Although The Courettes planned to have a much quieter 2023 while they work on the follow up to 2021’s sensational ‘Back In Mono’ LP, it’s almost impossible for this incendiary garage rock duo to resist the lure of the stage and the band have been working harder than ever. Fresh from kicking up a storm at SXSW, The Courettes are currently touring Europe and are set to arrive in the UK early next month for a string of live shows that will not disappoint!
Buy Tickets Here
After deciding to make the relatively short trip across the bridge into England’s South West to catch Trampolene play an electric set before a meet and greet we were making good time before hitting the citys tragic one way system and road closures and rush hour. It wasn’t looking good that we’d make the half six kick off. Alas our fears subsided when we found out it wasn’t actually kicking off until an hour later. Relax have a drink and join the compact crowd for this tea time soiree.
The band took to the stage and proceeded to grasp the nettle and dish up a delightful hour long set drawn from all corners of the bands repertoire but obviously leaning on the new album (RPM ONLINE review) which was obviously the reason we were all gathered together in the excellent live room of Bristol’s Rough trade store. The sound was fantastic and with the appreciative and dedicated audience it made for an intimate and rewarding performance. The “New” songs peppered the set and there were debut outings for songs like the beautiful ‘Alexander Palace’ that sounded as comfortable as a pair of your favourite slippers it was tight and took one of the new records most impressive songs to another level.
The people in attendance seemed mesmerised at times and really got into the spirit of what was going on as ‘Money’ nestled into the set with its big Fuzz bass alongside old friends like ‘Beautiful Pain’ that sounded superb without any drunken shouts from a pissed up audience who just wanted to throw beers and jump around – which is fine but its these moments that make those moments even more special. I said in my review that the new record sounded like a hit record and I stand by that the overall song writing has been turned up as the months and years roll by these boys are absorbing the journey like a sponge and deserve the accolades they are getting.
Before we even had time to loosen up and dance to ‘Uncle Brian’s Abattoir’ Jack was left onstage to leave us with ‘Poundland’ and then it was done. A thoroughly enjoyable and excellent set from one of the best indie bands currently kicking up a stink anywhere and releasing records that really matter. when they wrap up these instores they head out on a club tour in April and will probably come to a town near you – don’t sit on it, get out there and support an excellent live band who have several albums that really matter and dish up memorable live shows. Get on it!
Author: Dom Daley
Northern Ireland rockers The Bonnevilles are renowned for their incendiary live shows and soulful songwriting skills. Their music is full of heart, smart, and always fun. The duo displays its love for gritty blues, primitive rock’n’roll and Irish folk on both albums for Alive records and they’re heading for England and a pair of Scottish dates in April.
Tickets can be picked up from the links at each venue Here
PRE-ORDER THE ALBUM HERE:
The Hip Priests. Zero fucks n’ less success since 2006. The most prolific band you haven’t heard of. High energy sweaty sermons of misanthropy, disillusion (self) loathing and despair. Get ready to have your ears torn clean off.
After 16 years some bands would be taking it easy but in spite of a global pandemic, there was no let-up in The Hip Priests determination and activity. Their fifth, and by far their best full-length album – ‘Roden House Blues’ – was written, rehearsed, and recorded during this period and will be released May 5th, 2023, via The Sign Records.
Rehearsed, recorded and mixed between the numerous U.K lockdowns in Roden House, one of Nottingham’s former lace factories where the Priests have their own space, and which spawned the album title. This is no Mississippi Blues but perhaps it makes more sense than you think: Howling laments, loss, self-reflection and revelation – alongside some recurring Priests lyrical themes: negativity, nihilism, rage and revolution. After 2019’s ‘Stand for Nothing’ the band were unsure whether they’d do another album – However, global lockdown inadvertently led to a renewed passion and realisation that, like Jagger said, ‘’what can a poor boy do’ – especially when feeling more lost in a world that increasingly resembles a dumpster fire. A few dozen demos were scrutinised of which, through a stricter than ever group consensus, 14 were recorded but then honed down, razor sharp, into the tightest collection of 11 low-fat, lean and mean banging tunes that could fit into 30 minutes.
