Frank Carter & The Rattlesnakes have announced their new album ‘Dark Rainbow’ for release on 26th January 2024.
The band are also sharing the album’s lead single “Man of the Hour”, which was given its airplay debut by Clara Amfo on her BBC Radio 1 Future Sounds show last night.
New single “Man of the Hour” makes it clear that we are entering into a whole new era for The Rattlesnakes. Self-evaluation and reflection are very much on the agenda throughout ‘Dark Rainbow‘, and they pave the way for a sound that puts southern gothic balladry and crooning alt-rock to the front. A sonic evolution and emotional complexity powers this soul-searching expedition that reaches into the very heart of identity and pulls from it the wisdom that can only come from lived experience. The lyrics to “Man of the Hour” question the idea of rock stardom and where it fits in 2023, recognising a character that we all could, to our own detriment, be or aspire to. Singer Frank Carter elaborates:
“We talk about how rock and roll will never die, but we never really talk about how maybe the idea of the rock star should die. The whole concept and what it means has always been this glamorised moment, but ultimately when I put that suit on, it didn’t go very well for me.”
“I’m just witnessing the world change so quickly and I’m still trying to come to terms with who I am and what the authentic version of me is. By giving people what I thought they wanted I think I got further and further away from who I actually am.”
Hear new single “Man of the Hour” on streaming services here and watch the video directed by Ruth Hundumahere.
The last time that many UK fans will have witnessed the band will have been at their sold-out Alexandra Palace show in London, or on the mainstages at Download and Reading & Leeds festivals, or headlining this summer’s 2000 Trees Festival. In the wake of ‘Dark Rainbow’’s release in January, the band will also be embarking on their biggest tour to date as they announce details of headline shows through the UK for 2024.
Fans can now pre-order the album for access to pre-sales.
All tickets will be on sale from Friday 6th October at 10am local time from the band’s website here.
Frank Carter & The Rattlesnakes UK Tour 2024
06 Feb – The Great Hall, Cardiff, UK 07 Feb – O2 Academy, Bristol, UK 09 Feb – Academy, Manchester, UK 10 Feb – Northumbria Uni Student’s Union, Newcastle, UK 11 Feb – Barrowland, Glasgow, UK 13 Feb – O2 Academy, Leeds, UK 14 Feb – Wulfrun Hall, Wolverhampton, UK 15 Feb – Roundhouse, London, UK 16 Feb – Roundhouse, London, UK
NEW ALBUM: ‘NOTHING LASTS FOREVER’ OUT 22 SEPTEMBER VIA THEIR OWN LABEL PEMA
+ UK LIVE DATES
Earlier this year Teenage Fanclub announced news of their new album ‘Nothing Lasts Forever’, due out 22nd September via their own label PeMa.
Having previously shared the lead track “Foreign Land”, today they release their new single and album highlight, “Tired Of Being Alone”.
Commenting on the track Raymond McGinley says: “Towards the end of our session in Rockfield Studios making the album I woke up in the middle of the night. There was a guitar next to the bed. I picked it up and this song came out. The words for the chorus were there already. I recorded a rough version on my phone and then went back to sleep. We recorded the song later that day. As a band we like to trust our instincts and let things happen. As with Norman’s song ‘Foreign Land’ this song only exists because we decided to go to the studio and make a record. If we’d waited for the stars to align first before recording we’d still be waiting now.”
The first sound you hear on ‘Nothing Lasts Forever’ is a sustained feedback note that hangs in the air with the grace of a dragonfly before an acoustic riff spirals out of it, soaring upwards. It’s blissful and sun-soaked, like a late summer haze blurring out all the details on the horizon. When voices join the music, they arrive perfectly locked together, honed in on a single melody. “It’s time to move along / and leave the past behind me…” The message is simple. Don’t look back, only forward.
One of the recurring themes on ‘Nothing Lasts Forever’ is light, as a both a metaphor for hope and as an ultimate destination further down the road. Although the band’s songwriters Norman Blake and Raymond McGinley found themselves touching on similar themes, it was pure coincidence.
Raymond: “We never talk about what we’re going to do before we start making a record. We don’t plan much other than the nuts and bolts of where we’re going to record and when. That thing about light was completely accidental; we didn’t realise that until we’d finished half the songs. The record feels reflective, and I think the more we do this thing, the more we become comfortable with going to that place of melancholy, feeling and expressing those feelings.”
Norman: “These songs are definitely personal. You’re getting older, you’re going into the cupboard getting the black suit out more often. Thoughts of mortality and the idea of the light must have been playing on our minds a lot. The songs on the last record were influenced by the breakup of my marriage. It was cathartic to write those songs. These new songs are reflective of how I’m feeling now, coming out of that period. They’re fairly optimistic, there’s an acceptance of a situation and all of the experience that comes with that acceptance. When we write, it’s a reflection of our lives, which are pretty ordinary. We’re not extraordinary people, and normal people get older. There’s a lot to write about in the mundane. I love reading Raymond Carver. Very often there’s not a lot that happens in those stories, but they speak to lived experience.”
While the vocals and the finishing touches on ‘Nothing Lasts Forever’ were recorded at Raymond’s place in Glasgow, the music was recorded in an intense ten-day period in the bucolic Welsh countryside at Rockfield Studios, near Monmouth in late August. You can hear the effect of that environment on the record – it’s full of soft breeze, wide skies, beauty and space.
