On Safari With Matt Dangerfield of The Boys

On Safari With Matt Dangerfield of The Boys

With a brand new box set ready for release we thought we’d catch up with Boys legend Matt Dangerfield and ask him about his time on Safari Records as we look back on the time the Boys went down to a four-piece and all things Safari. I also ask what’s next for one of the finest bands ever to come out of the United Kingdom.

 

How was it revisiting the Safari catalogue of releases?  Did it bring back fond memories?

Yes it did. Best of all was listening to the “Hell” tracks because this is the first time that it’s sounded good on CD. CDs didn’t exist when the album was released, and later when the first CD version came out it sounded like over-compressed shit. All subsequent CD releases of “Hell” were copied from that CD so I feel sorry for anyone who bought any CD copies of “Hell” prior to this release.

 

Were there any songs from the ‘To Hell’ record that you have since revisited during remastering changed how you feel about them? I’ll admit I’ve not played the records for a while and when the news came through about the box set I have since given them a good listening to and there are parts of songs that jumped out at me that I feel I previously missed or had forgotten.  Was this the same for you?

Very much so. For the reason I just mentioned, I couldn’t bring myself to listen to “Hell” on CD since the last century! So listening to it now for me is almost like hearing it for the first time and it all sounds fantastic from start to finish! We still usually include four of the songs in our live set: “Can’t Hurt a Memory”, “Terminal Love”, “See Ya Later” – and we use “Sabre Dance” as our intro music.

 

I loved reading your notes along with the specific song playing and was surprised to see you wrote lyrics on the way to the studio, and I chuckled at the thought of it happening due to studio time and schedules, etc did you not ever get worried you wouldn’t come up with anything?  Out of this process what would you say were your best lyrics?

Well, that was mainly in the early days when we weren’t given much studio time and I was working on two or three songs at a time. But generally speaking, I’ve always responded well to deadlines and would often leave things until they really need to be done and then work like Hell. There’s nothing like a deadline to focus the mind.

 

Your notes for ‘Waiting For The Lady’ and the Beatles reference I hadn’t really put it together previously but ‘Independent Girl’ has a real Lennon feel to it. Some of the harmonies throughout ‘To Hell’ have a certain Lennon and McCartney feel is that fair? They were obviously an influence but more so that album (Not that The Beatles would have sounded like you guys they weren’t that good) 😉

Flattery will get you nowhere, but thanks anyway! The backing vocals on “Waiting for The Lady” in particular, were Beatles inspired. But we were inspired by lots of bands and all the music that we grew up within the 60s which was a great era for musical creativity and innovation.

 

Who Owns The ‘Junk’ tapes now? How complete was the ‘Junk’ album? How does the process go with masters? If you didn’t own them the label did but they didn’t own the songs did they? If they weren’t finished,  Could you have gone away – changed a lyric here or a title there and released it anyway?  How involved were you with the day to day business of the band and management and label?

The ‘Junk’ tapes are just the rough monitor mixes on cassette from Rockfield Studios that I took away with me to work on ideas, lyrics etc. with the intention that we would come back and complete the album there. But after NEMS didn’t pay the studio and Rockfield wouldn’t release the two-inch tapes, we finally lost our patience with NEMS and went on strike for a few months until they eventually let us go. Our manager, Ken Mewis, generally dealt with the label, promotion and tour bookings, but we took care of the creative and recording side of things.

 

How do you look back on the time spent On Safari!?

We had a great relationship with Safari, which was basically John Craig and Tony Edwards. Two great guys who did all the right things for us in terms of albums, tours etc and generally looked after us and gave us the freedom to be creative. What more can you ask for as a band?

 

I always loved the cover of ‘Boys Only’  whose idea was that?

The designer was John Gordon (I fished out the original vinyl copy to get that detail) who was responsible for the concept. All I remember that it was our longest and most tiring photo session ever and took a whole day to get all the necessary pics.

 

Going out as a four-piece was it ever not going to happen?  Did you think around that time that the band was done? What about the recording process, how different was it?

It was different without Cas but we took it in our stride, I knew that the band wasn’t finished and it didn’t feel that much different playing live. Recording was as easy going as ever and John and myself were writing enough songs but we did have to work harder on the backing vocals and harmonies without Cas being there.

 

Would you say that John recording with Pete Stride made him a more confident writer and bandmember?  He brings quite a bit to the table for Boys only and sings on quite a few.  How did you decide who sang what?  are there versions recorded say of ‘Monotony’ with you delivering a vocal and Duncan or was that never done? because you say he (Duncan) sang it live.

Yes, John had become more confident and also had become a better singer. As regards who sang what, I usually only sang the songs that I’d written or written with Cas, and Duncan usually sang John’s and a few Steel/Dangerfield songs that we thought would suit his voice. I think “Monotony” was only ever likely to be sung by John on record.

 

You got to record in some iconic studios such as Rockfield, Pye and Olympic were you aware of your surroundings at the time?  Was there a favourite? or a particular song you look back on that you really nailed because of where you were.  Rockfield had the toilet at the end of the hallway with a mic in the hall did you ever apply such techniques?

Yes, I was definitely chuffed to be using the same studios where some of my favourite tracks had been made. Rockfield/Dave Edmonds/Sabre Dance; Pye/The Kinks etc; Olympic/lots of Stones stuff etc. Rockfield was probably my favourite for its vibe because you also lived there and could totally concentrate on the recording. “Brickfield Nights” was definitely ‘nailed’ there.

 

When the band gets back to playing live is there a chance some of the more obscure tracks might creep into the set?  You mention songs like ‘Little White Lifeline’ and its solo would sound great live.

