Song of the Day 1: Atari Pilot

Irregularly I share a music video to our Facebook page with the status “song of the day,” or week, or whenever, as if it’s a daily occurrence. When the reality is it’s a big, fat fib on my part, it’s only when I happen to find such a video and can be arsed to share it. What-cha gonna do, sue me?

So, just in case your lawyer says you have a case, I thought I’d streamline this sporadic idea for 2021, make it an actual feature on the site rather than a Facebook post, and show off that I know what long words like “sporadic” mean.

Little more gone into it than this, you should be used to it by now. I’m not going to review them, just embed them here for your own appraisal and entertainment purposes. Potentially, it’ll be a groundbreakingily breif post, a simple but effective phenomenon, and something I can do without missing the Simpsons.

The challenge is consistency; whether I actually stick to the idea or, like others, it’ll be a flash in the pan. Who knows, this could be the start of something beautiful, this could be the thing they’re talking about in decades to come. A holographic Ken Bruce could be asking “what was the very first Devizine Song of the Day” in a Pop Master 200 years from now.

And you can answer it with who I bestow this honour, Atari Pilot. They’ll be revelling in the triumph of the hour if it wasn’t lockdown, I bet.

History in the making then, the only issue I foresee is I over-waffle any old crap, which is, incidentally, not what’s happening now and rarely does here; I had to explain myself, didn’t I?

Okay, I get message; here it is then, enjoy the tune, enjoy the rest of your evening. Good job, carry on.

  • The Turn; Debut Album from Salisbury’s 5 Nights at Adyans

    Formed just two years ago at Bishop Wordsworth’s School in Salisbury, award-winning four-piece youth band, 5 Nights at Adyans, look set to release their highly-anticipated debut album, The Turn for the 30th anniversary of the prominent community youth music initiative, Bass Connection, at Salisbury Arts Centre on Saturday 5th September…..

    I confess I was uneasy about pressing play on the link they sent. In a chat, a little birdy compared them to Devizes’ export Nothing Rhymes with Orange, likely because said birdy knows how much I like them. While now, NRWO are producing concentrated material merging boundaries, they cut their teeth here with quick and catchy indie-punk-pop. I therefore, assumed this would be along similar lines.

    The link sent was 5 Nights at Adyans’ initial takes of songs to appear on the album, in an unedited, raw format. While sometimes raw can work, with thrashy punky sounds it usually doesn’t do the band justice compared to the final masters. However, it’s far from “thrashy,” certainly not “trashy,” and I couldn’t have been more pleasantly surprised as I was.

    Five tunes, conveniently one for each night at Adyans; I love them all! But the unexpected twist is this; with an incredibly expressive vocal range to make Jim Morrison blush, there’s a majority of elements more akin to classic prog rock riffs than than the punk annihilation I was expecting because of the wonky verbal comparison I received!

    Throughout the tracks they sent, there’s swirly psychedelic elements of a sixties acid band, crashing bridges of The Nice, the blues rock of Cream, intense ballad moments and the unstoppable moody layer-building of Led Zeppelin, rather than anything to come out of Busted or Blink 182. The band recently posted a pastiche of the Oasis album cover for Morning Glory to their Facebook page, with themselves posing as Liam and Noel do on it. Here they joked, asking if their fans thought it would make a good cover design; I’d suggest it gives the wrong impression, as I’d not compare this to ephemeral Britpop either. 

    Darling You Got Me came across as a nicely flowing blues-rock introduction, with a hot step to it, and it was all go from the off. But it was the following, Final Location which especially captured my ear, as the tempo slowed to ballad; if there’s punk there it’s subtle at best, matured. It’s gorgeously expressive and emotive, but Final Location isn’t an exception; it becomes the rule. 

    Tear it Apart also goes there, albeit upbeat, like Rush. Title track Turn brings the dramatic to an apex. The emotional outpour is in full splendour, would appease anyone coming from an aged rock spectrum, and they’d likely assume 5 Nights at Adyans have been at it since 1976! With this thought in mind, this band could save your multi-generational festival!