Raymond: “We like to get something out of where we go, and you can definitely hear a stamp of Rockfield on the record. We recorded our album Howdy there in the late ’90s. Prior to that I’d been a bit reluctant to go as everyone seemed to record there, especially if you were signed to Creation, but I thought I’d go and have a look at the place. When I went down there, I loved the fact that there’s no memorabilia about anyone who’s ever been in the studio. The only visual musical reference is a picture of Joe Meek on their office wall. Anyway, over twenty years after our first visit we decided to go back. When you’re there, it feels like your place. We’re really rubbish at trying to find words to describe how our music sounds, but maybe because we recorded in Rockfield in late summer, there’s something pastoral about the record.”
The band that recorded ‘Nothing Lasts Forever’– Blake, McGinley along with Francis Macdonald on drums, Dave McGowan on bass and Euros Childs on keyboards – arrived at the residential studio without a fixed plan. Their confidence and ease with working together meant the record came together incredibly quickly.
Raymond: “When we got offered ten days in Rockfield, we weren’t ready in our minds but then we just thought, ‘Fuck it’ and went for it. If you’re sitting around waiting for the stars to align, you can end up never doing anything. We turned up and worked our way through ideas, and came up with some while we were there. The song Foreign Land was born in the studio. If we hadn’t gone there at that point through happenstance, that song wouldn’t exist. We like to let things happen. As people, we find a deadline inspiring. We like to put ourselves on the spot and see what happens. We usually get away with it. This record is the cliche of the blank canvas, which thankfully we managed to fill.”
Norman“We’ve all been playing together for such a long time. In the past, whoever had written the song would have been the director. ‘This is how I’m hearing the drums, if you could play the bass like this…’ We don’t do that now. Raymond or myself would just bring in the idea and people would listen and play what works with it. We’d play for a couple of hours and that would be the arrangement. There’s a trust that comes from knowing each other such a long time, a kind of telepathy. Everyone knows where they fit in the puzzle.”
One of the most striking lyrics on the record is on the closing track “I Will Love You“. A gorgeous seven minute almost Kosmiche acoustic daydream drone, it looks to a point beyond the fury and polarisation of our modern discourse, to a time when “the bigots are gone/after they apologise/for all the harm that they’ve done”.
Raymond “In many ways, us-and-them-ism has taken over the world. “I Will Love You” is looking for positivity but it’s being totally fatalistic at the same time. This shit will exist forever, what are you going to do about it. I came up with the line “I will love you/until the flags are put down/and the exceptionalists are buried under the ground” while I was playing the guitar. I started wondering what that was all about and where it might go. It’s looking for positives within a fatalistic, negative view of human nature.”
Looking for positives while faced with the grim realities of the 21st century feels very Teenage Fanclub – a band who’ve been a force for good for over three decades and who can effortlessly turn melancholy into glorious, chiming harmony.
TEENAGE FANCLUB UK TOUR 2023 03 November – Belfast – Queen’s University – Mandela Hall 05 November – Glasgow – Tramway Theatre 06 November – Aberdeen – Tivoli Theatre 07 November – Edinburgh – Assembly Rooms 08 November – Leeds – Brudenell 09 November – Gateshead – Sage Hall 2 11 November – Manchester – RNCM Theatre 12 November – Sheffield – Leadmill 13 November – Bath – Komedia 14 November – Birmingham – Town Hall 17 November – London – EartH 18 November – London – EartH
DEAD MEN WALKING are back in November 2021 with 4 UK shows to promote their brand new debut studio album ‘FREEDOM – It Ain’t On The Rise’.
Founding DMW member Kirk Brandon (Spear of Destiny/Theatre of Hate) will once again be joined by heralded rhythm section Segs and Ruffy from The Ruts on acoustic bass, percussion & vocals, and completing the line up will be Jake Burns, legendary frontman of Stiff Little Fingers, who will bring his guitar, songs and stories.
With a massive catalogue of songs to choose from this amazing DMW line up intend to deliver a raw stripped back interpretation of a whole host of classic tracks from their respective iconic albums and singles.
A few surprise cover versions and even a brand new song or two from the new album are also threatening to make their way into the set.
All in all, the ‘Soundtrack of a Generation’ will be on show every night.
See Dead Men Walking Live in Glasgow, Gosforth, Fleetwood & London. November 11th to 14th 2021.
The debut DEAD MEN WALKING studio album ‘FREEDOM – It Ain’t On The Rise’ is released on Guy Fawkes night 2021.
*****
UK TOUR DATES
NOVEMBER 2021
11th- GLASGOW, Oran Mor
12th- GOSFORTH, Civic Theatre
13th- FLEETWOOD, Marine Hall
14th- LONDON, 229 Club
Frank Carter and The Rattlesnakes’ opening night headline set at Download Pilot unleashed a ferocious release of pent-up energy and pure emotion that will live long in the memory of everyone present. The band proved that they offer something quite unlike anyone else right now: a much needed burst of anarchic spirit as the shackles are removed, but also the articulation and wry wit to rally against injustice; plus a raw, eviscerating live show without the tropes of toxic masculinity. As lockdown eases, who better to soundtrack our new-found freedom?
