If 2019 was the year the music world once again woke up to The Wildhearts, then 2020 really should have been the year that they cemented their position as the very best seven-legged live band the UK has to offer.
Luckily for me The Wildhearts were one of the last bands I got to see live before the world was consumed by the Covid-19 pandemic, and now when I think back to that amazing Friday night headline slot at Butlin’s Punk & Alternative Weekend – where playing to a largely partisan audience they made so many new friends – I take one look at the track listing of ’30 Year Itch’ (the band’s soon to be released double live album) and I must admit I can’t help get a little robot chubby on at the prospect of hearing the band delivering the goods once again…albeit right here in my living room.
Consisting of 17 tracks spanning the length and breadth of the band’s (almost) three-decade long career – and thankfully avoiding some of the perhaps more obvious tracks – this album was recorded across both The Renaissance Men and Diagnosis tours undertaken by the band in 2019 and achieves what every great live album sets out to achieve by making you feel like you are right back in the audience stage front and centre (don’t worry though as other crowd positions are available if the pit is a bit too rough for you). Plus choosing to work once again with the wizard that is Dave Draper really does add plenty of sonic salt ‘n’ shake to proceedings, making this one of the most remarkable sounding live albums I’ve heard since Exit_International’s ‘Live At Le Pub’. Anyone spot the connection?
From the furry boxing glove opener that is ‘Dislocated’ through to the set closing – best song ever with a music video filmed on a flatbed truck – ‘I Wanna Go Where The People Go’ there is hardly a second to catch your breath as riff after motherfucking riff hit you from every direction, and whilst ‘Let ‘Em Go’ might not be in my list of all-time favourite Wildhearts’ songs it’s impossible not to be swept along in the moment and I suddenly find myself singing along at the top of my voice.
Highlights? Well hearing the likes of the sublimely brutal ‘Urge’ and err anthemic ‘Anthem’ live is most welcome in my house, whilst the huge singalongs that are ‘Sick Of Drugs’ and ‘Vanilla Radio’ are just designed to have you bouncing down the street when you plug this sucker into your in-car stereo system. Of the deeper cuts aired here ‘The Revolution Will Be Televised’ and ‘The Jackson Whites’ perfectly capture the band’s latter years, whilst in ‘Diagnosis’ (which seems to be everyone’s favourite song from 2019’s ‘Renaissance Men’ album) the guys have written perhaps their most ‘Earth V’s’ era sounding song in many a long year, and thus perhaps unintentionally brings them sonically full circle.
Whatever you may think about this point though in this current rich vein of form The Wildhearts really are a 30-year itch you can’t help but scratch, and what more, if you were lucky enough to pre-order this bad boy from the band’s website you should have also have received a bonus 4 track CD of tracks not included on the album including a blistering ‘Top Of The World’ plus a pogotastic ‘Shame On You’ before ‘Nothing Changes But The Shoes’ and ‘My Baby Is A Headfuck’ sends yours truly ambling off down memory lane via two tracks that still sound as awesome as they did when they first got me into The Wildhearts all those years ago.
‘30 Year Itch’ is truly amazing stuff! Make sure you are in on the celebrations when the double album goes back on sale via the band’s website soon.
Racism and homophobia, homelessness and job loss, fear-mongery, anxiety, and suicide. These are not new words, but along with ‘Pandemic’, are these the keywords that we will look back on to describe the year 2020? One thing’s for sure, there’s been a lot of relevant music released so far this year that seems to fit the lockdown vibe, but you need look no further than Bob Vylan for the ultimate reaction and the perfect soundtrack to the new normal.
‘We Live Here’ was actually recorded in 2019 and is self-released because the music industry won’t touch them with a barge pole. Even radio and magazines cite them too extreme, and fair play, this 8 track EP from the London duo Bobby Vylan and Bobb13 Vylan is 18 minutes of uneasy listening, but it is also essential listening.
A mash up of grime and punk rock, ‘We Live Here’ pulls no punches from the very first pulsating beats until a cheerful girl signs off at the end of the last track, telling us not to forget that “the Queen killed Diana”!