We sometimes slip in a lesser known track. We do “Lifeline” at acoustic gigs sometimes but without the solo, because even straight after recording that solo, I was never able to play it again.

 

When you have writing credits say like on ‘Schoolgirls’ Cas yourself and John how do you decide who gets on the credits?

It’s usually decided on the spot – if anyone added anything of substance to the song they’d get credit.

 

Changing up songs like ‘Kamakaze’ in the style of VU for ‘Jap Junk’ whose idea was that and was this done on any other songs because it’s quite a departure the saxophone is great on the single mix

The minimalist drums were my idea of a tribute to the Velvets, who first opened my eyed to punk, and I think we’d always had it in mind to get a sax on the song.

 

How many more tapes might there be with the likes of ‘Cry Tomorrow’ on them? Fantastic stuff, maybe another acoustic album is on the cards with some of the rare tunes mixed with the more popular ones you did on the acoustic album. a live acoustic album recorded at Rebellion because a couple of acoustic sets were fantastic from the pubs almost acoustic stage and then the opera house were real highlights?

Well those tapes turned up out of the blue, so who knows what else might turn up. We may consider another acoustic album – it’s a lot easier to make than a full studio album, as is a live album.

 

The band always did great covers are there any you think would have really suited you guys?  Any you worked on that never got recorded?  The other side of it is other people covering The Boys.  Who have you particularly admired any jump out as doing a great job or really getting what the song was about?  Michael Monroe did jimmy Brown and it must always be great when Die Toten Hosen release a covers album and include a Boys Song.

I love Michael’s version of “Jimmy Brown”. I also like the Hosen’s versions of “First Time” and “Brickfield Nights”, and Nicky Sudden’s cover of “Independent Girl”.

 

The live album sounds fantastic,  I’ve always liked the BBC sessions, from some of my favourite bands possibly, because the BBC always had great engineers and their sound recording was top notch and the live ones always sounded so good what are your thoughts on the live album?

Yes, it’s true those Beeb producers and sound engineers were very good and worked very quickly, which really suited us as we generally record fast. I remember that the BBC sound people always seemed to have beards, maybe it was a job requirement.

You illude to it not being your usual audience.  The applause sounds great even after the ‘worm song’ their faces must have been a picture.

They were very polite.

I’ve mentioned it to Steve but it would be great to have these ‘Safari’ recordings as a vinyl set I wouldn’t need my glasses then for the booklet which is great to read your memories of each song.  Did you ever keep diaries or is it just a sharp knack for remembering.  What next for the Boys?  Is there anything left in the archive or what about new material.  ‘Punk Rock Menopause’ was such a great album is there going to be a follow-up?

We’d love to get them out on vinyl and a lot of our fans would love it so who knows?

 

 

“Anyone buying the Box Set directly from The Boys this month (September 2020) will be given a PDF document of Matt Dangerfield’s full Safari notes along with an unreleased 1979 demo of “New Guitar In Town”. For more information email The Boys at info@theboys.co.uk“

Special thanks to Steve Metcalfe for always having The Boys corner and doing a sterling job keeping their flame alive and making running features on them such a pleasure.

Suzie Stapleton – ‘September’

Suzie Stapleton – ‘September’

From debut album ‘WE ARE THE PLAGUE’ released July 31st
on Negative Prophet Records / Cargo Records

As Autumn creeps through the door, Suzie Stapleton has unveiled a timely new film clip for the appropriately titled track ‘September’.  ‘September’ is the fourth single from the Brighton-based artist’s self-produced debut album ‘We
Are The Plague’ which was released on July 31st via Negative Prophet Records. The album,  which weaves it’s way through alternative rock to gothic-blues and dark-folk, has been stacking up praise with Stapleton being compared to Patti Smith, Nick Cave, Emma Ruth Rundle, and Mark Lanegan. ‘We Are The Plague’ was voted into Louder Than War’s Top 22 Albums of 2020 So Far in July and tracks from the album have been played on BBC6, Radio Eins,
Double J and more.

Whilst ‘We Are The Plague’ is the defiant call of a generation sold down the river, ‘September‘ takes a more introspective turn. Stapleton’s band – bassist Gavin Jay (who also filmed and edited the video) of Jim Jones & The Righteous Mind and drummer Jim Macaulay of The Stranglers – rumble beneath Stapleton’s driving guitar lines which are reminiscent of an unhinged Thurston Moore. Lyrically Stapleton doesn’t disappoint with a feverish shamanistic outpouring as the song crescendos and her dry-wit shining through with lines such as ‘Muses don’t
get royalties’.

It seems Stapleton is keeping up the pace on other fronts, recently making a cameo on backing vocals on Crippled Black Phoenix’s single ‘Cry of Love’ from their forthcoming album ‘Ellengæst’ . Stapleton also contributes guitar to a Bauhaus rendition on the album which is set for release on October 9th via Season of Mist. Stapleton met Crippled Black Phoenix via their 2014 collaboration on The Jeffrey Lee Pierce Sessions Project which Stapleton
contributed to whilst still based in Australia.

Stapleton’s next live dates are in February supporting Humanist in London, Manchester, and Brighton.

Suzie Stapleton is touring the UK Feb 2021 supporting Humanist

6th Yes (The Pink Room) MANCHESTER (solo)
8th The Prince Albert, BRIGHTON (full band)
9th The Lexington, LONDON (solo)
BUY TICKETS HERE

 

 

Bob Mould releases new video for ‘Siberian Butterfly’

Bob Mould releases new video for ‘Siberian Butterfly’

TAKEN FROM NEW ALBUM, BLUE HEARTS,
OUT SEPT 25th ON MERGE RECORDS

 the latest single from his explosive upcoming album Blue Hearts, which arrives via Merge Records on Friday, September 25th. Pre-orders are available HERE.