Seizing on their moment in the spotlight, Frank Carter and The Rattlesnakes share their new single ‘Sticky’, which has just received its first play courtesy of Daniel P Carter at Radio 1. The single launches their eagerly anticipated new album, also titled ‘Sticky’, which will be released on October 15th. It builds on the momentum generated by their recent single,‘My Town’ featuring Joe Talbot of IDLES, which is the biggest of their career to date and was B-listed at Radio 1.
Punching out of the speakers with a new directness and immediacy, the single ‘Sticky’ provides a flavour of what to expect from the album. It’s a shark-sharp-shock of visceral punk fury, as the snarling soul of Carter’s vehement voice transports us to the sweltering, closing time madness of a city after dark. He paints a scene of growing paranoia, desperately looking to delve into any vice to counteract the existential despair of feeling “midnight blue.” But there’s a sardonic, horrorshow humour at play too as he spits, “I’m no vampire but I want your blood.”
Carter commented, “‘Sticky’ is about that moment where you’re drunk at a bus stop at 3AM. You know there are no more buses, but you sit there anyway because you’re too fucked to figure out your options. Your kebab is on the floor, there’s a Stella in your pocket, and you’re woken up by a dirty little fox eating your shoes.”
It’s the perfect introduction to a record that breaks out of lockdown. Produced by guitarist Dean Richardson for the first time, it solidifies the pair as one of the most exciting partnerships in British punk rock. Carter sounds like an untamed force of nature, embodying the impish menace of Keith Flint one minute and Sid Vicious the next. Alongside Richardson, they’ve crafted a record which wastes no time in hitting hard: not a single song hits the four-minute barrier, and few even hit three.
‘Sticky’ is the sonic eruption of a year-plus of suppressed energy. While it’s an escapist experience, recent reality is never too far away. It’s there in ‘Go Get A Tattoo’, which was inspired by Carter’s experience of having to shut his first London based tattoo parlour, Rose of Mercy, almost immediately after it opened. It’s just as present in ‘My Town’, a suburban vignette of society’s collective mental health quickly unravelling.
Carter and Richardson’s vision is augmented by the mob of underdogs and outsiders who join them. As well as Joe Talbot, queer, underground electro-punk sensation Lynks complements Carter’s attack with a double-dose of surreal savagery on ‘Bang Bang’ and ‘Get A Tattoo’, while Cassyette brings a provocative punch to the sleazy rock ‘n’ roll of ‘Off With His Head’. By the time Primal Scream’s Bobby Gillespie emerges on the closing ‘Original Sin’, his breathy voice feels like salvation for the transgressions that preceded it.
Carter sums it up succinctly: “Someone described it to me as ‘they felt their youth’ when they were listening to the record. When you make albums, those are the ones you want to make. Nostalgic, but classic. Timeless, and also modern.”
The album is now available to pre-order on a range of exclusive formats here. All pre-orders are rewarded with instant download of the title track and ‘My Town’.
Having closed their 2020 tour ‘The End of Suffering’ with a sold-out 10,000 capacity show at London’s cavernous Alexandra Palace, Frank Carter and The Rattlesnakes announce details of their first tour in support of ‘Sticky’. They will follow an extensive run of UK dates in November with two O2 Academy Brixton shows in January 2022, and then a European tour which spans thirteen countries.
Tickets: Fans who pre-order the album from the band’s official store will receive early access to tickets from Wednesday 14th July @ 10 am local time. General on-sale is Friday 10 am local time.
TOUR DATES:
SEPTEMBER 2021
9th – Glasgow Green (special guests to Biffy Clyro)
16th – Cardiff Bay (special guests to Biffy Clyro)
OCTOBER 2021
16th – Live At Leeds (HEADLINERS)
NOVEMBER 2021
10th – Dublin, Academy
11th – Nottingham, Rock City
13th – Norwich, UEA
15th – Southampton, Guildhall
16th – Bristol, O2 Academy
17th – Lincoln, Engine Shed
19th – Birmingham, O2 Academy
20th – Newcastle, O2 Academy
22nd – Glasgow, Barrowland
23rd – Edinburgh, Corn Exchange
24th – Liverpool, O2 Academy
25th – Manchester, Academy
JANUARY 2022
21st – London, O2 Academy Brixton
22nd – London, O2 Academy Brixton
25th – Netherlands, Utrecht, Tivoli Vredenburg
26th – Germany, Cologne, Live Music Hall
28th – Sweden, Stockholm, Slaktkyrkan
29th – Norway, Oslo, Rockefeller Music Hall
30th – Denmark, Copenhagen, Store Vega
FEBRUARY 2022
1st – Germany, Berlin, Astra
2nd – Czech Republic, Prague, Meet Factory
3rd – Poland, Warsaw, Niebo
5th – Switzerland, Zurich, Dynamo Saal
6th – Italy, Milan, Magazzini Generali
8th – Spain, Barcelona, Razzmatazz 2
10th – Portugal, Lisbon, Lav – Lisboa Ao Vivo
11th – Spain, Santiago de Compostela, Sala Capitol
Rocking the music scene for over three decades, SPEAR OF DESTINY are not stopping. Today, they announce their ‘Worldservice@35’ tour, following their acclaimed lockdown album released last year. TICKETS HEREHard to believe we know but it is true, Kirk Brandon has now been leading SPEAR OF DESTINY for over 38 years.Spear of Destiny were formed in 1983 after the demise of Kirk Brandon’s post punk iconic rockers THEATRE OF HATE. (Brandon had also, before TOH, been the main man in every punk rockers favourite band of that era The Pack)
The current line up of Spear is the longest serving to date and features Adrian Portas (New Model Army / Sex Gang Children), Craig Adams (Sisters of Mercy / The Cult / The Mission) and Phil Martini (Jim Jones and the Righteous Mind) on drums. During 2019 the line up was boasted by Saxophonist Clive Osborne who will be staying in the line up for 2021.