My first introduction to Bob Vylan was the single ‘We Live Here’. It is one of the most brutal, hard-hitting tunes I have heard in a long time. A sloppy Slaves-esque guitar riff, frantic rhythms and a diatribe of childhood racial abuse, delivered with the rage of a lion and power of a ten-ton hammer coming down on a balsa wood Houses of Parliament. It’s no coincidence that Bobby is sporting a Crass t-shirt in the video, this is politically-charged punk rock 2020, and utterly essential listening.
Police brutality is covered in the hardcore ‘Pulled Pork’. A song that channels Rage Against The Machine and Body Count to great effect. You want edgy? Well, this is teetering on the edge of the fuckin precipice, bruthas and sistas! And the skulking beast that is ‘Lynch Your Leaders’ could very well incite you to do just that with its hypnotic beats and deep, thought-provoking lyricism.
You just can’t ignore Bob Vylan. This is life through the eyes of black working-class youth, an angry mouthpiece for generations of black minorities that have suffered prejudice in the same country they were born in.
“I can’t breathe, just leave me alone” screams Bobby on the fear and anxiety induced trip through the London underground that is ‘Northern Line’. Scarily, it mirrors recent events more than the writer could have ever imagined. Then ‘Save Yourself’ offers retribution before blasting into a 2 minute brutal assault on the senses. It’s the last song proper before ‘Moment Of Silence’ literally gives you breathing space to digest the Bob Vylan experience.
This is an album that needs to be heard, a wakeup call that is loud and clear. It crosses genres and it crosses classes. Like the musical equivalent of LiveLeak, it’s what the ‘powers that be’ don’t want you to hear, what they don’t want you to feel or act on. This is the sound of the streets, the true punk rock and the most relevant collection of songs you will hear all year.
You won’t hear it on the radio, you won’t be able to stream it on Spotify, but you can buy it directly from the band on their own Bandcamp page. I strongly suggest you get clicking right away!
Strange… when I was assigned this album to review, I was vaguely familiar with the band and went to check out a couple of the early songs released from the album. I wasn’t blown away by them at the time. With that said, I approached the album with some apprehension, even knowing the members of the band have a wealth of greatness among them. It turns out I was either in the wrong frame of mind to hear the early songs, or they did not necessarily immediately translate in the video format to me. At the end of the day, this has become a very enjoyable album for me, which sounds fresh, even if it channels its sound from the glorious nuggets of the past.
Perhaps the difference in how this album came to life for me is the brilliance of opening song ‘Coat-Tailer,’ which I had missed on YouTube. The tasteful group vocals that open it with the classic feeling rock n roll guitar that is buoyed by the piano perfectly set the table for the album. The harmonies are outstanding, and there are multiple lines in the song that will get stuck in the listener’s brain. The guitar solo by Elliot Easton is right on the spot. Second song ‘Remember Days Like These’ features Ringo Starr and is a song that I have a feeling I will like more down the line. It has been a slow grower so far and really reminds me more of something Phil Spector would have produced. The band gets right back into the classic rock n roll vibe with ‘Well, Look at You’ featuring some great horns and a killer chorus. Wally Palmar’s smooth vocals are perfect for this music. They continue to mix things up with the bluesy ‘Jonathan Harker’s Journal.’ The sound effect laden intro suits the opening guitar perfectly. The rhythm work of Clem Burke (drums) and Andy Babiuk (bass) is razor tight and establishes an awesome groove. The vocal work here is awesome as well, especially throughout the chorus.
The up tempo ‘Sometimes Shit Happens for a Reason’ once again takes us back to a classic rock feel with a song that should feature on a cool indie romantic comedy. This song reminds me of everyone from John Cafferty to the rocking side of the Texas Tornados to the light hearted side of Bruce Springsteen such as ‘Glory Days.’ At this stage, this is probably my favorite song on the album. Follow up song ‘The Best That I Can’ keeps the rocking going but suffers in the shadow of the previous song for my tastes. Each member gets a chance to show off their musical chops here. Much like ‘Remember Days Like These,’ I think this one will benefit as the album gets more and more plays in the time to come. ‘If I Could Change Your Mind’ roars in as another nuggets style rocker that features more brilliant vocals by Palmar. This is another brilliant slice of poptopia that should receive a ton of plays on Little Steven’s Underground Garage.
