We’ve covered Tanya Borg’s ongoing campaign in the past, now she is taking a 113-mile walk to London. For five, long, earth-shattering years, Tanya Borg has fought in vain to be reunited with her beautiful daughters Angel and Maya. Maya will be turning 9 on the 24th October, the 5th birthday without celebrating, seeing or speaking to her Mother.
In 2015, Angel, then 15, and Maya, then 3, were snatched by their father under the guise of a short holiday to Tunisia to see their grandmother. Instead, they were whisked across the border to Libya and have been held against their will and away from their mother, friends and family.
Despite judges in both the UK and Libya granting in Tanya’s favour and their father jailed for non-compliance of court orders in the UK, the girls’ grandmother has kept them secretly locked away, with Tanya not even having spoken to ‘her babies’ for over a year.
With the British Embassy in Libya closing in 2015, Tanya has been given no assistance in her plight from the UK Government. Police have refused to reopen the case, meaning Interpol are not involved.
On 23rd October, 2020, Tanya will be setting off on foot from her home in Wiltshire to walk 113 miles – across five days – to 10 Downing Street in London, to help raise awareness of her fight – and deliver a petition asking Prime Minister Boris Johnson for political assistance. In 2009, then Prime Minister Gordon Brown intervened in a similar case, speaking personally to Libya’s leader Muammar Gaddafi to help reunite six-year-old Nadia Fawzi with mother Sarah Taylor after her abduction by her father.
Although now a different political sphere, Tanya and her family are imploring Boris Johnson – a new father himself – to similarly intervene and attempt to help them, also. Please, if you can, support Tanya’s walk and Go Fund Me Appeal. All donations will be spent locating her daughters’ whereabouts in Libya and on solicitor fees, in her attempts to finally bring Angel and Maya home.
Rapping with Wiltshire Hunt Sabs, about new rules, the possible return of hunting, and their battle against badger culls….
After a rant in the week, concerning Danny Kruger’s either forgetful or mediocre disregard to the facemask rule extended to an all-purpose bleat questioning the true motives of many of these everchanging Covid19 regulations, I bought up this exemption for hunting and shooting wildlife from the rule of six. For seems to me to be symbolic of this notion they’re using Covid19 as an excuse to return us to an era of yore; tally ho! Let’s go butchering innocent wildlife again what what.
Exemption depends solely on Boris’s personal preference, and he loves to shoot a grouse or three.
With the Mendip Hunt Sabs reporting a demonstrator was seriously assaulted just yesterday, when rocks were thrown at vehicles, surely, it’s advisable campaigning against cruel sports is best done by safety in numbers. Ergo, the rule of six makes protesting the hunting either illegal or risky for the individual, so I contacted Wiltshire Hunt Sabs and we had a nice chat. They agreed; “along the lines of exempting hunts from illegally gathering, so they can carry on illegally hunting,” they replied. “So, effectively turning the law banning hunting on its head. Which is what the conservatives have wanted for ages.” Bingo.
It took a few days to touch base with the sabs, as it’s badger culling season, and they were out. They excused my ignorance on the matter, explaining while grouse shooting is the news, it doesn’t happen in Wiltshire. “Grouse shooting normally happens on moors, they shoot red grouse,” they told me, “grouse aren’t reared, they live on moorlands. Loads of pheasant shoots around here, though. Pheasants are bred and reared for purpose.”
But pheasant doesn’t cause agriculture a problem, I’m going to find an angle on this tricky disco, as they shoot them for food, and I’m far from vegan; love a bacon butty, me! “With pheasants,” they explained, “despite what they claim, huge swathes of them end up in stink pits, they kill far more than they can possibly eat. I’ve seen one with my own eyes.”
Yep, my suspicions check out; bloodthirsty carnage dressed up as an obligatory pageant, the lot of it. Still, I’m in the dark about the Hunt Sabs’ priorities, and how they go about their operations. The concentration of our chat centred on the badger cull, a practise which can be avoided if funds were available for vaccination; like yeah, magic money tree you might cry. The Wildlife Trust reports the tax payer coughed up £16.8 million on the culling of 2,476 badgers between 2012 and 2014, equating to £6,785 per badger. By contrast, in the same time period, vaccination would cost just £293 per badger.