On April 6th 2018 SPEAR OF DESTINY released their 14th studio album “Tontine” The album was been fully funded from a private fan pre-sale. The album is officially released for Brandon’s own Eastersnow Recording Company label imprint and is available on CD, Vinyl and Download across Europe. US label Cleopatra Records will be handling the North American release.
Just before the lockdown of 2020/1 the band went into the studio and re-recorded perhaps their best known album, 1985’s WorldService. Eventually releasing the album to much critical acclaim in November 2020. The upcoming ‘WorldService @35’ UK Tour set will feature the album + b-sides in full and the show will be finished with a career spanning extended SOD encore.
The Idolizers – ‘Riot Radio’ (Rum Bar Records) With a burst of energy this new choon released as part of the labels ‘New Believers in Rock n’ Roll’ Rum Bar campaign. The lead track from their album ‘Concretins’ which promises to be a must-have – full of bangers if this is anything to go by. Just what you want to kickstart the recovery and soak up those rays of summer sunshine. Bright energetic and with a strong hook ‘Riot Radio’ leans on Da Brudas for the energy and the riff but there’s more to it than just tipping the hat to the Ramones. It should be on the radio as you drive to the beach but you’ll have to do with buying it instead.
The Hip Priests – ‘No Stranger To Failure/ Sounds A Lot Like War’ (Ghost Highway Records) The purveyors of the beautiful noise are back and as things promise to revert to some sort of normality the universe is reset. A double A side single sees one side belt out ‘No Stranger’ it’s off like the ghost of Lemmy is amped up to eleven and the Gods of thunder give their instruments a right good seeing to. Of course, I love it and can’t wait to hear it live and shake the foundations of whatever venue will welcome them back. I love Von Cruz vocals on this one. Flip it over for ‘Sounds A Lot Like War’ and the ante has just been raised, what a belter.
Every single released sounds like a battle cry and a reason to give a fuck about Rock and Roll again. My faith in noisy punk rock n roll is reaffirmed and it’s another reason to get excited. Get hold of a copy as soon as it’s released or you might regret it. pressed on coloured vinyl it’s the bands 30th single! and the artwork is by none other than Hard-ons very own Ray Ahn. Facebook
The Manges feat. Giuda – ‘Tootsie Rolls’ (Ltd Col 7″) (Damaged Goods Records) Yeah it’s handclapping one finger piano riffing rock and roll. The Manges play Ramones-style punk rock and they are still doing to be fair but it’s not all they do so having played with Giuda and hung out with them this seems like a no-brainer. A glam stomping Hand clapping smiling rock n roll song. Massimo from the Manges had this to say – “One of our favorite songs for our new album is called ‘Tootsie Rolls’, and it kinda stands aside from the rest of the album, being a more pure rock tune. On this one, our producers could totally work on their favorite arrangements and structure, to the point that we ended up having two versions: one, the album song, and two, a remixed version featuring members of Giuda, called ‘Tootsie Rolls – Part II’. What a treat!” He’s not wrong!
Alvin Gibbs & The Disobedient Servants – ‘State Of Grace’ (T & M Recordings) A new single from Alvin and more evidence of his superb songwriting abilities as three brand-new songs on gold and blood-red splatter vinyl is released. In a picture sleeve exclusively designed once again by Gaye Black (The Adverts), a four-page colour lyric insert but is limited to 500 copies only. Joining Alvin once again is Subs drummer Jamie Oliver and Ruts DCs Leigh Heggarty. The title track leans on Gibbs previous employment with Iggy and I could also see this nestled as one of the best track if it were a Cheap & Nasty song. Cool verses and toe-tapping chorus its a top tune.
‘Too Bad She’s In Love’ has got some real grit going on as we steam towards the chorus. Great chorus and one I want to play over and over a real earworm of a song. I love the way Heggertys guitar wraps itself around Gibbs vocal as it heads to the chorus. Closing off this most excellent single is ‘Brother, Sister’ a jarring jabber of a rhythm offering something different to the other two tunes proving once again that there is some fantastic music being created out there – Buy it! Bandcamp
The Culture Industry – ‘141′ (Riot Records) Punk as fuck! Coming over like if Nirvana were from Australia and drank too much beer instead of facing their sneakers. ‘DK Stance’ is another slice of fire that’s more spat out than gently poured into the speakers. Love that bass punch they have going on it really suits the sound. ‘Middle Aged Kids’ now there a phrase I could level at so many people and there’s nothing wrong with that and once this tune gets going the lyrics might be a bit cliched but the music is excellent and its a good tune. Fuck em all indeed. Swearing might not be big or clever but who cares? I’m sure The Culture Industry don’t give a flying fig but they can certainly knock out a decent slice of punk that’s a given. Facebook
SMASHED GLADYS – ‘Go To Hell’ (Golden Robot Records) Born from the embers of the vibrant Toronto punk scene, SMASHED GLADYS formed in 1984 and then headed to New York City. The band was headed by vocalist Sally Cato and was snapped up by Elektra Records, becoming part of the legendary glam/hair metal scene.