    At times it’s also the mood-shifting sentiment more akin to soft metal rather than grunge. I mean this as the highest compliment, because moodswing is one thing metal could do exceptionally, when it came to aiming into an eighties pop chart. Think how Guns & Roses timelessly transcend the changing trends with their power ballads, like The Doors did decades earlier, whereas the others “halfway there” and “final countdowning” failed the test of time with their commercially viable pop-rock, now only drunken party night nostalgia can save.

    I hope you get what I mean?! Because you can go back to a song like Break on Through to the Other Side; it’s enduring. You can unearth Pink Floyd and listen to them again, find new solace with The Who, but often modern sounds fail to stand that test of time. If the finale of The Turn, Knots has an indie, even grunge twinkle, I’d still liken it more to something classic rock.

    There’s no three-minute hero here. All the songs are thoughtfully written and composed, are full-bodied and complete odysseys, but being a debut, I predict, might not necessarily age like fine wine, because here’s a progressive band screaming with potential to produce something far greater than the sum of these current parts, cool though they are. In years to come they should reflect back proudly on this beginning, because it’s exceptionally impressive.

    Surprised and impressed, with high hopes, Salisbury-based 5 Nights at Adyans certainly took me on a journey. It never fails to amaze how attuned youth can be, from a sixth form band to achieving remarkable regional recognition recently, vocalist Owen Morgan, guitarist Toby Allen, bassist Jasper Hill and drummer Thomas Clarke might spend 5 Nights at Adyans, but going on this debut, should be spending forthcoming decades concreted into rock history.

    Find them on Facebook and Instagram, and await for this debut with as much patience as you can bare!

    Trending….

    Ruby Darbyshire: God is Offline

    Wiltshire singer-songwriter Ruby Darbyshire, you’re most likely familiar with, unless you joined Devizine family reader’s circle today, has a new song on YouTube, one she’s…

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  • Lightnin’ Willie and the Poorboys Opens New Season at Long Street Blues Club

    September is a week away; parents will be brushing off school uniforms, but Devizes blues fans won’t be dusting their brooms, because Long Steet Blues Club opens for the autumn/winter season on the first Saturday, the 5th with Lightnin’ Willie and the Poorboys…..   

    After a long absence the club welcome back one of the club favourites from California, Lightning Willie and his backing band The Poorboys. Lightnin’ Willie has a very distinctive approach to his music. He is a songwriter, singer and guitarist in that order. The sound is an irresistible blend of tradition and spontaneous creativity, with a deliciously insidious emphasis on the groove. It is a compelling, hard swinging brand of blues that, whenever he performs, packs the floor.

    He has gone from the low down beer joints to become a staple on the international circuit, with wild stops along the way, from London’s Royal Albert Hall Igniter Series to Willie Nelson’s infamous 4th of July Picnic, where he appeared alongside Paula Nelson, Willie, Bob Dylan, and Leon Russell.

    Touring the United States and Europe for over twenty years has given him the relaxed, confident and sometimes humorous quality of a seasoned performer. These attributes have won him stacks of enthusiastic praise from the press while landing his original tunes on numerous film and television soundtracks.

    Lightnin’ Willie has the unique knack of bringing his audience into his ‘living room’ and making everyone comfortable while forgetting their problems for a couple of hours. At a recent show with legendary blues man Robert Cray they played to a packed house receiving a well deserved standing ovation. 2018 will find Willie on tour supporting his latest album No Black No White Just Blues.

    Willie is backed by his superb band, The Poorboys – Giles King on harmonica, bassist Aaron McRobbie and drummer Paul ‘Nobby’ Birch. Support for the evening comes from Gordon Wood.

    ON SALE NOW Advance Tickets are £18.00 from usual outlets or book online (online booking fee applies) Tickets £20.00 on the door.

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  • Hot Juice Project at The Three Crowns

    Whoa! What happened last night at the trusty Three Crowns?! What happened last night at the Three Crowns has clearly happened before, and happens most weekends; Devizes folk old and particularly the young come to party….

    I’m aware of that much. But if the quality of the party rests in the hands of whoever is at the control tower, I’d not witnessed The Hot Juice Project boiling over the sides of this saucepan before.

    All I know is one half of this duo, with the capability of sounding like they’ve doubled-up and are an exceptionally loud four-piece band, Jake Lockhart, as an acoustic singer and a short-lived frontman of local mod covers band, The Roughcut Rebels. In the few occasions I’ve met him, he usually comes across charming but mild-mannered, even slightly diffident. 