It also goes onto say cattle-to-cattle transmission remains the primary cause of outbreaks of bTB in cattle, and culling badgers’ risks making the problem even worse. “The Government has undermined the scientific credibility of its own research,” the Wildlife Trust explain, “by repeatedly changing targets and methods. As a result, no definitive scientific conclusions can be drawn from the pilot culls, as the scientific evidence used to justify them is highly selective.” The badger cull does not have the support of scientists, the British Veterinary Association (BVA) or the public; so how to go about protecting our wildlife?
“The cull is licenced by Natural England,” the Sabs tell me. “The licences last four years, although they are only authorised to shoot between certain dates; usually a 6-8-week period which begins in September. There are groups who protest and groups who take direct action. Obviously as sabs we take direct action, but will also undertake other forms of protest too.”
And the direct action is to what, get in their way or disrupt the shoot, I asked. “Well usually it involves looking for cages as well,” they enlighten me, “there are people who deal with them. Shooters can be dealt with by protestors too, simply being present on a footpath in a field they intend shooting in is enough to stop them.”
I plead they excuse my ignorance, not knowing they used traps. It must piss the cullers off, protesters wandering the footpath. I wondered if they ever get violent as we’ve seen the fox hunters do. “Not really,” came the reply, “they are generally better behaved because they have firearms. Any aggressive behaviour on their part would lose them their licence.” Being the only justifiable reason for killing a badger, I can see, is a trigger-happy obsession akin to a redneck with a Biden supporter on his dude ranch, I can see taking away their toys might be a preventative. Unless of course, you can rationalise otherwise, given the Wildlife Trust’s evidence?
Technically then, with a badger cull here in relative placate Wiltshire, the good news is, at least, they don’t need “safety in numbers” and could abide by the rule of six. “We usually work in twos or threes as we can get more ground covered,” the Sabs say.
How can people help? You could buy Wiltshire Hunt Saboteurs a coffee, see here. But what if you found a cage on a walk? Should you damage it, or take it home to trash? The sabs advise against this. “I personally wouldn’t recommend just asking people to trash cages,” they instruct. “They aren’t easy to trash, and it’s a criminal offence. Better that people contact the page if they find one and take a 10-figure grid reference or what3words.”
Badgers are nocturnal, like me; they’re my work buddies. Traps, I cry, lightweights. If it is a sport, as they claim, it should therefore be a fair challenge and they should drag their malicious and over-privileged arses out of their beds in the wee hours to chase them, rather than have a pop at them during their bedtime. That’s like the ref allowing Arsenal to wait for Tottenham to get back on their coach before aiming for top bins!
Save badger culls though, wildlife protectors still have the legal upper hand, and police will attend and arrest those flouting the law. Wiltshire Police made an arrest during an operation into bird of prey persecution in Beckhampton and Pewsey on Wednesday, for example. PC Marc Jackson of Wiltshire Police Rural Crime Team, said, “following an extensive search of both locations, we have recovered the remains of a number of birds of prey, including red kites and buzzards. The recovery of these remains presented a number of complex challenges and we are grateful for the support from other agencies. If anybody has any information that they think could support our investigation, please contact us on 101.”
Inspector Liz Coles, Tactical Lead for Rural Crime in Wiltshire, said: “Today’s warrant shows that we take all aspects of rural crime seriously and we will proactively work with partners to protect wildlife and our rural communities. Last week saw the introduction of the new dedicated rural crime officers to the team, and this is a prime example of how they will help us moving forward. We continue to develop more intelligence-led policing in relation to prevention, detecting criminal activity and proactive operations.”
While it might not look good for Natural England’s preposterous project to reintroduce hen harriers to southern England, the struggle to uphold our preservation and protection for wildlife against a government which appears to warrant a return of fox hunting and blood sports sadly continues. And if other’s concern for animal welfare enrages you enough to throw your toys out of the pram, sadly social distancing measures will follow.
There’s no fooling me, no quixotic baseball-wielding delinquent is going to sway me in giving my honest opinion on Daydream Runaway’s forthcoming single; it’s just a drawing, guys!