Cato sadly passed away in 2020 and in memory of her, Golden Robot Records bring you new material which they were recording as demos for their 3rd album. This the 2nd single, “Go To Hell” will see the light of day on the 31st of May, giving fans further insight into the unreleased material. Following on from the crunchy guitars of that second album this is more of the same and just a great hard rockin tune and Ms. Cato sure did have a great voice that really suited the music perfectly. Find Smashed Gladys – Facebook /Twitter Pre-order/pre-save “Go To Hell”HERE
Roxy Girls – ‘Roxy Girls Are In The Drink’ (Moshi Moshi Records) Like a throwback to a time when singles from alternative bands and post-punk bands could dent the charts the complicated-sounding rhythms of ‘Like A Bouy’ come across as something between an abrasive Smiths and XTC. A chaotic mix that punctures the air behind a melodic vocal with harmonies galore and then it’s done rather abruptly. This Sunderland band know what they want and how to deliver it. ‘Roxy Girls Are In The Drink’ is out 27th August – Pre-order HERE
Charlie Harper & The Sub Machine – ‘Panic’ (Time & Matter Records) Double A-sided, yellow vinyl release, adorned with a picture sleeve designed by Charlie himself, the single also boasts a double-sided colour lyric insert, each copy is individually hand-numbered and the release is limited to 300 copies only so you’ll have to be quick on this one. ‘Panic’ begins with a piano intro but don’t let that fool you as the snare hits it takes off. Features Marlon Payne on Guitar & Piano, Victoria Smith on Bass & Marley Perez on Drums. The tracks ebb and flow is excellent as the heaviness of the verses pounds it does drop with a marching rhythm and Harpers Reverb laden vocal its engaging and intense and rather bloody good. ‘Post War Punks’ is perhaps more Subs like with its solid riff and Harper’s delivery is on point even if it did make me hungry whilst listening to its sandwich order list. Hurry whilst it’s still available – Here
Randy Savages / Razor Kids – ‘Split EP’ (Different Class Records) Randy Savages serve up a stellar pair of tunes opening with ‘Seagulls’ in all its big, loud, triumphant riffing with a tidy hook on the chorus and a melody that makes this something of a power-pop banger to be fair but hold on, their second offering is the sprightly ‘Delinquents & Dropouts’ as it puts on its collective shit kickers and gives this tune a good old rinsing. Excellent tune from a band I want to hear more from.
Flip it over and Razor Kids do their best to duff up those Savages as they pound out their pogo tastic Ramones like ‘Abusive’. These Portuguese punks make a pretty noise as they chew out the rhythm they soften the riff with some sugary sweet backing vocals that work really well. Their second offering of ‘Perfect HArmony’ much like Randy Savage’s pair is the strongest of their two offerings with its understated lofi number its one-note guitar solo is pure Thunders and I love that. It wraps up a very impressive EP from two quality bands I need to hear more of. Get it! Buy Here
Johny Skull Knuckles – ‘Shang-A-Lang’ (self Release) Free music anyone? Hell yeah! get yourself some of this. Skullknuckles doffs his hat to the sad passing of Les McKeown. Johny has always wanted to do a cover version of this track and now seemed like such a fitting time. Johny said “It has actually turned out a lot more poppy than I had envisaged so at some point I may record a “punkier” version but this will more than do for now. I hope you think I have done the song justice”. Absolutely he’s done it justice. Get it Here
The Riot Vans – ‘Scary Faces’ (Disobedient Records) Post-punk noisemakers the Riot Van release their first single after the ink dries on their deal with Disobedient Records and its a cold angular stabbing slice of post-punk with its jerking and grinding verses but that makes way for the blast on the chorus that’s like a loud blast of heat. I’d imagine this would be a great tune to blast out in a packed club with sprung flooring.
Dez Dare – ‘Dum Dum Dum’ (CH!MP RECORDS) Taken from the album ‘Hairline Ego Trip’ out this coming June Dez does Lofi Punk rock with added scuzz and a dash of alternative indieness Native of Victoria Australia Dez has done his years service playing in Warped and has released this frantic buzz saw riff-a-rama under lockdown to add chaos and noise to every avaialble corner. check out the video below.
It conveys his strong distaste for nationalism. “I want to push against entrenched views, closed borders and minds of large groups of the human race. There are a lot of fights happening at present around the world from climate to right-wing hysteria to unfettered capitalism and we need to work together as an animal of the same kind rather than separated by space, colour and tradition.”
Suzi Moon – ‘Call The Shots’ (Pirates Press Records) Who?, if I were to tell you she’s the ball of energy behind Civet & Turbulent Hearts then it might make sense. Pirates Press aren’t dummies and releasing this EP they know their stuff and anyone who’s seen her live knows what a performer she is. Kicking off with ‘Special Place In Hell’ its a real firestarter of an introduction but as good a song as this is this EP gets better and better.
