if it was a one take recording, just the main man and a lone acoustic guitar laid bare, heart on sleeve for the world to see. It comes across like a reprise, the singing delivered in almost a whisper, with just haunting backing harmonies to accompany the frontman.

 

Baby Chaos return with an album that continues where ‘Skulls Skullls Skulls, Show Me The Glory’ left off. Chris Gordon’s trademark anthemic, guitar-driven noise has a tendency to go off on a tangent to itself and that is what keeps it interesting and sets Baby Chaos apart from the majority of their contemporaries. A wild and expansive sound is created by a band led by a songwriter up there with the best of his generation. Baby Chaos are my Radiohead and my Pink Floyd all rolled up into one gloriously heavy package.

The fact that ‘Ape Versus Cosmos’ will go largely unnoticed by the mass music buying public is a crying shame. I urge you to not let this happen to you. An early contender for album of the year makes ‘Ape Confronts Chaos’ an essential purchase.

Buy  ‘Ape Confronts Cosmos’ Here

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Author: Ben Hughes

 

 

 

Tesla – ‘Five Man London Jam’ (UMC)

Tesla – ‘Five Man London Jam’ (UMC)

Three decades after almost single-handedly taking the hard rock goes acoustic format mainstream Sacramento’s finest sons Tesla recently returned to the now well worn set-up for an intimate invitation only show at London’s Abbey Road Studios to record a set of songs in homage to the original ‘Five Man Acoustical Jam’.

Captured in 4K High-Definition both sonically and visually ‘Five Man London Jam’ is more than just a re-run of that Platinum selling 1990 opus though, with only five tracks common across both releases, although granted the more pedantic fan might argue its six if you want to include opener ‘Comin’ Atcha Live/Truckin‘ as two songs rather than one.

Once past the common ground of the introductory track what follows is a mixture of tracks from Tesla’s 2019 album ‘Shock’ (‘Tied To The Tracks’ getting a cowboy booted foot in early doors with ‘California Summer Song’ and ‘Forever Loving You’ forming the mid-set spine) all lined up alongside some of their perhaps lesser known tracks from their back catalogue such as ‘Miles Away’ and ‘Into The Now’ from the band’s 2004 by the same name. There are also three cuts from 1991’s much overlooked ‘Psychotic Supper’ album in the shape of ‘What You Give’, ‘Call It What You Want’ and ‘Stir It Up’ to look forward to. Whilst of the remaining five original ‘Acoustic’ tracks the re-visiting of The Beatles ‘We Can Work It Out’, recorded in the very studio it was first recorded in, plus the whole seven and half minutes of ‘Love Song’, which brings this set to a close, are both in equal measures enthralling and magical.

If I were to be slightly critical of the thirteen (look I’m counting the opener as one track okay) song set is that reviewing it as I am here without the visuals it does get a tad one paced towards the middle of the set, and it takes a fantastic version of ‘Into The Now’ to truly get me back in the groove, also though on a more positive note it’s great to hear the ‘Shock’ tracks live and devoid of the overproduction which I personally felt marred their last studio record.

Look, I once stayed up until 4 am in a freezing cold Centre Stage at Minehead Butlins to watch Tesla deliver a show stealing set of songs to an audience that by that time in the morning largely resembled how I would imagine a war zone might look. So me, I’ll take that rough memory with the smoothness of ‘Five Man London Jam’ any day of the week just for the pleasure of being able to hear the awesome vocals of Jeff Keith.

What I will never be able to get my head around though is how Tesla have never really become the arena rocking behemoths they so rightly deserved to be, a bit like their heroes UFO I guess.

Buy ‘Five Man London Jam’ Here

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Author: Johnny Hayward

Massive Wagons new video ahead of album release

Massive Wagons new video ahead of album release

Lancaster’s anthemic rock five piece, Massive Wagons, are thrilled to announce their new album ‘House Of Noise’ will be released on 17th July 2020, via Earache. To coincide with the announcement, the band is launching the video for the first single ‘In It Together’,

House Of Noise is the highly anticipated follow up to the chart-busting Full Nelson, a UK Top 20 hit in 2018; it is the band’s fifth studio album and easily their most accomplished work to date. Commenting on the forthcoming release, front-man Baz Mills says: “I’ve always said that you cannot lie to your fans because they can smell an impostor a mile away, I couldn’t do what I do knowing I’m feeding people bullshit, your songs, your stage show, interviews, ours are all 100% us, I’m 100% me and when I say this album is our best yet then I totally mean it! House Of Noise is absolutely our best song writing yet, it feels like 10 years in the making and through being signed with Earache we were able to record it at a dream studio with two of the best producers in the biz, Mr Chris Clancy and Mr Colin Richardson, these guys took our songs, our ideas and abilities and collectively we managed to capture the best sounds we have ever recorded, we could not be happier with the outcome, it’s been an absolute dream recording this album, and we cannot wait to give it to rockers and rollers all over the world.”

House Of Noise brings together all of the infectious elements that have endeared Massive Wagons to fans of maximum force rock n’ roll – a raucous rabble-rousing sense of community, straightforward from-the-heart lyrics, and an irresistible combination of pop melody and street-smart hooks. The album contains 12 tracks that vary from the high octane opener In It Together, to the anthemic title track and the frankly ludicrous, but hilarious, The Curry Song, via the brooding menace of Hero and bittersweet lament of Sad, Sad Song.  The entire experience overflows with personality and passion, and sounds like nothing else. Massive Wagons have finally found their groove.

HOUSE OF NOISE OUT ON 17TH JULY 2020 VIA EARACHE

New albumHouse Of Noise will be released on 17thJuly 2020, via Earache Records.
Pre-orders are available Here

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