    The last time I met him was at the private invite opening of The Birdhouse in Trowvegas. He was entertaining acoustically solo, but being the nature of the event was to show off this fabulous new venue, participants were engrossed in conversation, rather than taking much notice of Jake. It was here we had a quick chat, as he shyly told me of The Hot Juice Project he’d created; a duo where he has creative freedom to replicate covers using loop pedals and other techy tricks.

    I made a promise to him to check this out, next time he was doing it locally. So, despite my pilgrimage to the Southgate for Talk in Code, I decided to ensure I allot enough time to attend this too; glad I did, as The Three Crowns was having it.

    They’d arrived via a multi-act all dayer gig in the Sham, reportedly under-attended due to insufficient advertising. Equally it can often be a slow start here, where the trend for the younger regulars, governed by economics, is to attend the local Spoons, then descend on the Three Crowns like an exodus, once they’ve acquired sufficient intoxication levels. But hey, despite a humble gathering, The Hot Juice Project were loud and proud, knocking out contemporary indie, punky covers with all the desirable force and quality of a full band.

    I returned from the Gate suspecting this wonderful pub and the only one of its kind in town would be considerably fuller. I wasn’t mistaken. It was positively booming there, as The Hot Juice Project were in full flight, and their element. Knocking out beloved covers with such gusto, I was surprised to note Jake and his drummer and second vocalist Jack’s insane diversity and ability to absolutely and wholeheartedly rock out!

    If, despite his earned accomplishments as a skilled singer and guitarist, Jake has been wrongly typecast in genre and style, possibly in order to cut his teeth on the local circuit, here, where singalong hard rock covers are worshipped, he shines like a beacon in an otherwise blackened seascape. 

    The Hot Juice Project selected a repertoire likely to be rejected from the average covers duo, for being too technical, or too hard sounding; such as their grunge finale smelling of Nirvana’s Teen Spirit, and especially those involving raps, such as The Chilli Peppers. But this duo deliver them with fired frenzy, and adroit precision.

    It was indeed a sight to see, and for me, a pleasant surprise. I usually take grunge and modern harder-edged rock with a pinch, but the crowd was lapping it up. And it would be impossible for me to deny, if live music was a parcel delivery, The Hot Juice Project is not the courier to dump it in your blue wheelie bin and piss off! They’re the supermarket delivery boy eager for appraisal, who stands and waits until you’ve checked everything off and are satisfied. Perhaps even going overboard and offering to stack it in your fridge for you!

    The result is a content crowd at the Three Crowns, and another success for the pub who knows exactly what buttons to press. 

    I must say, a few seconds delay with wandering between pubs could’ve hindered my ability to scribe both reviews for them. Two teenagers on a moped revved their hairdryer up the curb of the High Street and rallied full force through the dark walkway between the old Wilkos and redundant Four Seasons pub, only to alert two Devizes bobbies, moments before I would’ve walked through it!

    Bored kids showing off I figured, ambiguously excused for their irresponsible and dangerous act, because there’s “nothing to do” in Devizes.

    Whereas whatever opinion the curtain-twitchers might make of youngsters drinking in a pub, the Three Crowns strictly age check and take safeguarding as paramount. At least they are contained there, and enjoying themselves. And when they are entertained they are not impelled to cause trouble or act in such a manner. 

    There’s never trouble at the Three Crowns. Townsfolk of all ages respect what the team has supplied far too much, and this reflects into a positive atmosphere with every attendance made. I tell landlord Simon, “they’re actually far better behaved than my generation ever was!” Fact!

    It is a testament to what can be achieved in an era of financial doubt and questionable management affecting the hospitality industry, and, as it continues to source high quality entertainment, the cover bands are welcomed by the masses. Many come and rock it, the Hot Juice Project made its mark last night to a colossal applause. The town should be proud of what a welcoming and universal establishment and a vital palace for letting your hair down the Three Crowns remains to be.

    Trending….