For a debut solo record, this is setting the bar high with a slice of energy and thunderous tempo its got the lot. Great sound, playing and memorable chorus. I love it but ‘I’m Not A Man’ is like she’s channeling the spirit of Texas Terri Bomb and the attitude of Wendy O Williams whilst having the cool of Joan Jett. Honestly, it’s that good possibly the best track I’ve heard for a while at the singles club I love it. It sounds so easy and like Moon is having the best of time with her Rock and Roll and then to cap it off with the attitude soaked rocker of ‘Nuthin’ To Me’ this is excellent stuff and if this is an indication of what’s to come then bring on an album of this stuff we need to hear it!
The Chelsea Curve – ‘All in Time’ (Red On Red Records) a new single every month from this sensational band, culminating in a full-length album this coming fall! The Chelsea Curve bring their love of the sound and style of the 70’s mod scene and smash it up with the guitar leanings of their respective pasts. Linda Pardee (Orbit), Tim Gillis (Frigate), and Ron Belanger (The Winter Project) came together when Linda said no to being in Ron’s new band and instead asked him to be in her new band along with Tim. Accurately described as the sparks that fly when The Jam meets Husker Du, the trio blasts out bracing retro mod pop with hooks aplenty.
Frank Carter & The Rattlesnakes feat Joe Talbot – ‘My Town’ (Self Release) New single from Carter is barbed wire wrapped in a velvet glove plenty of aggression yet melody and a decent hook on the chorus. With the humming synth throughout it’s an intense number that burrows into your ear and will have you craving it over and over – trust me. Also, a great move getting Talbot on guest vocals as he suits the attitude of the lyrics perfectly – A banging song! Facebook download it here
The Cocktail Slippers – ‘She Devil (Shout IT Out Loud)’ (Wicked Cool Records) Norwegian rockers, The Cocktail Slippers, are releasing a brand new single digitally and on limited edition 7″ vinyl. Both tracks are originals and are a taste of what’s to come. The lead track is a commercial slice of subtle Glam Rock – real glam rock with platform boot firmly planted in the 70s they do elsewhere but here this is their most commercial stab so far. with killer harmonies – a real earworm of a tune and one we highly recommend. The flip sounds like the Go Gos jamming on some Blondie and has a pop smooth sound. Not as good as the other side but hey it’s a grower, not a shower. Pick it up Here
Clowns – ‘Does it Matter?’ (Fat Wreck Chords) “ ‘Does It Matter?’ is about breaking the law, says Clowns vocalist Stevie Williams. the hook-heavy raucous number that demonstrates the prowess of their current lineup. Now completed by drummer and founding member Jake Laderman, vocalist Stevie Williams, bassist/vocalist Hanny J and guitarists Rod Goon and Cam Rust. On first blast, it’s not as raucous as previous offerings and might take some getting used to but it’s Clowns and they get a free pass because of previous recordings and live shows. I’m hoping it’s a bit of an earworm and the more I hear it the better it gets. Just bring the album out already and get touring we need bands like Clowns full of menace and with a whole load of piss and vinegar in their performances be it on record or live.
JIZZY PEARL’S LOVE/HATE – ‘Soul Mama’ (Golden Robot Records) Lifted from his album that we won’t get until 2022. Jizzy Pearl’s Love/Hate are up and rocking. His vocals have always been capable of melting steel and he’s lost none of that power. ‘Soul Mama’ is a retro trip back to when the metal Gods such as Zepplin roamed the earth with a laid-back beat its groove-laden with a raw and purposeful guitar lick all making way for Pearls commanding vocal.
TENTH STUDIO ALBUM:
‘ENDLESS ARCADE’
OUT 30 APRIL VIA THEIR OWN LABEL, PeMa
UK TOUR DATES IN 2021/22
With their new album Endless Arcadedue for release 30th April, and having previously shared videos for the tracks ‘Home’ and ‘I’m More Inclined’, TEENAGE FANCLUB today share another new track, “The Sun Won’t Shine On Me”, from this much-anticipated LP.
A wistful gem written by Norman Blake, “The Sun Won’t Shine On Me” comes with a visualiser created by long-time collaborator Donald Milne.
Of the track Norman Blake says: “This is something of a rarity for Teenage Fanclub – a song in waltz time!”
Endless Arcade is the long-awaited follow-up to the band’s album “Here”, released in 2016 to universal acclaim and notably their first UK Top 10 album since 1997, a mark of how much they’re treasured. The new record is quintessential TFC: melodies are equal parts heart-warming and heart-aching, guitars chime and distort, keyboard lines mesh and spiral, harmony-coated choruses burst out like sun on a stormy day.
Teenage Fanclub recently announced news of their rescheduled European tour which includes UK and Ireland shows in September 2021 and April 2022. Dates below:
2021:
7th September 2021 – Manchester – Academy 2
8th September 2021 – London – Forum
14th September 2021 – Edinburgh – Usher Hall
15th September 2021 – Aberdeen – Music Hall
16th September 2021 – Glasgow – Barrowland
2022:
8th April 2022- Sheffield – Leadmill
9th April 2022 – Leeds – Beckett’s
10th April 2022 – Nottingham – Rock City
12th April 2022 – Birmingham – Institute
13th April 2022 – Norwich – Waterfront
14th April 2022 – Bath – Komedia
16th April 2022 – Brighton – Chalk
17th April 2022 – Portsmouth – Wedgewood Rooms
20th April 2022 – Belfast – Empire Music Hall
21st April 2022 – Dublin – Academy
Even if we weren’t living through extraordinarily troubling times, there is nothing quite like a Teenage Fanclub album to assuage the mind, body and soul, and to reaffirm that all is not lost in this world.