‘Come On and Try It’ was one of the songs I heard before listening to the album, and it still really does not grab me. I think part of it is that refrain of ‘nah nah nah nah’ just feels repetitive in this rocker. In the context of the album, I like it better, but this is not likely to be a song that I seek out to play on its own. The ballad ‘The World as we Know It, Moves on’ definitely works better for me as a great change of pace song with some tasteful backing vocals in the chorus. It is also one that does not overstay its welcome either. ‘The Haunting of the Tin Soldier’ settles into a midtempo feel which features some great drum work by Burke but still one of the ones that doesn’t fully grab my soul.
The closing group of the album starts with the attitude filled ‘Death by Insomnia.’ The harmonica work here adds a great feel to the song with the slow bluesy groove designed to get the body moving. This is another one of my early favorites from the album. ‘The World’s Gone Insane’ was another song I heard on YouTube prior to the album, and I like it much more here. The rocking tempo serves to get the album in full rock n roll mode again with a classic feeling riff. The chorus is simple but hooky. I cannot see it ever being my favorite on the album, but it is one I look forward to hearing when I play the album. The closer ‘Indigo Dusk of the Night’ is also the longest song on the album with its acoustic introduction immediately different from everything else on the album. The lyrics paint a picture that you can experience throughout all of your senses. Musically, this one could sit on the Beatles ‘White Album’ and really makes a great finale to the album. The added instrumentation as the song moves forward is terrific, and I imagine it will sound even better on headphones. The closing of a door then ends the record.
This album really provided me with a nice surprise and hit that nuggets sweet spot while still sounding current and fresh. I am very glad that I did not let the first song or two I heard ahead of the full album form my impression of the whole record. This album will be receiving a lot of plays, and I anticipate several songs from the album will make their way onto monthly playlists of mine in the future.
It’s been over a decade since I first discovered that even when Mommy Sez No you can still get your musical kicks from a trashy, crypt-cool beat combo souring airwaves with its self-soiled brand of “Spook ‘n’ Roll.”
From debut splatter platter, ‘Hotwaterburnbaby’, via the putrid poetry of follow-up, ‘Eeeeeeeeep!!!’, to the 2-4-5 Trioxin-addled new album, ‘The Dwellers Below’, the Saint Paul, Minnesota ghouls Mommy Sez No have traversed the gutters and gateways of the punk rock underground for so long that you’d probably be excused for thinking that this was a band destined to be stumbled across when lovingly fingering your wholly unfashionable physical media collection; the cobwebs blown from a disc or two decaying in the creepy corner labelled ‘Where Are They Now?’ But, no – this six-legged monstrosity (Jeff Arndt on guitar and vocals; Alex Smith on drums; Thomas White on bass) is back in the hunt; better, stronger, faster than it was before.
Okay, the enhancement might not be bionic, but it’s by some other ungodly advancement that finds the horror punk veterans kicking lumps out of the opposition with a thirteen-track (what else?!) long player that, actually, doesn’t play for that long given its frenetic pace, but oozes with a gooey, unexpected slap of, dare I say it, maturity.
Looking cooler-than-thou wearing its wraparound artwork skin courtesy of fellow Minnesota mayhem maker, artist Bill Hauser (creator of many a striking punk rock album cover), ‘The Dwellers Below’ takes the lowbrow splatter punk of Mommy Sez No out of the garage and into, well, at least the garage forecourt. With better production, better artwork, better just about everything to be honest, this is the band’s most accomplished work to date… but fear not horror punk purists, this record is still a wretched hive of scum and villainy.
From opening cut, ‘Take Me To The Hospital’, to the power ballad, ‘Maggots In Yer Guts’, via the chaos of ‘Hahahahahahaha’, Mommy Sez No is still as subtle as a killing spree and as manic as a final girl chase scene. The big difference is that the band doesn’t stumble at all throughout the entirety of this album.
Even when introducing more straight-ahead rock ‘n’ roll strut to the tracklisting with the likes of ‘Lil Bit Of Voodoo’, ‘Rock And Roll Death Patrol’ and the alternate reality KISS riff-led ‘Uh Oh… I Think…’ the band still has that unnerving way of making the listener feel like they need a good wash after partaking in an auditory exercise; the songs to die for (possibly literally) rather than a diversion.