    JAZZ – Our Local Guide

    Andy Fawthrop All That Jazz – Nice! D-Town certainly punches above its weight when it comes to providing a vibrant and varied music scene.  It…

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  • Talking in Code at The Southgate, Devizes

    I’ve got this Jetpack app on my phone which allows me to make adjustments to the site. There’s a new feature on it notifying me of articles published on this day in previous years. It revealed that on this day last year I fondly reviewed Talk in Code’s single launch gig at The Vic in Swindon. Some things never change; last night I dropped into the Southgate where Talk in Code smashed it again…

    Some stage banter included drummer Jambo claiming he had a “lot to do back here,” reminded me of the year they played the Fulltone Festival where he temporarily mislaid his drumsticks! 

    At the Vic Talk in Code play their homeground, whereas The Southgate is usually affiliated with blues or folk aficionados, and the Fulltone is an orchestral event. Although these three gigs vastly contrast, Talk in Code look equally comfy at either. If they were a creature from the Harry Potter universe they’d surely be the Occamy, a serpentine with choranaptyxic wings, allowing it the magical ability to grow or shrink to fit the exact size of the space it is in.

    Just how the Occamy doesn’t change appearance, only size, neither does Talk in Code change their strictly original set, only to fit, yet still manage to thrill any crowd no matter the diversity of their bookings.

    The essence of pop is imitable and “catchy,” not to be niche, or these days of sampling, even wholly original. A factor of non-commerciality is to be a cult. Talk in Code balances this with a popular fanbase, “the Talkers” and this unique yet universal synth indie style which, with multi-era influences any age can reflect off, appeals to a wide range. That’s the secret of Talk in Code and it never fails to entertain.

    If Talk in Code time travelled back to the eighties, there’s little doubt in my mind they’d be a classic band akin to Duran Duran, Level 42 or perhaps Ah-Ha, and they’d be playing a stadium by now. Such is detrimental changes to the music industry they thrive locally, only sporadically reaching further afield. Amidst their fanbase they are that accomplished, and deserved, as they chant their songs back to them as if they really were pop stars. For in which case quantumly, they are.

    Goody bags and Lego sets of the band among their merch suggest prime and strategic marketing, still you’ve got to be in the club to know it’s true; Talk in Code will thrill not just you, but your whole family young and old. I looked around at the people dancing at The Gate, as I often do to settle my appraisal as more than personal opinion, and it proves it, each and every time. And that’s why, yeah, I bash on about Talk in Code a lot, but maybe not too much!

    I’ve actually a mission at the popular Three Crowns to highlight an act we’ve not mentioned before; the next review I’ll work on. But I could never allow myself to miss a Talk in Code gig at my local. Live music at The Southgate has been such a staple for so long now, it risks folk taking it for granted, but nights like this prove it still has what it takes to be that squeeze box of quality, especially in hosting original acts like Talk in Code.

    The guys took a first half of their earlier and more obscure tunes, still rocking the Gate, and a second half whereby they celebrate this continued dedication to creating danceable indie-pop anthems. Safe in knowledge The Southgate was appeased, and I was so familiar the guys would carry out orders uncompromisingly,  I headed off early to see what was occurring at The Three Crowns. Had I not been on a promise, I’d have stayed with Talk in Code, because pop demands an affliction for the familiar, at least it does when it’s as perfected as Talk in Code.

    As for the Southgate, worthy gigs abound there every weekend. Keep in the loop via our event calendar, and pop down there. I endeavour to list them as they come in, though Facebook shares of their chalkboard can be more sporadic these days, and I forget to take a snap of it when I’m there!!  

    Trending….

    Jurassic Hillworth Park!

    You know, there’s umpteen articles, studies, and even a six and half minute YouTube video explaining that Steven Spielberg’s 1993 family sci-fi movie Jurassic Park…

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    Jol Rose For Tomorrow

    New single from Swindon’s finest Americana singer-songwriter Jol Rose, the kind of artist who’ll finish a song and leave a jammed pub in such awe…

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  • XTC’s Colin Moulding Wants AI Slop, Bad

    Swindonite and founder member of XTC Colin Moulding released a new single last week, Want It Bad (The Pep Talks and Playing Fields of Old England). It’s previewing a three-track CD single being released via Burning Shed. This is Moulding’s second single in five years, following 2021’s The Hardest Battle, but is it simply a smooth, rose-tinted specs wishful motivation, or is Colin really making plans for Nigel?!