This week we get to feel another white-hot blast straight from the album’s furnace in new single ‘Just To Get By’, which finds the band in rare reflective form.
“Every day can be a struggle and happiness really is an inside job. None of us are perfect. Every day we’re pitted against each other and ourselves by a world that increasingly looks like a dumpster fire that wants to incinerate us. What can we do to just get by?
Perhaps just trying to improve, rise above and be a better person is an act of revenge nowadays. A number one single in an alternate universe with a guitar riff of such hook and beauty it was surely dropped from the Rock heavens.
We don’t JUST do Nihilism, Negativity, Rage and Revolution you know…”
This month also sees The Hip Priests team up with Northern Ireland’s The Dangerfields for an Irish tour. Having known each other for years and toured together back in 2010, when the bands paths crossed again last year, the idea of finally sorting that long talked about Irish tour was set in stone. And so The Hip Priests first time in Ireland kicks off in Derry on Weds 22nd March followed by four other shows all across the country.
Come along for an evening (or in Dublin’s case, afternoon) of face-ripping, ball-crushing, ass-immolating rock ‘n’ roll played by a bunch of doozies far too old to know any better!
There will be loud guitars and rock poses, bad words and everything!
‘Roden House Blues’ is released May 5th via The Sign Records and available to pre-order HERE:
FIND THE HIP PRIESTS ONLINE AT:
WEBSITE /FACEBOOK / BANDCAMP / TWITTER / INSTAGRAM
CATCH THE HIP PRIESTS LIVE AT THE FOLLOWING DATES:
March
Ireland (With The Dangerfields)
Wednesday 22nd Bennigans, Derry
Thursday 23rd Cellar Bar, Galway
Friday 24th Fred Zeppelin’s, Cork
Saturday 25th Hop House, Bangor
Sunday 26th Wild Duck, Dublin
April
Germany (With Lucifer Star Machine)
Thursday 27th Sonic Ballroom, Cologne
Friday 28th Freakshow, Essen
Saturday 29th Zollkantine, Bremen
Sunday 30th Indra Musikclub, Hamburg
May
UK (With Bitch Queens)
Thursday 25th The Pipeline, Brighton
Friday 26th Hope And Anchor, London
Saturday 27th Nice And Sleazy, Morecambe
Sunday 28th Old Angel, Notts
June
UK (With Zeke)
Tuesday 20th Exchange, Bristol
Wednesday 21st Parish, Huddersfield
Thursday 22nd New Cross Inn, London
September
UK
Thursday 28th Trillians, Newcastle
Friday 29th Bannermans, Edinburgh
Saturday 30th Waterloo, Blackpool
Punk Rock at the Offie part ii. Oh what a night Russ Abbott sang but he couldn’t possibly have had The St Davids Showdown at Afan Ales & Fine Wines could he? By eleven O’Clock it might have resembled one of Russ’ parties – bodies everywhere inside and out. soaking wet bodies with beaming smiles and bear hugs. This was DIY punk rock at its finest, most primal and the kids were having a ball.
Heavy Groovers Harbour Way got proceedings off to a flier with their Helmet heavy style riff-a-drama. Warming up the audience is no mean feat on nights like this just relax sit back and let go. Sadly for them, the sound was like a hangover from the 80s Russ Abbotts madhouse – all snare drum and no vocals, lost in a wall of noise and feedback. It was tough to distinguish what was what, other than a barking groove – mixed with howling feedback that was threatening these boys’ efforts to kick out the jams. If you want to know what they played then good luck because by the end it they were sweaty, breathless and out of tune. I imagine none of the band could hear what the other was doing or playing and were running on memory which was a pity but nobody seemed detered or put off – things were just warming up.