Mould released this statement about ‘Siberian Butterfly’:

“The genesis of ‘Siberian Butterfly’ spoke to the notion of “collectors” — people with excessive means who gather the works of creative folk for their ego-driven portfolios.

“As I kept writing, the narrative shifted toward themes of change, growth, and freedom. These motifs are central to how we become our true selves. This is how we begin our journey toward our true identities.

“It’s autobiographical as well. I put myself through some self-hating years as a young gay man — never feeling “good enough”, not recognising the positive qualities I had to offer, while inhibiting the development of my gay identity.

“I hope for a world where all people can be what they want to be. Life seems shorter every day; maybe this simple song can be of use to people who are struggling to find their true selves.”


‘Siberian Butterfly’ is the third song released from Mould’s 14th solo LP, Blue Hearts – and follows the provocative first single ‘American Crisis‘ and the powerful second single ‘Forecast of Rain‘. Blue Hearts is the rawest and most confrontational work of Bob Mould’s four-decade solo career, a raging 14-track collection described by its creator as “the catchiest batch of protest songs I’ve ever written in one sitting.” Produced by Mould at Chicago’s famed Electrical Audio with longtime collaborator Beau Sorenson engineering, the album – which once again features backing from the crack rhythm section of drummer Jon Wurster and bassist Jason Narducy – nods to the veteran singer-songwriter’s groundbreaking past while remaining firmly planted in the issues of the day. Where Sunshine Rock captured Mould at his most “violently happy” (according to Rolling Stone), Blue Hearts is both seething and pointed, the raging yin to ​the previous album’s positive yang. Acoustic opener ‘Heart on My Sleeve‘ catalogues the ravages of climate change, while ‘American Crisis’ – written initially for Sunshine Rock but deemed “too heavy” by its writer – spits plainspoken fire at the people who fomented this catastrophic moment in history, while ‘Forecast of Rain’ questions the ethos of American community: “This love this neighbour thing: Does it apply to all mankind, or only those who fit neatly inside your narrow lines?”

Photograph Credit –  Blake Little Photography

The Boys – The Boys…On Safari’ (Captain Oi! / Cherry Red Records)

The Boys – The Boys…On Safari’ (Captain Oi! / Cherry Red Records)
Always an absolute pleasure to get an earful off The Boys and this much-anticipated box set has come at just the right time in what has been or rather what is a bonkers year.
In a nutshell (or should that be clamshell), what we have here is Safari Records five-disc set of Boys material beginning with the fantastic ‘To Hell With The Boys’ followed by ‘Boys Only’ then the ones that will have fanboys salivating. One CD of Rarities (Granted many of which have already seen the light of day, here and there, like when Captain Oi! released the ‘To Hell’ they included five bonus cuts which are all present in one form or another.
These discs have been lovingly remastered by Matt and James Bragg and are a cornucopia of loud guitars and cheeky chaps doing what they do best… play exceptional Rock and Roll.  The five discs are all accompanied by a really smart  booklet with excellent notes from Matt Dangerfield which gives you a feel for where the band was at the time and corresponding pictures that help paint what the band were up to at the time.
From Cas’ swirling keyboards that sit on top of the mix of ‘Rue Morgue’ these songs could have been mastered underwater and they’d still sound sharp as a tack.  The fact that a lot of these songs still sit prominently in the live set would show how highly the band still regards the ‘To Hell’ album. Tunes such as ‘Terminal Love’, ‘You Can’t Hurt A Memory’ & ‘See You Later’ shows how versatile and creative the band was.
Man, they don’t make Rock and Roll bands like this anymore The Boys had everything, more than the one songwriter, a pair of great guitar players who had their own styles and a whole extra dynamic with more than one vocalist helps with some fantastic backing vocals.  They were never afraid to put a rocker like ‘See You Later’ next to such a mellow laid back and sweet song as ‘You Can’t Hurt A Memory’ with one of Matt’s finest vocal deliveries hitting the spot perfectly, a fantastic arrangement and getting John Mayall to hoot along on this was inspired and all for the price of a bottle of Vodka! Brilliant.  I love ‘Kamikaze’ for those honkin’ Sax breaks and I didn’t realise it was Johns first foray into lead vocals.
To be fair having this all pulled together in one place long after most of this is hard to get hold of unless you have deep pockets is an achievement in itself and the booklet with all the fantastic memorabilia is a great addition and well worth checking out even for the casual its the perfect gateway into the band and their music.
The BBC live album is a corker but then if you’ve ever seen the band live you’ll know they don’t do bad shows and this foray into the BBC and the heart of the establishment, mixes up their output thus far with old and new songs and spot-on delivery.
As the blurb says 71 tracks in all, 22 rare and previously unreleased songs, the X Rated Yobs Crimbo album just in time to play around the table as your nan tucks into her Christmas dinner round your house. Of course, I highly recommend you buy this box set, its a keeper and for those who are looking to tie up loose ends, this is perfect maybe 2020 hasn’t been a total bust after all its not every year you get a Boys box set.  Buy it!
“Anyone buying the Box Set directly from The Boys this month (September 2020) will be given a PDF document of Matt Dangerfield’s full Safari notes along with an unreleased 1979 demo of “New Guitar In Town”. For more information email The Boys at info@theboys.co.uk“
Buy it from Cherry Red Here
Author: Dom Daley

US rockers Wildstreet sign to Golden Robot

US rockers Wildstreet sign to Golden Robot

US glam rockers WILDSTREET have signed a worldwide global record deal with Golden Robot Records joining Rose Tattoo, Steve Riley’s L.A. Guns, Skid Row, Kings X, to name a few.