In the 1990s, the band crafted a magnetically heavy yet harmony-rich sound on classic albums such as “Bandwagonesque” and “Grand Prix”. This century, albums such as “Shadows” and “Here” have documented a more relaxed, less ‘teenage’ Fanclub, reflecting the band’s stage in life and state of mind, which Endless Arcade slots perfectly alongside. The album walks a beautifully poised line between melancholic and uplifting, infused with simple truths. The importance of home, community and hope is entwined with more bittersweet, sometimes darker thoughts – insecurity, anxiety, loss.
“I think of an endless arcade as a city that you can wander through, with a sense of mystery, an imaginary one that goes on forever…” says Raymond McGinley, one half of the band’s songwriters for this album alongside Norman Blake. “When it came to choosing an album title, it seemed to have something for this collection of songs.”
Hailing from West London, Charlie Manning and his group of wandering minstrels – Chubby and the Gang – might be right up there with Dirt Box Disco in the “don’t be fooled by the shit name” awards but could be real contenders to nick the latter’s Rebellion crown.
Kicking off with a fast and frantic two-minute declaration on intent – Do “Chubby and the Gang Rule Okay”? Fuck yeah!
I guess you could start with a Sham or Cockney Rejects comparison. It’s certainly very London street punk but there’s definitely some Damned in there too along with a ton of other bands in your record collection. But that’s a good thing, right? Believe me, you’re gonna love it…….
Second up is “Pariah Radio” and it’s a banger, proving that speed and melody aren’t mutually exclusive
I’ve heard a few people say that this could be the album of the year and three songs in, “All Along The Uxbridge Road” may have sealed the deal for me. If you don’t believe me, feast your eyes on this…
“Speed Kills” is the first song so far that breaks the two-minute barrier and with a sprinkling of Generation X it doesn’t disappoint. While “Can’t Tell Me Nothing” might be a bit more of the same, “Trouble” slows things down a gear with a bit of a love song. A wonderful tuneless tune with a hint of Madness.
After a momentary pause in the frantic riffery, we’re off again…..“The Rise And Fall Of The Gang” and “Hold Your Breath” gets the fists pumping in oi-tastic fashion and when bands can play live again, “Moscow” is gonna rip your local club apart.
“Bruce Grove Bullies” kicks into a Kinks-tastic riff and with a healthy undercurrent of Hammond Organ, while the yanks will go mental over the bark and bite of “Blue Ain’t My Colour”.
There’s no way you can avoid the comparison of “Grenfell Forever” to early Billy Bragg but fuck it, I for one think it’s a real stand-out tune.
“Union Dues” rounds things on in a Quo-tastic way. And what a way to say goodbye.
So there you go, thirteen songs that’ll fit on one side of a C60.
Speed Kills is available to pre-order now on the band’s Bandcamp page on yellow vinyl (with cartoon sticker sheet), black vinyl (with colour-in sleeve and crayons), hipster-friendly cassette, and ye olde traditional CD.
Recorded during the lockdown in July 2020. Spear Of Destiny has re-recorded the hit album ‘World Service’. I’m sure there are those who’ve clicked here wondering why? Royalties? Those less cynical amongst us might have recently read Kirks reasons where he sites the original production being a pop/rock record which was never his intention and whilst Rusty Egan did a job (and a jolly good one too) Brandon was never happy and with a settled, more Rockin line up currently playing the songs. Also, it was a chance to change the artwork – (oh well you can’t have everything even if this new one is better than the ’80s version.) The tracklisting has been arranged and to be fair Brandon’s recent explanation makes sense and this re-imagination is certainly a lot harder hitting. Following on from 2019’s rerecording of ‘One-Eyed Jacks’
Trying to put fresh ears on a record I’ve played hundreds of times isn’t an easy thing but I will say I’ve not actually played it for a few years to be fair and probably the last time I did was when Brandon was touring with mike peters under the dead men walking banner so there you go.
Opening with ‘World Service’ the re-recording has a punch that’s for sure and the saxophone wails perfectly the other thing I notice is Brandon’s vocals are infinitely stronger. He has a unique style that’s instantly recognisable and there are moments here where he really excels like on the punchy ‘I Can See’.
I was never keen on the piraty ‘Come Back’ although I would say here it sounds more Strummer than Strummer ever did on his Mescaleros recordings. The breakdown and sax is excellent here and the song isn’t as piraty as I remember it being. To be fair its songs like this that have benefitted most from the re-recording.
‘Mickey’ is still a chest pumping classic. Now minus the ’80s drum sheen and overall compression squeezing the life out of everything having it stripped away has breathed new life into all these songs. The original album opener ‘Rocket Ship’ has fallen down the tracklist and has a harder rockier edge breathed into it which is another good reason to have done this.
One of the songs that strangely was more “Rock” on the original for me is ‘Last Card’ but having the ’80s Rusty shaken out of it makes the song brighter. ‘Walk In My Shadow’ is possibly the song that’s changed the least with it still having that Blues based undercoat workout. ‘Up All Night’ reminds me a bit of Adam And The Ants with the guitar sound and drum beat but that where the comparisons end.