By the time Only Fools And Corpses took to the floor people were indeed loosening up and the band jumped right in with their short, but sweet set of Hardcore, alternative, and post-punk. Mixing the likes of Idles with old-school Fugazi and Therapy? & a whole lot in between. They dished up songs off their, soon-to-be-released album, ‘Pissant’ and clicked into the vibe of what was happening around them. They used the energy that resulted in them going down a storm. The sound was a little better but still, the vocal was just about audible now either that or the Cider was taking effect and I wasn’t noticing anymore. This south Wales three-piece were coping well trying to tame the savage beast that was the PA but the overall feeling was incredible. I look forward to hearing more from these gents, They did well loosening up the already baying throng of drunken loons.
There is a growing local scene happening in South Wales where the kids are starting bands and playing at every available venue and it’s good to see. To be fair Afan Ales is a fuckin off license. Little more than a shop on a high street that’s crammed to bursting with people jostling for position in what was now a swirling pit of bodies loving life and loving some noisy punk rock.
To top off this evening, The Shunkos got down to business, again, frontman Mal was struggling to cut through with his vocals but he didn’t care in his St Davids Day costume of tight head prop he tried his best to compare and lead the avalanche of noise from the band who to be fair are getting tighter and more tuned in with each show it didn’t matter because this was what local punk rock should sound and look like – no poseurs, no dick swinging, no my bands better than yours it was all for one and one for all and everyone up for a good time.
With this being their home turf it was This St Davids’s Day Massacre that set the hills alive with the sound of The Shunkos. Bodies & Beer everywhere, it was a short but sweet set that had the band beating out their best performance of their short-lived lives, ‘Meal Deal’, ‘Chippy Tea’ the thunderous ‘Uni Mate’ and some of their other recorded tunes being punched out and ending with the anthemic ‘Beer & Gear’, they came they saw, they conquered.
Dare I suggest, next time they come back for the hattrick of Rock at the offie performances they get a PA big enough to cope with the power they want to push out – the PA they bloodywell deserved. Tonight the good people of Port Talbot wanted to hear Harbour Way, Only Fools & Corpses and The Shunkos who ultimatly delivered the goods The real deal or the meal deal you decide bacause this time next year boyos we could all be millionaires.
Top night out everything you want in a DIY punk Show. Cheap Beer, Great music, Great venue, and Great happy people. result!
Punk Rock is alive and kicking and I can’t wait for ‘Punk at the Offie III’ it has to happen – Bosh! ave’ it!
Author: Dom Daley
The British/Slovak band Craggy Collyde have joined the Austrian record company Mai Lei Bel and will be lighting up 2023 with a brand-new album and spring tour. The trio are based primarily in the Czech Republic and Slovakia and spent much of 2022 taking their live show to clubs and festivals across central Europe. They are currently working on their debut long-player, which will be released early this year. The album will follow on from their most recent material – the 2020 six-track mini-album Wrapped up in Ribbons.
Mixing their love of various creative influences, Craggy Collyde explore the boundaries of alternative rock and roll music whilst always retaining an uncompromising and intense energy.
You can catch them on these dates, with more being added soon:
4 May – Vienna, Coco Bar
5 May – Bratislava, Garáže pod Prístavným mostom
9 May – Brno, Pub u Dvou Přátel
10 May – Prague, Modrá Vopice
27 May – Banská Bystrica, Bosorka
6 Oct – Berlin, Wild at Heart
Half a dozen new entries into the Single Club Jukebox this month but there might well need to be another meeting in a few weeks. It’s never about quantity but always quality and boy have we got quality tunes from far and wie this month. Check em out…
Fights – ‘Serenity Now’ (Lie Laga Records) Let’s get this straight right out of the traps. Fights ‘Serenity Now’ is an absolute raging banger! no two ways about it this is a fuckin’ blast from the raging vocals to the apocalyptic guitar solo and frantic rhythm this is the mutt’s nuts!