    In this single, Moulding continues to explore the distinctly English pop sensibility trademark of XTC, through qualities of melody, rhythm, variety, idiosyncratic subject matter and a bucketload of nostalgia. It began as a song of sport and camaraderie, but soon took on a broader meaning. Colin explained, “although this song started life as a sporting pep talk, it was clear that it could easily be thought of as a mantra for one’s own life ambitions whatever they may be. If you want something in this life you have to really want it. And if you really want it, you’ll get it; that was my mantra.”

    And, like Paul McCartney’s Wings, it is a lovely song of motivation from a mature, experienced professional, seemingly themed ambiguously, with meaning that could be interpreted by the listener. It’s the accompanying video which unfortunately feels like a cringeworthy political allegory, and this causes any imagination the listener might have conjured, to collapse within itself.

    Colin was born in Swindon in 1955 to a GWR worker and a laundrette wife and lived in Penhill. They were in every essence working class. Through jam sessions he met Andy Partridge around about 1972, introduced him to Terry Chambers and they formed the band Helium Kidz, which changed name to XTC. Through their angular guitar riffs considered pop in an era of punk and new wave, and an abrupt ending due to contractual disagreements with Virgin, they achieved only sporadic commercial success, but attracted a considerable cult following. 

    There’s therefore every reason for Colin to write a song about wanting it bad. But what is it he wants so bad? The video begins with Great British sporting achievements and more randomly, the Moon landing. Yet it wanders off onto some kind of patriotic kickback to an England of yore, with Colin handshaking a wealthy dummy, driving through the fields in a psychedelic dressed Morris Minor, is adorned with images of Lord Kitchener and spitfires, housewives marching village streets wearing gasmasks, and toy soldiers on a bandstand. The irony is, the video might feel like an Orphism collage influenced by Aardman’s Sledgehammer, but appears to be prompted rather than created by Thomas Walsh, who is renowned for using AI slop. This is suspiciously AI, and I cannot abide by that.

    I’ve no issue with patriotism, and rose tinted spec nostalgia, provided it’s divisive and supports equality, and the content here, while glorifying war, isn’t suggesting anything more. Except, similar cringeworthy AI creations are predominately used for far-right propaganda, causing the video to feel uneasily related to such politically motivated imagery; which is a shame. Particularly due to XTC’s most known hit “Making Plans for Nigel,” recently being used, for and against, the rise of Reform and fascism in England.

    You can want something bad, you could strive to reach that goal, but, I quiver, as a professional musician, should you sacrilegiously destroy any further creativity with AI? And if you do, how in the good name of England’s green and pleasant land is that nostalgic in any shape or form?!

    Nice song, shame about the video! Want It Bad is available on CD from the 18th September, exclusively via Burning Shed.

    Trending….

    Devizes Food & Drink Festival Announce 2026 Program

    Devizes Food & Drink Festival announced their program of events last week, and the box office opens at 9am on Monday 10th August. Let’s fill up with what’s on…. As usual the festival opens with a free event, the Street Food & Artisan Market at Devizes Market Place on Saturday 19th September from 10am until…

    Darren Worrow's avatar by Darren Worrow
  • Henge Frontman Matthew C. Whitaker Solo Tour Comes to Frome

    Featured Image: Antony Barkworth-Knight

    Despite intentionally making his tricks go wrong, Tommy Cooper was actually a skilled magician and member of The Magic Circle. SpongeBob SquarePants creator Stephen Hillenburg was a marine biologist, and Benny Hill really was a milkman. In order to deride an art effectively you must first master it. It therefore stands to reason Matthew C. Whitaker, frontman of the cosplay prog-rave outfit HENGE, also has some highly acclaimed solo material….

    Matthew takes his February album Songs for the Weary on the road solo this October, opening in Belgium and the Netherlands before touring across the UK, including Frome’s Cheese & Grain’s sister venue The Tree House on Wednesday 21st October.

    The one and only time I’ve seen Henge was at the Cheese, making haste for the county border after fondly reviewing their album Journey to Voltus B last year, and it was a gig I’d need to be abducted and lobotomised to forget. Matthew’s solo material can be equally as cosmic, as it drifts through gentle pieces for classical guitar, lush string arrangements, and subtle electronics, but it also contrasts vastly, and is a particularly mellower experience than Henge.