On September 26th at 3pm, WILDSTREET will be hosting a livestream concert “Wildstreet Live From NYC” on their official youtube page, tickets are available on Eventbrite and Facebook:

https://www.facebook.com/events/358000352260233/
https://www.eventbrite.ca/e/wildstreet-livestream-concert-tickets-119512534207
http://www.youtube.com/wildstreet

 

Wildstreet began in 2006 and released their self-titled debut album on Retrospect Records in 2009. The band spent the next 4 years touring nonstop & performing at US festivals including: Rocklahoma (5 consecutive years), SXSW & M3 Rock Festival. Wildstreet rocked alongside Black Veil Brides, Vains of Jenna, The Bouncing Souls, The Last Vegas, Twisted Sister, Michael Monroe, Crashdiet, Diemonds, Kix, LA Guns and more. The band won the Best Buy/Ernie Ball Battle of the Bands for Rockstar Energy’s Uproar Festival, and opened for Avenged Sevenfold, Sevendust and Three Days Grace in Camden, NJ.

In 2011, the band released Wildstreet II..Faster..Louder! to widespread critical acclaim. They made an appearance on “The Jimmy Fallon show”  and their songs were licensed to TV shows on E!, MTV, VH1, Oxygen, TBS & in a THQ Video game. Later that year, the band released the official music video for “Poison Kiss,” which included a cameo by Don Jameson of “The Metal Show.” Wildstreet now had the attention of rock fans worldwide. In 2012, the band released the single “Easy Does It,” and it’s official music video. The video went viral on YouTube. (Wildstreet has well-over 5 million views and nearly 8,000 subscribers on that platform).

After taking a 2 1/2 year break off & dodging rumors of a band breakup, Wildstreet exploded back onto the NYC scene in 2016, headlining Gramercy Theatre with new lineup. In early 2017, the band rocked NYC with Faster Pussycat and The Biters and headed to Rocklahoma for the 6th time.

The band began work on their single “Raise Hell” after Rocklahoma. Released in December 2017, it ushered in a new period for the band. They headlined Irving Plaza for the single’s release party, and was handpicked by Dorothy to open for her New York City tour date at The Bowery Ballroom. In February 2018, the band released a lyric/concert video for “Raise Hell.” Wildstreet spent the remainder of 2018 in the studio recording, Wildstreet III. They performed regional tour dates/festival dates. Highlights include: opening for Sebastian Bach & Escape The Fate. In March, the band sold out The Knitting Factory Brooklyn and then headed out on their first tour in Europe, playing 10 shows in Belgium, The Netherlands and Germany, including Sleaze Fest 2019 in Bochum, Germany. Upon returning to NYC, Wildstreet filmed the official music video for “Tennessee Cocaine.” In July, they headlined a sold out NYC show at Saint Vitus and headed out for a short west coast tour which included stops at The Whisky-a gogo & Great American Music Hall. The band toured the US in February before the pandemic outbreak. Their last three singles, ‘Tennessee Cocaine (200k),’ ‘Three Way Ride (100k),’ & ‘Born To Be (225k)’ have over 100k Spotify streams & their last two music videos have over 100k Youtube views.

Already confirming festival dates for 2021 including: Rockfest 2021 (US), Sleaze  N’ Hard IV (CO) & Hard Rock Hell Spring Break Festival (UK), COQ festival (EU), Wildstreet will perform a full band livestream concert on youtube on September 26. They are shooting the video for their next single ‘Still Love You’ which is set to be released this fall.

Website / Facebook / Twitter / Instagram / Youtube

THE SENSIBLE GRAY CELLS RETURN!

THE SENSIBLE GRAY CELLS RETURN!

‘GET BACK INTO THE WORLD’ – BRAND NEW STUDIO ALBUM FEATURING CAPTAIN SENSIBLE AND PAUL GRAY FROM THE DAMNED, WITH JOHNNY MOPED DRUMMER MARTY LOVE

 

RELEASED NOVEMBER 27TH VIA DAMAGED GOODS RECORDS

 

Album pre-order is Here

Back in 2013, when the world was still pretty weird, but markedly less bizarre than it is now, Captain Sensible and then former Damned bassist Paul Gray reunited for an album called ‘A Postcard From Britain’ under the name The Sensible Gray Cells. This was long before Paul Gray re-joined The Damned for their ‘Evil Spirits’ album in 2018 and allowed the pair to reacquaint their musical partnership and explore their love of the quintessentially British late 60s psych-pop period that has always been their passion.

 

And now, with live music derailed for the foreseeable future and 2020 already proving to be an unforgettable year for all of the wrong reason, Sensible and Gray were inspired to reignite their Sensible Gray Cells persona, together with Johnny Moped drummer Marty Love, for ‘Get Back Into The World’, released via Damaged Goods Records this coming November 27th.

 

“PG and myself being garage psych aficionados feel there should be more of this kind of music and this is our contribution to the cause,” explains the Captain. “If I said that some of these songs were ‘Damned rejects’ that shouldn’t be seen as an indication of inferior song writing, more that they’re not wearing the right shirt.”

 

“I’ve never been a prolific writer being a lazy so and so, I think it’s best to wait for inspiration to call, which explains the 7 year gap ( how many albums could the Beatles have crammed in that period!) but in the meantime Paul re-joined the Damned and we’ve gigged about a bit, which is always fun – CAN WE HAVE LIVE MUSIC BACK AGAIN PLEASE!”