The scream the preceeds the solo deserves a standing ovation on its own. Fights come raging from Norway (of course they do) and ply their harcore punk tip as well as any other band I’ve heard doing this genre this side of the first Bloodclot album. Its lifted from the upcoming debut album “Scampirock” that drops April 21st. And I fuckin’ loves it. FOLLOW FIGHTS: Facebook | Instagram | YouTube
Bad Nerves – ‘Don’t Stop’ (Suburban Records) BAD NERVES the first single from their alive in London 10″ album is the epic ‘Don’t Stop’. Bad Nerves are a 5-piece Powerpop-Rock ‘n’ Roll band from Essex. The bastard child of a Ramones/Strokes one night stand, they play ferociously fast distorted pop songs, with melodies that hook so deep, even the most skilled lobotomist would struggle to scrape them out. As a follow up to their self-titled debut album (2020), they are now releasing a 10″ live album: Alive in London. It’s short, sharp and yet another banger. Of course it’s got a top melody and a buzzsaw riff and the kinda song you can’t get out of your head for ages and the first thing you want to hear when you wake up in the morning. Get some Bad Nerves in your life they’re cool as fuck and play great Rock n Roll.
Baby Schillaci – ‘Radical’ (Self Release) There seem to be things happening in the land of song and way out west especially. Baby Schillaci are making all the right noises on the alt scene and this new video backs that up. An attention-grabbing slice of post-punk ‘Radical’ is a right old earworm burrowing in and tickling your fancy excellent and proper. From the twisting riff to the smart lyrics this is a wonderful introduction to the band and with live shows already booked and an album the future looks bright and West is indeed best. they’ve already pencilled in the next single for April and that’s a right Banger but until then this will most certainly do. Baby Schillaci is the name remember it
Ferocious Dog – ‘Too Late’ (Graphite Records) To celebrate the forthcoming 10 year anniversary of their self titled debut album, Ferocious Dog unveil a brand new video – ‘Too Late’ 2022, an updated version of live favourite. Complete with bells and whistles (quite literally) Fans old and new will love it. It’s taken from the double album that features one CD remastered whilst the other disc is a live show recorded last year in Leeds. The band plan to make up for covid with over forty dates already booked for this year tickets can be picked up Here
Chuck Norris Experiment – ‘Tryin’ (Ghost Highway Records) One of our favourite scandi rockers Chuck Norris Experiment have always released great singles and this is no exception. Like a wall of noise that only Evil Knievil could get over so it makes sense theres a helmet of his on the cover art of this banger. Scream for me Sweden – You fuckers rock and the feeling most certainly comes through 100% bonafide rockers Chuck Norris deliver yet another top tune. Get on it kids have we ever let you down on our recommendations? of course not and neither have CNE or Ghost Highway.
Bad//Dreems – ‘See You Tomorrow’ (Farmer And The Owl/BMG) Lifted from their album ‘HOO HA!’ that hits the street in May this slab of jarring punk rock down under style will have you throwing your own G’day digger parties. Uncompromising and throughly infectious once it burrows in like the finest ear worms do May can’t come quick enough. Tour buddies with Amyl and the sniffers and The Chats its just another no brainer fo rus here at Singles Club HQ. Punk as fuck and none of em give a four xxxx just get a load of the video and throw yourself around – Banger!
NYC Cult Indie Faves The Van Pelt Announce ‘Artisans & Merchants’
Their First New Studio LP In A Quarter Century – Out March 17
Pre-order HERE:
Stream The New Single + Video ‘Punk House’ HERE
Band Announces UK, EU and NYC Shows
Influential band stands among a select few of the most revered second-wave emo / indie bands of all time including their peers in The Promise Ring, Mineral, Christie Front Drive, Boys Life, Braid, Karate, and Rainer Maria.
“The lines between post-hardcore, indie rock, and emo blurred on the two mid-’90s full-lengths from the Van Pelt.”- Pitchfork
“New York City’s The Van Pelt are an influential, but too often overlooked indie rock band — cult favourites for many an emo-inclined crate digger.” – Consequence
“…should be mentioned a lot more than they are when you talk about the history of emo.”- Washed Up Emo
After twenty-five years of waiting, New York City cult indie favourites The Van Pelt have announced a March 17th release date for their upcoming fourth studio full-length, titled ‘Artisans & Merchants,’ which will be released jointly by Spartan Records in North America, La Castanya in Europe/World and Gringo in the UK.