The aforementioned artwork may give off a sense of the post-apocalyptic (doesn’t everything these days?!) but the album still has a hoof or two in the band’s tried, tested, and tortured peculiar amalgam of straight-to-video horror and no-budget punk rock… except there is a budget these days, but that shouldn’t put you off; think the upgrade from The Evil Dead to Dead By Dawn – better everything, but with that same, fierce independent spirit. ‘The Dwellers Below’ is a crazed, ass-kicker of an album that will easily force its way into my Top Ten albums list of a crazy, asshole of a year. Recommended.
Seemingly untouched by the global crisis as much as any passing trend, Billy Childish continues to swell his catalogue at an amazing rate. After CTMF’s ‘Last Punk Standing’, comes the first of four albums by his latest project, The William Loveday Intention. Yes; four albums, already in the can. Joined by James Taylor and Dave Tattersall, “People Think…” has the flavour of a western-themed record. The Medway Delta is augmented by tales from the saddle, while Billy’s voice remains firmly in the Kent marshlands.
The production is lush, as befits the ‘widescreen’ feel of most of the songs here. Violins and mariachi trumpets enhance songs like ‘My Love For You’, which has the richness of The Urban Voodoo Machine, while ‘Again And Again’ and ‘This Wondrous Day’ reminds me of Dan Sartain’s recent ‘Blue Prairie’ album, though I imagine that Billy has cast an influence on them already.
The richer sound suits the songs and the cinematic feel throughout, but there are still the Lo-Fi elements you’d expect; the insistent, monotone keyboard riff of the title track, which manages to name check Kylie Minogue, and the fiddle led lament of ‘The Bitter Cup’.
I’m guessing that it’s Julie singing on ‘You’re The One I Idolise’, though I don’t have all the details to hand. A sweet song that echoes some slower T Rex tunes. Then there’s the skeletal blues riff of ‘My Father Was A Railroad Man’, one of the oldest riffs, that John Lee Hooker must have heard as a child.
This is an interesting side-step from Billy, and bears repeated listens. What the next three albums will bring, only he knows, but this is very promising.
If you were looking for a touring buddy or reference comparison for Dirty Fences I’d have to go for Los Pepes because both write upbeat, melodic, punk rock n roll songs that are full to bursting with catchy tunes and they churn them out with consummate ease or at least that’s how they make it appear.
This the third release from the NY combo is thirteen tunes from the recess of the Fences minds and something of a compilation of what they sum up as fondest memories and strange melodies and they’re not far wrong but the one abiding feeling I have after I play a Dirty Fences record or it crops up on a playlist is – Damn, what a tune and this is no exception from the runaway grinfest of the opening track and absolute Banger ‘Sid’ I’m lost in the music. But wait it’s not all bish bash bosh! as the laid back and a more dreamy affair that is ‘Kings Cross’ is nestled in neatly on side one. But wait the more ’80s inspired ‘Judy (Don’t Go)’ reminds me of an XTC melody even if XTC never sounded this daring or punchy.
Clearly The Bruddas are a big influence on bands all over the globe but the great bands that have some Ramones running through their DNA rather than ape Joey and co and you can add The Fences to the list of those who have some of that skill and craft in their DNA and touch on the melodies that Dee Dee might have penned and their influences are deeper like the acoustic-driven ‘Tommy & CC’. There’s a great guitar lick workout going on via the down n dirty ‘High School RIP’ but I must admit to really liking the mellow Dirty Fences like ‘I’m Here’ just as much as the punk rock ‘n’ bop of ‘Teen Angel’ which just goes to make for a varied melting pot of Rock and Roll and yet another excellent release from a really really good band. I know its only rock and roll but I love it! When the USPS sort themselves out I’m having myself one of those Mint Green Blob and neon purple splatter records they look awesome. That is if there are any left once the world catches on to some Dirty Fences.
“Dark Nights: Death Metal” The Original Soundtrack,
To Be Released by Loma Vista Recordings
Multi-Gold and Platinum-selling punk rock stalwarts RISE AGAINST will see “Broken Dreams, Inc.,” their first new song in three years, and the first as part of a new agreement with Loma Vista Recordings, released today. Produced by Bill Stevenson, Jason Livermore, Andrew Berlin, and Chris Beeble, “Broken Dreams, Inc.” is angry, fast and furious punk rock, with ruthless drums, pounding bass, blazing guitar and impassioned vocals. Also released today is the animated/motion comic video for the song that features art from DC’s “Dark Nights: Death Metal” drawn by the series’ artist Greg Capullo.