    There’s cool jazz sax, whistles, fingerpicked guitar and delicate yet quirky observations in these hushed and patient patterns, taking you along with it as it drifts through space. Songs for the Weary has found a home on BBC Radio 6 Music, with singles Lucid Dreamer and Chestnut Tree championed by Mark Radcliffe and Stuart Maconie, Craig Charles, and Deb Grant.

    The run follows a widely praised set of UK and European dates earlier this year, when Whitaker was joined on stage by the album’s producer and multi-instrumentalist Alan Keary. This time, he takes to the stage completely solo.

    Manchester-based musician and composer Matthew sings about losing a train of thought, which is apt, it twinkles through you like Bowie at his most exquisite or Paul’s later work with The Beatles, backed by Peter, Paul and Mary, for an episode of Button Moon.

    And before you say it, milkman is an art; it can take years to master the three-bottle-grip whilst being chased by an enraged Yorkshire terrier up a garden path.

    More info on Matthew C. Whitaker

    The UK tour dates look like this:

    11/10/26 – Lancaster Music Festival, Lancaster

    13/10/26 – Nice N Sleazy, Glasgow

    14/10/26 – Sneaky Pete’s, Edinburgh

    18/10/26 – Storyhouse, Chester

    19/10/26 – The Bullingdon, Oxford

    20/10/26 – Colchester Arts Centre, Colchester

    21/10/26 – The Tree House, Frome

    24/10/26 – The Grand, Clitheroe

    26/10/26 – The Hare And Hounds, Birmingham

    27/10/26 – Signature Brew, London

    29/10/26 – Amped, Huddersfield

    Trending….

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  • Ruby Darbyshire: God is Offline

    Wiltshire singer-songwriter Ruby Darbyshire, you’re most likely familiar with, unless you joined Devizine family reader’s circle today, has a new song on YouTube, one she’s been playing at recent gigs. Here the track has a subtle piano added, and those wonderful brush drum strokes texturing it with that smooth jazzy ambience, yet with poignant narrative too. Give God is Offline a quick whirl, and bless your ears…

    Ruby mentioned working on this song when we talked in May. “It was inspired by our recent trip to Egypt,” Ruby explained, “where we narrowly escaped Dubai’s missile attack by a few hours. When we got to our apartment, we could see down on the street. There were loads of prayer mats, because the mosque was so filled, people had to spill out onto the road. And so that inspired it.”

    Its deeper meaning, I presumed, was not to seek faith online, but to look either spiritually or in the real world. Ruby elucidated, “more just the fact that everyone is the same, whether they believe in a different God or they are from a different part of the world, they’re all the same. We’re all just trying to live our lives..”

    Find Ruby’s LinkTree HERE

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    Speed Reduction on Caen Hill to 50mph

    Be honest now, who likes to bomb it up and down Caen Hill dual carriageway like they’re Lewis Hamilton on a promise? Who thinks once…

    Jamsters Festival at The Southgate

    January last year, The Southgate Inn Devizes announced Jamsters, a monthly Friday night platform for loose groupings and associations created at their regular jam sessions…

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  • Blood, Sweat and Tears; Burn the Midnight Oil’s New Single

    Pleasantly surprised in July when an awesome new single from Devizes’ rootsy Americana with a gothic twist collective, Burn the Midnight Oil revealed a more carefree and commercially viable style to their previously darker themed and rawer material. It was enough for James Threlfall to pick it up for BBC Introducing. With a new single out on Friday 28th August called Blood, Sweat & Tears you might be fooled into assuming by the title they’ve turned back to the sombre moods of before. Think again…..

    Though frontgirl Chrissy might’ve elucidated, least hinted something darker might be in the pipeline, for now Blood, Sweat & Tears follows neatly on from Slow Burn with an incredible upbeat driving vibe, verging on Shania Twain sassy, yet retaining the cool rock riff of Fleetwood Mac. It’s immediately compulsive, with a danceable and anthemic combo. I find myself contemplating if it’s better than Slow Burn, or not, but with a hook razor-sharpened, it’s undoubtedly on par, and proves it wasn’t pot luck in July.