The album was recorded and mixed in Summer / Fall 2021 by Jeff Zeigler (The War On Drugs, Kurt Vile) at Uniform Recording in Philadelphia, PA, and features guest appearances by Nate Kinsella and Ted Leo among others.
The first single ‘Punk House’ is out now, along with a brand-new music video.
Frontman Chris Leo says, “When a bunch of old VHS tapes were unearthed, the band had them digitized and they turned out to be from US tours of the mid-90s. The footage is mainly of daily banalities: random purchases at rest stops, packing and unpacking the van, highway views that could be on the outskirts of Any Town USA. Yet there is a nostalgia to it that’s compelling. The song mirrors the mood in both sound and text. Lines like “The floor is filled with resin on the place where you’re to sleep / if you have enough to drink you can pretend that it’s a sheet” bring any musician back to the rougher side of days on the road — yet again, the subtext here is that the spirit of it all is to be longed for.”
The Van Pelt has announced a series of UK, EU and Brooklyn shows in March and April. See dates below. Pre-order ‘Artisans & Merchants’ here – https://thevanpelt.bandcamp.com
I rarely venture out to academy size gigs these days, not for lack of wanting I hasten to add, it just seems most of the bands I’m interested in play smaller more intimate venues. But after catching The Interrupters last summer, it sure reminded me of a lot of the rock shows I used to attend back in the day at academy size, and who doesn’t like a full-on rock show?
So, with Black Star Riders coming into town promoting their highly acclaimed new album ‘Wrong Side Of Paradise’, and bringing with them not only the Michael Monroe band but also Phil Campbell & The Dirty Bastards, well it would be a shame to miss this.
I wouldn’t say I’m a massive Motörhead fan, but Phil Campbell once came to my flat and I made him a cup of tea, but that’s another story. Anyway, Phil Campbell & The Bastard Sons are not Motörhead, but in the same way as Black Star Riders they channel the spirit of the band that came before them. What The Bastard Sons are though, is a full-on, old school hard rock band, and a good one at that. The sole non-Campbell onstage, new singer Joel Peters, works the crowd like a pro tonight. A larger-than-life personality with a larger-than-life voice, he splits the crowd for audience participation, mixing up originals like ‘We’re The Bastards’ and ‘Get On Your Knees’ with Motörhead classics like ‘Going To Brazil’ and ‘Born To Raise Hell’, the band are mightily impressive. The rhythm section is tight, the guitar tone fantastic and Phil must be proud having his sons up there keeping the spirit of Motörhead alive for fans and the younger generation.
The biggest cheer of their set goes up as bassist Tyla thumps out ‘that’ bass line. They were always gonna end with ‘Ace Of Spades’, right? The crowd go wild, and so they should.
I don’t think I’ve ever seen Michael Monroe support anybody before, and I’ve never seen him do such a short set. This band don’t do bad shows, never give less than 100% onstage. The opening salvo of ‘One Man Gang’ and ‘I Live Too Fast To Die Young’ works a treat. The die-hards down the front know the words and the uninitiated are getting a shock treatment in high energy rock n’ roll. The Finnish Iggy Pop is on fire and the usual onstage chaos surrounds the whirlwind vocalist, who as ever is mesmerizing to watch, as he gets tangled up in microphone cables, does the splits and climbs the rigging. He swings the mic stand precariously close to guitarist Steve Conte’s head, but its all in a day’s work for the Michael Monroe band.
Older singles ‘Last Train To Tokyo’ and ’78’ go down well and get the crowd singing them back to the livewire singer as he bounds about the stage. If this is mainly a Black Star Riders fanbase tonight, I would say the band have won them over by now. And any who are not convinced may be shedding a tear by the time they finish the Hanoi Rocks classic ‘Don’t You Ever Leave Me.
‘Ballad Of The Lower East Side’ is arguably the strongest song in the band’s solo discography and it sounds killer live, yet as Michael climbs the rigging for the second time, the power is cut and the band stop playing mid-song! Seems the 02 don’t like rock stars climbing on their equipment. Funnily enough, the last time I saw this band, at The Brudenell up the road, there was an actual power cut on the equipment on the exact same song. What are the chances of that?