“Broken Dreams, Inc.” speaks to today’s changing landscape of American society, the opportunities that are available to some but not to others, the people who are able to benefit versus those who get left behind, who suffer and end up as casualties. How do we level the playing field so everyone can have a real chance at attaining the American Dream? Said Rise Against’s vocalist/lyricist Tim McIIlrath, “One word, ‘disruption.’ You have to put power into the hands of the people, not business, you have to value people and community over profit. You can’t have a shareholder-run country or a shareholder-run world, a world that values profit above all else, because profit above all else can result in dangerous repercussions for humankind.”
Rise Against – rhythm guitarist/vocalist McIlrath, bassist Joe Principe, guitarist Zach Blair and drummer Brandon Barnes – is known for its explosive live shows, and its outspoken, socially-conscious lyrics that speak to the mood of our times: the environment, economic injustice, forced displacement, political corruption, voter registration, animal rights, and interpersonal relationships, all delivered with big, chunky riffs and melodic post-grunge hooks. Rise Against has amassed five top 10 albums on Billboard’s Top 200 chart, and six top ten singles on its Hot 100 chart. The band’s gold-certified single “Savior” alone, has accumulated nearly half-a-billion streams.
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.
Man, I love some sleazy Punk Rock ‘n’ Roll. It would seem that these Bostonians otherwise known as Indonesian Junk do as well and as if by magic they write songs in that style with a bit, sorry a lot of swagger and no doubt a cocksure knowledge that what they’re doing is the best, they make it seem so effortless.
They’ve managed to absorb everything that’s good and great from the last 50 years plus and pour it into their tunes covering huge Rock behemoths in the shape of Kiss and one for the cool kids in the shape of The Joneses whilst adding some glam Starz style to their punk rock old school of Slaughter and the Dogs.
Man on the opener ‘Cmon and Love Me’ they throw in a cheeky Kiss number to draw you in but more impressively they follow it up with a super sleazy right on the money version of ‘Pillbox’ man that’s a great song but easy to get wrong but not the boys in Indonesian Junk they kill it! they take it to school and own the fucker! now that how to tip the hat to your forefathers and those who ploughed the furrow so we could all follow.
This is a compilation of curio B sides, singles and covers and they show us exactly what a tight little combo they are and you get to marvel at their swagger as they turn up the amps to 11 and just let rip. ‘Last Night Alive’ is basically a loosener, an aperitif if you like with the only lyrics being the title of the song shouted from the back of the room like a bunch of leary drunks but man it kicks your backside good and proper.
‘Now That Its Over’ comes on like a long lost Stiv Bater LA LA session and seamlessly the original tunes muscle in snugly with the covers and taking ownership of The Joneses, Kiss and Slaughter and The Dogs aren’t to be taken lightly but when you hear these version if you know you’ll know. Bloody great stuff.
Finishing with a few unreleased numbers is cool as well this is a compilation that’s not just thrown together its been lovingly prepared for the discernable lover of all things sleazy, glamorous punk rock and roll and Starz never sounded this good on ‘Outfit’. Inspired choices for covers and inspired original tunes. Give Indonesian Junk a chance you’ll love em then you can delve into their back catalogue knowing you’re in for a glam-punk treat, get it!
Governess are a sleazy bunch of sexy sailors playing a glunky blend of all action rock n’ roll that would bring a tear of pride to the guy lined eyes of Johnny Thunders and Happy Tom. Hailing from Buffalo, NY in the late great USA, Governess share the balls of their mid-west neighbours and the guts of their NYC cousins. We had a word with guitar player Handsome Erik, an all American guy with an unhealthy love for UK 90’s indie bands.
Compete the following sentence “Governess sound like a cross between………..”
A cross between deathpunk, glam, and Scandi/action rock. Big riffs, flamboyant swagger, sick guitars, and one hand gripping your crotch. Our influences include Hanoi Rocks, NY Dolls, Turbonegro, The Hellacopters, and the Dead Boys, to name a few, and I think that comes out in our musical style.
It’s been 4 years single the debut album “Let Me Be Your Governess”. What have you guys been up to????
Writing songs, and hitting the road, mostly. Getting out there, grinding, playing shows has always been at the forefront of our minds. We didn’t really want four years to pass before putting out another record; it just kind of worked out that way. The luxury of taking that time gave us a lot of material to choose from – the best we have from the last four years!