 

‘A Postcard From Britain’ was a snapshot of modern life and similarly, ‘Get Back Into The World’ provides a comparable document.

 

“It’s sad that high streets around the world have been destroyed by online shopping but nobody’s forcing people to do it – what can you do,” he states. “These are very strange times we’re living though – I just count myself lucky to have been around to witness the 2nd half of the 20th century; a fab time for music, culture, ideas and that without even mentioning Benny Hill and On The Buses. The new album coincides with all this virus malarkey, which, unpleasant as it is will undoubtedly be used by the powers that be to tighten the screws on us little people on behalf of their billionaire paymasters. Blah blah, etc. There’s a bit of that hidden away in the album.”

 

Back in June, listeners got their first taste of the new Sensible Gray Cells in the form of the ‘So Long’/’What’s The Point In Andrew?’ seven-inch, now long since sold out. Show-casing what to expect from the album, the strutting rock n’ roll of ‘So Long’ was a stark contrast to the whimsical royal-baiting of ‘What’s The Point Of Andrew?’ (“Known forever as the royal spare”) and shows the variety of moods and styles on offer here.

 

Now comes ‘I Married A Monster’, a stomping 60s garage punk nugget that pays tribute to their love of old horror films.

 

“We love all those old Ealing comedies, ‘Carry On’ films and 1950’s hammy-horror movies like The Blob and I Married A Monster From Outer Space,” explains Paul. “This is our musical tongue-in-cheek spoof homage to them….after all, you never can quite be sure…can you??”

 

 

Get Back Into The World is available for pre-order in the following formats HERE:

The title track will also be released on a 7” single along with an exclusive B-side two weeks prior to the album release.

ALBUM OPTION ONE

An exclusive black and yellow splatter vinyl LP (12 tracks) + a black vinyl 12” single containing two extra tracks + a set of three signed postcards. Limited to 500 copies.

ALBUM OPTION TWO

Standard release grey vinyl LP (12 tracks)

ALBUM OPTION THREE

CD (14 tracks)

ALBUM OPTION FOUR

Cassette (14 tracks). Limited to 100 copies

‘Get Back Into The World’ 7” single featuring exclusive B-side ‘World of Confusion’

Blue vinyl – mail order only – Limited to 400 copies

Grey vinyl – mail order only – Limited to 400 copies

Clear vinyl – shops only – Limited to 400 copies

Find Sensible Gray Cells online at:

FACEBOOK / INSTAGRAM / TWITTER

Girls In Synthesis – ‘No Here’s An Echo From Your Future’ (Harbinger Sound / Cargo Records)

Girls In Synthesis – ‘No Here’s An Echo From Your Future’ (Harbinger Sound / Cargo Records)

Not everything is Black & White but in these strange times, it helps polarize your brain and when these Londoner’s plugin and turn it up with their sharp angular chords thrashed out with much anger and frustration along with some pissed off rhythms that embrace modern technology these post-punks seem to love hiding in the bleak grey corners of your mind and jump out with loud overdriven, often intense songs that lack any colour and do so with the intension of making everything seem just a little out of focus.

 

I get the impression Girls In Synthesis aren’t for compromising and their views are clear as daylight.  The politically charged and perfectly delivered ‘They’re Not Listening’ fits with the angst and rage of the times when politicians only work inside their own echo chamber and fuck the rest of us, never apologising for mistakes nor recognising when they might be wrong.  The delivery is at times in keeping with the likes of Sleaford Mods but the music is born from real instruments and not an apple mac book being Londoners I guess the concrete jungle has played a part in creating the music they play.  The sounds they create are aggressive, jarring and every void is filled to the brim.

They waste no time as they soundtrack the worst of times like a nuclear bomb going off ‘Arterial Movements’ could be what it sounds like in your head. from the frantic feedback being wrestled like a giant anaconda.  the chorus has gang vocals from a concrete bunker in response to the dry vocal its chaos but never is it too fucked up and it certainly gets the blood pumping.

It’s a pretty unrelenting album as well as uncompromising and it’s not until halfway when the pace eases up but not the tension as ‘Human Frailty’ is a moment for you to catch your breath. the solo is mental and the bleakness of the music is intense.

 

If you might think that side two is going to get any easier then forget it ‘Cause For Concern’ is pounding whilst that industrial concrete bass throb is on the attack on ‘Coming Up For Air’ which is a short sharp foray into carpet-bombing using the medium of audio.  Perhaps a bit out of step with the shorter songs you then get ‘Set Up To Fail’ with its five-plus minutes beginning with a cleaner sound reminding me of PIL meets crass as it gains momentum but never does take off preferring to ease back and hammer on with a more jazz vibe with the brass flittering around the speakers.

To close this one down there’s the buzz of ‘Tirades Of Hate And Fear’ with its flat delivery of the lyrics from a low chat in your ear it gets more and more intense before signing off.  Better to burn out than fade away for sure Girls in Synthesis deliver an album that will keep on giving and is totally in keeping with these strange times.  Post Punk, noisy, aggressive and digging you on the temple to shut up and just listen.  Check it out.

 

Buy Heres An Echo Here

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Ryan Hamilton & The Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

Ryan Hamilton & The Harlequin Ghosts – ‘Nowhere To Go But Everywhere’ (Wicked Cool Records)

The break-up album can be an artist’s defining career moment. Time after time it has been proven that heartache and relationship breakdowns have fuelled the writing and inspired some of the greatest albums of all time. Whether we talk Fleetwood Mac’s ‘Rumours’, Nick Cave’s ‘The Boatman’s Call’ or Bob Dylan’s ‘Blood On The Tracks’, writing and recording music can be an exorcism of the pain, anger and confusion of a break-up. It has been said that when an artist is at their most vulnerable…they are at their best.