The band shrug it off and launch into ‘Motorvatin’ to get things back on track. ‘Dead, Jail Or Rock N Roll’ and ‘Up Around The Bend’ end a killer set that didn’t exactly go to plan, but rock n roll’s like that sometimes. I like it when a band has to work for it and I pity any band who has to follow The Monroes night after night.
Black Star Riders have that unenviable task, and while Ricky Warwick doesn’t possess the maniacal stage presence of Michael Monroe, he is one of the last of a dying breed of classic rock frontmen who are still out there doing it and doing it well. A 10-year anniversary for any band these days is something to celebrate, and Black Star Riders have morphed into quite the classic rock band now.
With original members drummer Jimmy Degrasso, bassist Robbie Crane and the Richard Branson of rock n’ roll Scott Gorham back in the fold for this tour, tickets have flown out, and the 02 is buzzing with anticipation as the band break into newbie ‘Pay Dirt’. In a leather jacket, his hair greased back and a Les Paul swinging from his hips, Ricky Warwick looks mean, moody and healthy, and his gritty voice is as powerful as it ever was back in The Almighty days. With the ever-smiling Wayward Sons guitarist Sam Wood by his side (who looks uncannily like a young Scott Gorham) the band sound impressive too.
The first half of the set weighs heavily on the new album. The single ‘Better Than Saturday Night’ is a killer highlight, ‘Riding Out the Storm’ and the title track ‘Wrong Side Of Beautiful’ showcase Warwick’s songwriting ability and suggests this album could go down as their strongest effort. They even breathe new life into their cover of The Osmonds ‘Crazy Horses.
Ricky introduces Scott Gorham to great cheers and the 71-year-old Thin Lizzy guitarist joins Black Star Riders for the rest of the set. The likes of ‘All Hell’s Breaking Loose’, ‘Testify Or Say Goodbye’ and ‘Bound For Glory’ all hit the spot and are welcomed like old friends to a crowd of a certain age. The spirit of Thin Lizzy seems omnipresent and of course a couple of choice songs get aired tonight. Phil Campbell joins them for ‘Don’t Believe A Word’ and a sublime ‘Jailbreak’ comes later in the set and understandably gets the biggest reaction of the night.
While the first half of the set was strong, I felt the latter half suffered and felt ploddy and a bit so-so. Only the addition of the Lizzy covers lifted thing for me. Hey, but I’m just nit-picking, really.
Big academy rock shows are always an event and tonight was no different. 3 bands who are well suited, all channelling the sprits of the bands who came before them, yet all with strong material that sets them apart from the legacy of those classic bands. And whether you’re a fan of Motörhead, Hanoi Rocks or Thin Lizzy, all had great new things to offer, as well as dipping into the past.
But finding out The Academy takes 25% of profits from the band’s merch and the fact that a pint and a G&T cost £17 reminds me why I favour the smaller shows these days.
Author: Ben Hughes
Following my recent enforced 3-month layoff from attending live shows I really wanted something special to usher in my 43rd year of going to see bands, so, after finishing off 2022 with the symphonic goth pomp of the Death Songbook, what could be more suitable than a night in the company of Swedish goth rockers Then Comes Silence, playing the final night of a short two date UK jaunt in conjunction with the Reptile club.
It’s the fact that this was going to be a dedicated goth night that really got me excited about a trip over the Severn estuary, with the promise of a night spent drenched in dry ice chicken dancing my way into the wee small hours instantly taking me back to my days of going to see the likes of The Cramps, Alien Sex Fiend and Sigue Sigue Sputnik in the mid-eighties, when going to watch a band was just as much about meeting the characters that attended the shows (in fact its how I first met RPM’s main man Dominic Daley) as it was as seeing the bands themselves. But would there be a goth youth here in the 2020s to help keep the flame alive I wondered?