You’ve just unleashed new tune “Grime Time” what’s the response been like?
Oh man, the response has been great! Choosing the first single is a tricky thing. We wanted to put a song out that gives the audience an idea of what the record sounds like, but we didn’t want to blow our load early and use the strongest tune(s). I think we made the right decision; the song rips, and there’s still plenty of gems on the record. Every lyric in that song is true, by the way. It’s about our best bud, and 6th Governess – “Grime Time,” Matt. Without blowing his head up too much, he’s become some sort of quasi-fabled legend. He travels with us, partying his ass off the whole time. Once he learned that we wrote a song about him, shit really popped off!
What can the world expect from the new album “Never Coming Home”?
Never Coming Home sounds HUGE. Don’t expect some weak-ass, lo-fi, art-punk crap that was recorded on an old mixtape, or something. There’s a lot of guitars, a lot of sing-a-longs, cool lyrics, and upbeat songs. No snoozers. It’s dark, it’s fast, and it’s loud. In a lot of ways, we feel like Let Me Be Your Governess was kind of like our Ass Cobra, and this new one is our Apocalypse Dudes moment. The band has evolved so much in four years.
Have you got a label lined up or will you set up your own label to get it out there?
We are currently doing everything ourselves, but we are definitely looking to shop this around and get label support.
What’s your plan, post-pandemic battle plan?
Staying in lock-down has everyone really dying to get out play shows. Once we’re able to do that again, we’ll be pounding the pavement hard. This pent up energy is going to make for some wild times ahead! We’re trying to get this record released, in physical form, by the end of the year/early 2021. We haven’t discussed an early digital release, but that’s a possibility as well.
Are there still any great undiscovered bands out there? Give your mates’ bands a push.
Absolutely! Punk’s not dead, it’s just down on the floor… Through the years, we’ve met some great bands, and have made some great friends. Without a doubt, the best band in our scene is Hot Blood, from Asbury Park, New Jersey. If you’re into hardcore punk, there’s no one doing it better. They have two guitar players that shred, their lyrics are on point, and their hooks are strong as fuck. In early 2019 they put out Fear of a Unified Public, and we’re still all talking about it! Another great Asbury band (now in Los Angeles) is The Battery Electric. These beautiful babies are the hardest working band in the business. 100% rock n roll, sweet hooks, and another Jersey guitar shredder! I would be remiss if I didn’t mention Rotten UK (Rochester, NY) and the Cheats (Pittsburgh, PA). Both bands are incredible and should be way bigger than they are. I hear the Hot Blood guys a Rotten boys don’t get along, though….
What five albums should no home be without?
I find it curious that you’re asking for five records, and it just so happens that those first five Oasis releases are pure fire! Coincidence??? For real though, my favorite bands/records change on a daily basis, depending on my mood, or what Kinks record I’m listening to at the moment, so this is a tough question. How about I tell you the five records that are getting the most spins in the Handsome household?
Greater Than Ever, by Baseball Furies – Buffalo punk legends. I discovered this record about two years ago, and its been in regular rotation since. I’m mad at myself for not discovering it sooner.
Off the Rails, by Gino and the Goons – I just discovered these guys too! Their entire catalog is great. I thought I was a huge Heartbreakers fan; these guys really love them, L U V!
Funhouse, by The Stooges – This record blows me away. It’s so loud, raw, and loose. Plus Ron Asheton is fucking MENTAL!!
Crystal Gazing Luck Amazing, by Compulsive Gamblers – I love that 60s vibe. The singer has a sweet voice, and that song Two Thieves always makes me want to cry. I DON’T THOUGH!!!!!
Algorithm & Blues, by The Good, the Bad, and the Zugly – Jesus Christ! What can I say? Its not only the best record of 2019, but it’s going in the Deathpunk Hall of Fame.
Governess are –
Robot Rob: Vocals & Bass
Handsome Erik: Lead Guitar
Fast Teddy Clarke: Lead Guitar
Jon Swayze: Rhythm Guitar
Matty Wild: Drums
If 2019 was the year the music world once again woke up to The Wildhearts, then 2020 really should have been the year that they cemented their position as the very best seven-legged live band the UK has to offer.
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