    With this divine product of Potterne’s Badger Set blessing my ears I also find myself reflecting back to an interview we did with the band last November. Guitarist John Lane spoke of achieving such a hook as these last two singles, and expressed the importance of the sound. “First thing people take in is rhythm,” he suggested, “then melody, last of all, lyrics. So if you hook the first bit, you don’t get the second one, then they come back for the lyrics.”

    In this I sensed a healthy division between John and Chrissy’s perspectives. Knowing how much thought and creativity Chrissy loads into her writing, drawing inspiration from personal and often emotional experiences, and exporting them into relatable and poignant lyrics, there was a non-confrontational difference. I supposed of this stalemate at the time, “a good blend of opinion is surely necessary to compose the elements of a song professionally.” And that is precisely what they put in, making this song work; the dynamics of pop, a conscious composition where both arguments meet in harmony.

    Chrissy taglines the song thus; “some dreams begin as little more than a whisper, an idea that refuses to let go, a vision that quietly demands more of you until ignoring it is no longer an option.” Ah, yes, I can reflect the notion; any inventive mind will tell, that’s the creative juices flowing and the desire to express them. Blood, Sweat & Tears concerns itself with the acceptance of that call, and the feeling of unlocking your potential. As Chrissy says, “breaking through self-imposed limitations and pursuing a future worth fighting for.”

    An expressive tenet full of contemplation and self-analysis, it remains positively angled, like Jimmy Cliff on his hard road to travel, but with steadfast faith he can’t turn back because his mind is set. Chrissy views her theme similarly, as a meaningful journey of courage and determination against odds stacked not in your favour. Such concepts are not so uncommon in music, and an acoustic singer-songwriter will expose similar thoughts abound. But here, with Burn the Midnight Oil the prose is perfectly packaged by the sound of her exceptionally accomplished and unified band, complementing her natural vocal balance, and that harmoniousness is what makes Blood Sweat & Tears so complete and engaging.

    Here’s their LinkTree, new single is out next Friday 28th August 2026, but you can pre-save it and listen to the last one. I suggest you do. Perks of the job; this one is stuck in my head already!

    Trending….

    Deadlight Dance New Single & Video

    New single from our gothic duo Deadlight Dance, taken from March’s album Vox Populi…. Second tune on the album, a ballad to the poisonous evergreen…

    Brian on FullTone Festival

    Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra ahead…

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  • Large It Norm, in Trowbridge!

    Yes, we’ve got to praise Trowbridge’s Old Town Hall like we should, because Fatboy Slim is going to be right there, but not right now; the 5th November… bugger, it’s a Thursday!

    Ian Sawyer wins the Facebook comment section on this post with “That’s my knees buggered for November then!” Which couldn’t reflect on my own predicament more perfectly.

    It’s been decades since my mates and I followed Norm like little lost sheep, yelling “Brimful of Asha on the 45” across Brighton to Glastonbury. But it was an era when I was more able-bodied. Then again, if the Fatboy is still tripping, then why confine myself to my nursing home so soon?!

    A great booking, Old Town Hall, whose manager whispered he had a secret when I rapped with him at next door’s opening night at The Birdhouse. I didn’t guess it’d be this groundbreaking DJ. Large it!

  • Emergency Alert: Wessex Water Hosepipe Ban!

    Surprised your mobile didn’t sound the apocalyptic alarm to notify you about Wessex Water’s hosepipe ban?! Then, you’re a gullible idiot!

    But being 22,239 voters in one seaside town opted, again, for a fascist criminal ringmaster to lead them, and, similarly as stupid, a man named Bruce shoved nine Creme Eggs up his rectum, perhaps we’ve entered the satirical realm of Mike Judge and Ethan Cohen’s Idiocracy, and, therefore the alarm last week was necessary, even if you jumped so much you knocked over your barbecue.

    Let’s clear this up before we rap hosepipes. If you’re subject to domestic violence and own a secret phone, yes, you should switch the alerts off on it. Otherwise you should realise any Conservatives or other climate change denying opposition party members taking to their social media encouraging us to switch the alarm off, on a system they themselves installed, are not doing it for your safety or peace of mind, rather an irresponsible and dangerous attempt to slander the current government.