Entering Zed Alley I really need not have worried as with the mandatory dry ice lapping under the door was already a reassuring sign, once past security I immediately felt exactly how I did back in (what some might consider to be) the scene’s heyday, albeit these days I myself feel more like how Colin Robinson (grown up version not the child entertainer version) must have felt when walking into Nadja’s nightclub. Reptile DJ Vade Retro is blasting out an eclectic selection of electro tunes via the club’s excellent sound system, and yes indeed the next generation of goths are all present and correct and enjoying the ambience (and very reasonably priced libations) of the club itself.
Of course, it’s the live bands we’re all here to see tonight and Aux Animaux provides the kind of Nice Inch Nails to Bowie baton pass that occurred when those two giants once toured the US together, by which I mean the Swedish hauntwave star sets the scene perfectly for what is to follow by providing a kind of Danielle Dax meets Bjork by way of the (song)book of the dead set of ambient theremin driven electro tunes, something that holds the audience in perfect reverence throughout. The fact that this is an artiste singing over backing tracks would probably have most classic rock heads foaming at the mouth, but to a goth audience this is all par for the course and the reaction Aux Animaux receives come the end of her short set is one of total respect.
Something I have long since held for tonight’s headliners Then Comes Silence, the Stockholm-based gothic post-punk rockers, ever since I first heard their ‘III – Nyctophilian’ album all the way back in 2015. This is my first time seeing them live though as their intended 2020 UK tour (which included a Cardiff date) in support of their excellent ‘Machine’ album got blown out by the Covid pandemic, but having lost guitarist Mattias Ruejas ahead of a US tour towards the end of 2022 I was hoping by high expectations for tonight really weren’t about to be dashed after all.
Hitting the venue’s tiny but (for a trio) perfectly sized stage with ‘Flashing Pangs of Love’ from the band’s 2017 ‘Blood’ was certainly a surprise as I was half expecting them to open with the number that actually followed it, ‘Tickets To Funerals’, from last year’s amazing ‘Hunger’ album, but what this did was allow the sound to level out, and for the backing tracks used on certain songa (like on the latter) to really cut through and make a difference to the overall sound.
Singer/bassist Alex Svenson is also the man in control of the box of electronic gadgets and whilst he is a man of few words between songs he’s someone who lets the songs do all the talking with the likes of ‘Apocalypse Flare’, ‘Chain’ and ‘Worm’ all sounding totally imperious here tonight. The ‘Eighties’ (excuse the intended pun) Killing Joke influence I’ve mentioned in previous RPM reviews is also huge tonight thanks to guitarist Hugo Zombie, someone who literally doesn’t stop moving even when things slow down for an epic Bunnymen-esque rendition of ‘Mercury’ whilst turbo-riffing his way through the likes of ‘We Lose The Night’ and possibly my all-time favourite track by the band, ‘Rise To The Bait’.
When drummer Jonas Fransson (who is also Mr Aux Animaux) has some unexpected trouble with his snare stand it actually acts as a natural comfort break for a few (myself included) and the sounds that emanate from the remaining two members helping plug the inevitable gap evokes memories of Cronos’ bass solo during the Seventh Date of Hell tour, yup even when they are messing around these guys exude an air of doom and melancholic cool many can only dream of conjuring up.
As with all great gigs though they all unfortunately have to end, and after an intense ‘We Lose The Night’ its left to ‘Warm Like Blood’ and the epic ‘The Dead Cry For No One’ to send us off into the cold night air with just the echo of ‘Bella Lugosi’s Dead’ still ringing in our ears as DJ Vade continued the party well into the witching hour.
Gigs like this really don’t come along that often that’s for sure, tonight was something very special indeed, and reading just hours later that Reptile may now not be moving forward in 2023 due to a variety of reasons involving their current London haunt, it makes me truly sad to hear this. Let’s hope that after 15 years of promoting bands and club nights like tonight this really isn’t the end for them, because as tonight proved goth is very much still a musical force to be reckoned with and is also one that seemingly never grows old. Timeless stuff indeed!
Author: Johnny Hayward
https://thencomessilence.bandcamp.com/merch
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