When Texan singer/songwriter Ryan Hamilton was faced with an unexpected divorce last year, he was a broken and confused man. He did the only sane/insane thing he felt he could do. He cut off his hair, packed up his troubles in the back of his car and took to the road with just an acoustic guitar and his dog Peaches for company. Travelling Route 66 and living in the back of his car, this time of solitude and soul searching was designed to ease the heartbreak and maybe help him find direction. Whether it made things better or worse, you would have to ask Ryan, but it certainly spawned new music and a new album.

 

Taking its title from one of Ryan’s heroes, Jack Kerouac, ‘Nowhere To Go But Everywhere’ is a trip through the mind of a man searching for answers and re-evaluating his life, to a soundtrack of radio-friendly Americana, backed by his transatlantic rock ‘n’ roll band. Recorded at his home studio in Texas and finished off back in the UK by his band and producer Dave Draper, this is a more introspective and emotional journey than we are accustomed to, from a man who deals in catchy, power pop ditties.

Opener ‘Only A Dream’ sets the tone with sweet acoustic guitars and Ryan’s even sweeter vocals. It has definite Tom Petty vibes as Americana marries dreamy, folk pop to perfection. Highlighted by swathes of keys and a rhythm section who know exactly how to take it where it needs to go. It builds nicely in the pre-chorus with great chord progression, to soaring vocals in the chorus. An emotive and harmony soaked introduction to the album.

Second track (and second single) ‘Oh No’ is a duet with Letters To Cleo singer Kay Hanley. Classic album titles make up pretty much all the lyrics in this clever celebration of musical influences. Upbeat and summery, this is more in the vein of what we know and love from the Texan songwriter. The juxtaposition of male/female vocals in the chorus is complete radio fodder. How many album references can you spot?

Yet, ‘Jesus & John Lennon’ is probably the most radio friendly single on offer. That “na-na-na-na” intro is an instant earworm, both euphoric and spiritual in equal measures. Co-written by Steven Van Zandt and featuring The Alarm’s Mike Peters on backing vocals, this could be the happiest sounding song about a break-up ever written. Referencing Brian Jones &The Rolling Stones and Martin Luther & the Catholic Church, it’s a break-up song about how some things were never meant to be.

 

The 11 track album feels like a journey, as we travel with Ryan through many emotions. From happy-go-lucky love songs such as ‘Out Of My League’ and Geordie anthem ‘Newcastle Charm’, onto the struggles of a religious upbringing and going back to the roots on the likes of ‘Can I Get An Amen’ and ‘Southern Accents’ respectively. Even though it is mostly upbeat, throughout there is a sense of yearning and heartbreak. It only hits home on the heartfelt ballad ‘Don’t Fall Apart’. Prime mixtape fodder for the girl you love, pedal steel gives a countrified, Americana vibe. A song overflowing with sentiment, as he sings the words of a man coming to terms with his whole world crumbling around him.

‘We Gave It Hell’ seems like the natural album closer. A goodbye and thanks for all the fish moment, as Ryan bids farewell to past love, and looks forward to pastures new to an accompaniment of pedal steel and understated percussion. Album closer proper ‘Pick Yourself Up’ seems like more of a reprise, as Ryan continues the theme of starting over accompanied by a lonesome piano.

It must be said that Dave Draper has done a great job of capturing Nashville vibes as he did on ‘Grand Ole Otley’, Ryan’s collaborative covers album with Terrorvision frontman Tony Wright. And as always the long time rhythm section of Rob Lane on bass and Mickey Richards on drums play their parts to perfection.

 

To avoid being consumed by the sadness of his marriage break-up, Ryan Hamilton has used songwriting as therapy and channelled his emotions into his art. This is not an angry album, it’s more of a cathartic look back over a failed relationship. Dissecting what was good and not dwelling on the bad, trying to figure out where it all went wrong and where to go from here.

As he bids farewell to one chapter of his life and looks forward to what the future brings, it seems through no fault of his own or any grand design, Ryan Hamilton has written a poignant and confessional album that could well be the best of his career.

Buy ‘Nowhere To Go But Everywhere’ – Here

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Author: Ben hughes

 

 

 

 

Healthy Junkies return with a psych punk anthem called ‘Last Day In L.A.’

Healthy Junkies return with a psych punk anthem called ‘Last Day In L.A.’

Healthy Junkies are everything that epitomizes the indie punk spirit-driven, authentic, and capable of causing a riot at any moment. As they prepare to release a seminal album which mashes up psychedelic rock, punk, grunge, and goth, the first single ‘Last Day In L.A.’ sets the bar high. As a band that has toured relentlessly since their formation in 2011, until the global lockdown of 2020, they came into this record still firmly locked in the groove.

Alt Press premiered the single describing it as ‘a kickass rocker that’s blindingly great’ and the track is available now via Soundcloud here: https://soundcloud.com/healthyjunkies/last-day-in-la-official-version

 

The album was made during the aforementioned period of quarantine and is titled ‘Forever On The Road’. It has reflections of recent tours and life beyond the road and offers a compelling record more akin to chapters of a thrilling novel rather than bubblegum throwaway rock n pop. Lead singer Nina Courson shines throughout with her Parisian drawl inflecting the Junkies’ brand of rock n roll with tones of 60s femme Fatales Nico and Brigitte Bardot.