    It was not as the dirty Rees-Dogg yarned uninvited on my Faceache newsfeed; Burnham unnecessarily alerting us that it’s summer. While the usage of the emergency alert could be debated, wildfires are spreading on an unprecedented scale across the UK, due to the now undeniable climate change that the previous governments did absolutely zilch to address, therefore, triggered at the request of overloaded fire and rescue officers, the emergency alert was justified. Unless you, your family and friends wish to burn in hellfire whilst erecting flags on lamposts and painting rural roundabouts, apply some common sense and avoid using disposable barbecues for the time being; big ask!!

    Equally, a hosepipe ban is unfortunately understandable if we are to reserve the little water we retain in reservoirs. Though this announcement is far more easily attacked, being Wessex Water has faced intense public and regulatory backlash over widespread raw sewage discharges, environmental damage, large shareholder payouts, and rising executive pay amid mounting network failures, it should be the privatisation of public services under question, rather than if you should, or shouldn’t, water your rhododendrons or wash birdshit off your Tesla. 

    It’s hard to take orders from a company Ofwat finalised an £11 million enforcement package against, requiring Wessex Water shareholders to fund local environmental and infrastructure upgrades after the company failed to properly maintain and upgrade its wastewater network. Even worse when the company was criminally convicted and fined £500,000 following a prolonged sewage pumping station failure at Bowerhill Lodge near Melksham, which discharged untreated waste into Clackers Brook and killed over 2,100 fish.

    Or, hey there was that time when a backed-up sewer spilled into a River Yeo tributary in Somerset, resulting in a £300,000 payout by the company toward local river and habitat restoration trusts. But who are we to judge their Chief Executive Ruth Jefferson, after she received her pay rise, taking her total package to roughly £791,000?!

    Even if the company itself acknowledged it risked breaching sector-wide environmental bonus restrictions on this pay rise, because they clearly cannot be trusted any further than be thrown, the responsibility remains on us, the public, to not only save water during a drought, but vote for a party with core environmental concerns and pledging to renationalise our public services. 

    And I say this not because of political sway, but that I consider the extinction of all life on Earth a pretty fundamental concern and “big deal.”

    I therefore condemn irresponsible reporting on all environmental issues; that’s relevant, isn’t it? Rather you support your chosen party who backs companies where the utility recorded tens of thousands of sewage spills spanning hundreds of thousands of hours across the south-west of England, if you want to. Free country last time I checked, but tomfoolery on this to sway popular opinion is criminal against no one but ourselves and our future generations, of which we hand them the world in a state similar to what Wayne and Waynetta Slob might leave their council flat. 

    Therefore I call out reporters like Neil Shaw of Wiltshire’s gutter press Wiltshire Live, for publishing a story about a consumer expert pointing out “a little-known fact about hosepipe bans – claiming not one person has ever been prosecuted for ignoring the orders.”

    How insanely irresponsible, despite evidence, it is to encourage rebellious acts against protecting our water supply, for clickbait. For if you continue to ignore the warning, it is akin to acknowledging an absence of police and speed cameras implies you can accelerate to your heart’s desire, only to rundown a child. 

    Oh, quick, BBC Wiltshire, the Crammer in Devizes has dried up, what should we do?

    Send down a reporter who looks like Borat to interview a Conservative town councillor about the Moonrakers folklore! 

    This is not a novel by Frank Herbert, yet, but, like Lemmings, we strive on with the madness, councillor Maria Hoult for Devizes South complaining that the “Town Council are no longer permitted to water the floral displays and trees.” And good folk perhaps need an emergency alert as they gather online to rage at Wessex Water, throbbing the very backbone out of the water guzzling data centres spreading their message. When the real message should surely be, just because our water companies, politicians and media can’t act responsibly it doesn’t mean you have to follow their example.

    The hosepipe ban comes into place on Tuesday the 18th August and lasts forty days, coincidentally the same time period Jesus fasted in the desert with the devil on his back, before they nailed him to a cross, for asking people to be nice to each other. Obviously they didn’t have Facebook back then; is this going to happen every fifty years? It’s an attack on my civil liberties!!

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