To finish off this rework is a beautiful piano-led take on ‘Young Men’ which fits perfectly as some sort of come down and mellow out from what’s gone before. I haven’t seen the line up with Craig Adams in and I can’t understand why that hasn’t taken place so once we’re all able to venture back inside a venue I will be taking myself to see the band and hear how this reworked album unfolds live – but then Brandon always excelled live. It’s a no-brainer for diehards but for casual fans and newcomers, it’s a great place to jump in. Like the titles tracks lyrics “It only seemed like yesterday, I hear music” where did all those years go? Two reworks and both well worth investing in with this one being the boldest and brightest. Great job.
Let’s not hang about here ‘War’ is the sound of bombs dropping from the sky and panic on the streets. Idles are on it and as a unit won’t be stopped by conventional weapons or pandemics it would seem. Taking it to the next level after the joy of the Glasto performance and it would seem being taken into the bosoms of the press beast and being hailed as the saviours of alternative post-punk rock and roll all by themselves. Idles have taken it in their stride and just gotten on with it, seemingly oblivious as to the outpouring of adulation currently being heaped upon them.
I liked ‘Brutalism’ and I liked what they offered as the next step on ‘Joy As An Act’ so it was with an intake of breath I pressed play on this their third long-player as the band lock-in and pour out what is inside them onto the black grooves.
Frontman Joe Talbot says of “Grounds”: “We wanted to write a song that embodied self-belief, and gave us self-belief – a counter-punch to all the doubt we build up from all the noise we so easily let in. We wanted to make the sound of our own hearts’ marching band, armed with a jackhammer and a smile. We wanted to make the sound of our engine starting. So we did. Thank you.” Talbot sounds like he knows the score. top tune and instantly recognisable and more honed in, more finely tuned. Sounds like they know exactly where they’re going with this lark.
If you thought the band had hit the peak on ‘Joy’ and the worm might turn from here on in, well, think again this album is more vibrant, focussed and raging than the previous offerings. Across all twelve songs, there is a brutality as the band continues the social commentary of their past work, with themes of class, gender inequality, nationalism, community, and toxic masculinity and empowerment and ultimately fighting back. Its not preachy it poignant and informative that there are people who think just like you!
Produced by Nick Launay (Nick Cave, Yeah Yeah Yeahs, Arcade Fire) and Adam ‘Atom’ Greenspan (Anna Calvi, Cut Copy), ‘Ultra Mono’ sounds huge. The album also features guest vocals from Jehnny Beth (Savages), and additional guest contributions from Warren Ellis (Nick Cave and the Bad Seeds), David Yow, and Jamie Cullum like it needed any.
The constant touring sounds like it has galvanised the band and they’re locked in as one and the twists and turns of the opening few tracks are epic and brutal but quite beautiful as well.
Safe it isn’t but I’m sure there will be a hipster backlash along anytime soon saying something along the lines of them selling out or commercial this and that and not being the same anymore (not with these lyrics). Tosh, I say this is where they’ve been striving to get for the last two albums and this is excellent. Even after a few plays I’m easily enjoying it as much as the previous offerings if not more due to the production and songs being a lot tighter.
I’ve not read any of the reviews yet but I’ve seen the comments to the videos released so far and I like it and it would seem so do the punters (those that matter anyway). Hopefully when all this pandemic strife is sorted and we can get back to live music being a thing I’m sure these songs will take on a new life as they get performed and dissected more by the public as we break them in.
Its a pummeling album and songs like ‘Mr. Motivator’ has taken things to the next level without a doubt. I’m sure reviews will champion them as the soundtrack to the revolution, Well, the likes of the Guardian and Mirror will and The Mail will hate it. Fuck em! This album is demanding another spin and I’m already liking it a lot “How D’you like them cliches?”. To be honest, Idles have managed to create music that is pretty much universally recognisable which is always a bonus and something bands strive to achieve – sure they borrow bits here and there who doesn’t but the magic when they are in full flight is awesome.
Ultimately ‘Ultra Mono’ is a document of its time and a bloody good one at that. They look destined to get bigger and bigger. From their Rebellion Festival appearance to their Glasto triumph and now this release and the raft of enormadomes they will play once it’s safe to do so is proof that alternative music is alive and kicking and screaming.
Crack on Idles I love it. Some will love join me – some just won’t get it and others will shy away because they’re too popular. fuck that if you can’t love ‘Anxiety’ then why not? Talbot hits the nail on the head lyrically and when he states our government does hate the poor he means it but not to be cool or trendy but because it matters and people need to wake up maybe this is the sound of the fightback.
It’s not all crash, bang, wallop mind. Well, I say that ‘Kill Them With Kindness’ has a polite intro before Talbot barks his best Iggy Pop. ‘Carcinogenic’ has a lovely throbbing bassline as does ‘Reigns’ as they push the envelope a little further again. A dozen songs later and I’m thinking that Idles have penned a classic of its kind it’s easily their best twelve songs thus far (no seriously) Check it out. Stream it (if you have to) buy it on tape if you’re hip but turn the volume up for others to hear and sing along. ‘Ultra Mono’ might only have just been born but it sounds like a band has grown in stature and become a real force to be reckoned with – alternative music always needs bands like Idles so let’s enjoy them here and now – Buy it!
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