‘Last Day In L.A.’ harks back to a recent US tour which captures the strange magnetic pull of the city of angels, especially for this group of runaways from Paris and Greater London. They united together to write songs and feed their passion for music as a life-saving exercise after narrowly escaping a youth filled by gangsters, abuse, and the like. Phil Honey-Jones is Nina’s writing partner and plays guitars and sings on many tracks too. Their bond was firmly formed almost a decade ago through music as a form of healing self-expression, creating their own world within a world, turning their personal horrors into sonic beauty, and out of the bizarre madness of the global pandemic has conjured a record sure to catapult them to the larger stages of next year’s major festivals. The band also feature bass player Dave Whitmore from Maidenhead, Berks who provides that extra bit of madness and creativity needed to cement their destinies together and jettison them on the journey that brought them to the recording of ‘Forever on the road’. The drums on this album were provided by an anonymous American drummer during the lockdown and mixed by Phil at home. This was the only way the album could be created during these restricted times.

On this album, they have further pushed the boundaries of the genre using hip hop beats, piano and string arrangements, horror film style soundtracks, and even reggae alongside goth, punk, and grunge. The album is the soundtrack to their USA tour of autumn 2018.

Healthy Junkies also bring similar people together and have been running a monthly London night called Punk & Roll Rendezvous for nine years, which includes an annual free three day festival with 25+ bands. The event has always been held at the Unicorn pub in Camden but due to Covid-19, the band are running the festival online this year. The fanbase for this band as well as their Punk & Roll night keeps growing as they continue to popularize a community spirit, the sharing of ideas, giving artists an opportunity to perform, and somewhere to hang out. This cast of misfits has built a beautiful tribe of punks and rockers and look set to expand their loyal devotees as they continue to hit their stride.

Rodney Bingenheimer (Sirius XM/Kroq) has played the song ‘Last Day In L.A.’ five times already this year on his Sunday show Underground garage and it hasn’t even been released yet, but his enthusiasm after getting hold of a copy has prompted the band to lead the new record out with this single and it’s a fiery number set to have you pogoing wherever you are as Nina, “Waves goodbye to the dead-end life” and “the Hollywood nights”.

 

Healthy Junkies are known to the niche college and punk scenes across UK, Europe and US and have enjoyed coverage and airplay from KEXP to KROQ to BBC London and BBC Jersey, Tom Robinson’s fresh on the net on 3 separate occasions to ARTE TV, BT Sport (for the televised champions league) and magazines like Big Cheese, Vive le rock, louder than war and Big takeover in the USA. This new single and album set for autumn is just about ready to explode and give us a shot of much needed junky love. 

 Find out more at: www.instagram.com/healthy­_junkies/

45 RPM – The Singles Club

45 RPM – The Singles Club

 

Bringing you the finest new releases from across the genres of Rock, Punk, power pop and Alternative RPM Singles Club opens its door for September and the wind blew these fine tunes in

 

The White Ribbons – ‘Leftovers’ (STP Records) When you take 4 musicians enjoying nothing more than a jam session in mid 2017, and that jam session then develops into a band that was formed to support the amazing work done by www.whiteribbon.org.uk  which is part of the global White Ribbon movement to end male violence against women by engaging with men and boys, raising awareness, and influencing change and providing resources to make change happen, ladies and gentlemen what you get is The White Ribbons band.

‘Leftovers’ is exactly how I imagined they’d sound.  There’s a vibe about the band that says Joy Division and the sparse intro until the distorted guitars crash in its got a subtle hook but never pours over into a frenzy.  ITs a cold feeling of a post-punk mid-80s however the real gem is ‘S.O.P.H.I.E’ and a powerful subject matter is tackled really well and all wrapped up in a fine tune I especially like that bass sound on the breakdown. There are hidden gems here after the song fades away with ‘Social Work’ sounding like they’ve been jammin’ with the Levellers with that powerful lyrics and acoustic-driven alternative music with added Clash thrown in as a reference what’s not to like? Strummer would have approved no doubt about it.

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Guerrilla Teens –  ‘Upside Down’ (Self Release)  COVID lockdown has been nicely punctured by the one and only Scott Drake Deluxe and his wonderful Guerrilla Teens and their regular Bandcamp drop of a pair of bangers that are shaping up nicely to what would easily make one of the best albums this miserable year.

This weeks drop is an altogether darker more menacing tune in the shape of ‘Upside Down’ with the ringing lead guitar and Drakes vocals softer and more restrained its another drop of pure class from the Teens.  Then the second tune is an altogether more bruising number thats the sound of a band windmilling the opponents with a super cool laid back chorus ‘Fight Or Flight’ is a top tune. Deaf Jeff and Saul Teen are on fire here kicking up a shit storm with those buzz saw guitars.  You’d be a dummy if you pass by on these tunes and the previous offerings. Top of the pops this edition?  You bet!

Pick it up Here

 

Rock N Roll Manifesto Split  ‘7″ Series Vol. 1’ (Self Release)  We love a split single round here and when it has some of our favourite artists on that we’ve reviewed many times before it is always a pleasure so when this one dropped from down under and JJ & The Real Jerks popped up we knew we were in a good spot. Pressed on three different coloured slabs of wax this is a bargain we knew we had to tell you about.

Tiger Touch is first out of the traps with a right banger. ‘Problems’ is all up in your face poking and jabbing with that nasty guitar hook and a vocal that’s not pausing for breath until it’s finished whatever the fuck it wants to say.  What a great tune to kick this split off.  Oh if you’re not convinced how about Fret Rattles and their ‘Thanks For Nothing’ with its super snotty garage, frantic dash to the solo punk rock.  Hip Priests fans will have to check these bad boys out because they might have a new champion stateside. Then halfway through our old pal JJ & The Real Jerks are back in town with a right high octane blast of energy in the shape of ‘Split Decision’ complete with JJ blowing that mean Saxophone solo to raise the bar a little bit more.  Excellent stuff and to take this sucker home how about the punk fueled Missile Studs wrap this awesome EP up like a wrecking ball.  We featured their split a few weeks back they did with Thee Evil Twin. They’re Straight outta shitville USA and are on fire, this is the fourth awesome track on an EP that is unrelenting and reeking with quality. If you love loud fired up Rock and Roll you’re gonna want this in your collection no doubt about it. Pick It Up Here

 

Dead Low – ‘Listen Up!’ (AUDIO EPIDEMIC RECORDS!)  Buy Here / Digital Copies

From out of Massachusetts this powerful tri love to kick up a thunderous noise from the punchy bass to the street fighting vocals it’s am impressive four tracks on offer here.  It’s getting a physical release later this month and takes no prisoners.  ‘Bloodlines’ has a very nice thumping bass line that is quite Goth in lords of the new church sort of way whilst the melody and vocal delivery is very much hardcore with some Oi! thrown in for good measure.  Quite the melting pot of influences right there.

First Boy On The Moon – ‘Sofia’ (Manic Records) Relocated Californian David Pedroza is now set up in Sweden and his band ply their post-punk trade drawing influences such as The Cure and Early U2 on this wonderfully vivid pink coloured vinyl 7″.  The lead track is an uptempo throwback if you like to that mid-80s guitar-driven sound and with a good hook on the chorus it’s not a bad introduction to the band at all.  The flipside is a heavily effected bass throbbing builder. Not a million miles from the more chart orientated American Indie of early Killers.  Me, I prefer the first track much more I like the later years Bowie influence going on which is never a bad thing.  Facebook
Minatore – ‘Boys Tell Lies’ (Self Release)  Nottingham based two-piece sound like a whole band and some on this ‘Boys Tell Lies’.  A dark tale dealing with Rape Culture this walk on the dark side is surprisingly uplifting and whilst its steeped in grunge meets punk along the lines of early Nirvana and Dinosaur Jr it sounds huge. Aggressive and measured it’s a fine introduction to a band.  The second track is more of the same but a little less fury and more in keeping with the band influences of Smashing Pumpkins with all the time changes. Pick it up here

In The Whale – ‘Drugdealer’ (Riot Records/ golden Robot Records)   Just so you don’t think we’ve gone soft, coming on like Helmet when ‘Betty’ was a thing this has a huge groove that crosses over into prime Downset territory. Heavier than two anvils In The Whale are in da house kids!
IN THE WHALE have been turning heads and accumulating a mass of die-hard fans and followers thanks to a relentless tour schedule and an explosive live performance. Artists and festival promoters have taken notice, with the band playing Riot Fest, Lollapalooza, Austin City Limits, and Afro Punk, as well as shows with Jane’s Addiction, The Descendents, The Offspring, Gogol Bordello and many more

 

HOOKERS & BLOW ‘Trampled Underfoot’  (Golden Robot Records)  Moving into the 21st century Dizzy Reid & Alex Grossi Releasethis from their soon to be released covers album. They tackle Bowie, the Stones and Eddy Money, as well as this, Led Zep classic with all parts recorded in quarantine during the pandemic.  Of course they turn in a near-perfect rendition if classic Rock is your thang then you’re going to love this.

Hookers & Blow would like to dedicate the release of ‘Trampled Underfoot’ to their good friend and colleague, the late Frankie Banali, who passed away recently after a battle with cancer. A portion of proceeds from this single will be donated to https://www.pancan.org/

 

The Nude Party – ‘Lonely Heather’ (New West Records) Second album set for release next month but first this very listenable jig that’s equal parts VU and The Stones (early ’70s) comes with a catchy animated video. Besides when can a song have too much cowbell?

 

The Jimmy Tarbuck Experience – ‘Under Class’ (self-release) Now Heres a top tune.  Catchy with a bit of a punch.  The band got in touch to say the EP they were going to put out has been held back due to the obvious but did release this one track and accompanying video featuring some of their punk pals; Kevin Nixon from Anit Pasti, Glynn Barber from Chron Gen, Paul Rooney from Vice Squad and Pete R Jones from PiL / Department S and every other band in London (so it says here)   but we certainly love the tune and the more we play it to more it gets stuck in your noggin’ just what a singles supposed to do right?.  Tidy!

 

Kurt Baker – ‘Over You’ (Wicked Cool Records)  Don’t take my word for it just click the link and decide for yourself but just in case you need convincing.  Kurt Baker is one hell of a talent regardless of what guise it is be it solo, with his combo or with the Leftovers the guy has no visible faults or weaknesses.  He pens infectious upbeat Rock and Roll power pop and probably does it better than almost anyone you could name.  Here he is with the lead track off his new album that released next month. Pre-save/Pre-add ‘After Party’ Here / Stream the single “Over You” on all digital platforms: Here

 

Frankie And The Studs – ‘(Not Your) Victim’ (Golden Robot Records) What a great tune.  Sure its fairly generic style-wise but I love that backbeat and the chorus is quite memorable. Hollywood rockers Frankie and the Studs just signed with Australian Punktured Media and this is their first single since signing.  It’s about women being empowered and the inherent strength they possess and not to forget it.  Sure it’s inspired by Quatro and Jett but what’s wrong with that?  If you’re going to seek inspiration then go to the top and it shows in this single and the more plays to more it stands out.  A decent earworm for sure. Preorder/Save: Here