It might well be coming a cliché on Devizine, that Daydream Runaways send me over their latest single, tell me they think it’s their best yet, I agree and tell you it’s their best single yet. But I’m at a stalemate, because I’m likely to say once again, the new single from Daydream Runaways is their best yet, for the simple reason, the new single from Daydream Runaways is their best yet!
Ah, sure sign of natural progression from a young band always striving to improve, Crazy Stupid Love is out on Friday 2nd October on streaming platforms and it will be the first single from their upcoming EP. Given this strength of this song, and inclining it’ll have a running narrative, I’m highly anticipating the EP, with bells on. Meanwhile I have to concoct some words on why I think it’s their best single yet, rather than just repeating the same sentence. Well, technically I don’t have to, but I will because I want to.
Image by Van
I wouldn’t have to if you could hear what I’m hearing, that’s the fluky bit about doing this. While it’s not always this seamless; I occasionally receive tunes which make me shudder, though delight when these guys message me as I can guarantee it’ll be a non-shudder experience.
So, if I called their second single Fairy Tale Scene, “catchy melody, pop-tastically, with slight eighties, pre-indie label overtones,” Closing the Line as “a progressive step into local topical subject matter. An emotive and illustrative indie rock track akin to Springsteen’s woes of factories shutting,” and I said Gravity, “pushes firmer towards a heavy rock division,” then Crazy Stupid Love is the counterbalance, calibrating the best elements of their previous singles and weighing them equally. In this feat, it defines a forming style, a signature, I reckon, in which to base future releases.
Image by Van
Inspired by characters in a hit Hollywood film of the same name, which I’ve not seen, the guys claim “the song is set to be the sound of a Post-Lockdown world.” I hope so, but it fondly reminds me of a time of yore, pre-nineties indie and Britpop, back to the days of Simple Minds and U2; no bad thing. For, just like the moment Judd Nelson sticks Molly Ringwald’s earing in his lughole, these bands were beguiling, memorable and emotive. Crazy Stupid Love is like them, infectiously uplifting, and with a coming-of-age narrative, articulating moods of a youthful, verboten romance, it suits.
Surprisingly dicey too, it also creates a mysterious character within the narrative, namely Chad, intended to market the single with a hashtag #whoischad. We can’t see his mug on the cover, but the likelihood it’s Brad’s alter-ego, just because he rhymes with Chad and he’s wearing the same baseball jacket in the accompanying photoshoot is slight. With a penchant for fireworks he carries a baseball bat to a fairground, and anyone who does such is surely asking for trouble. But, I dunno, Brad just doesn’t seem the type!
Image by Van
This self-produced nostalgic nugget has those swirling harmonies, chiming guitars and an infectious chorus hook, to compare it to those eighties greats. But akin to what Talk in Code are putting out, it retains the modernism and freshness, acting as a nod to influences rather than a tribute.
In mentioning this to the Talkers they hadn’t heard of Daydream Runaways, but now I’m pleased to hear they’re supporting Talk in Code for an exclusive gig at Swindon’s Vic in November. Did I connect this, guys? Because if so, it makes me proud, sound wise I believe it’s a perfect match. Though BBC Wiltshire’s Sue Davis also has taken a big shining to the Runaways, asking them back on the 3rd October. Just, you dark horse, you, leave the baseball bat at home, Brad, I mean Chad. In my experience the Beeb pay for your parking if you ask, so no need to get nasty. Tut, always the quiet ones!
Super single, guys and look forward to catching up with you soon.
Subscribe on YouTube to local independent country, singer-songwriter Kirsty Clinch and you’ll receive a selection of wonderful pop-driven covers with a country feel, lots of chat videos where she explains her thought processes and announces news, provides advise and even beauty tips. Catch Kirsty live and she’s unplugged, expressing the same dedication to her music but as an acoustic performer. Either way, she is a pleasure to hear, a smooth silky voice and accomplished guitarist.
It is also the very reason I’ve been in anticipation of this debut single, to hear which way Kirsty will take it, lean more on her matured live acoustic sets, perhaps, or the pop-inspired subtlety of her videos. I’m pleased to say, Fit the Shoe balances both equally. Though far from bubble-gum, it uses a sublime bassline behind her country guitar-picking to create a wonderful and emotive sound. This is contemporary country, combining pop’s ambient-influence of William Orbit and blending it with the vocal range and narrative of classic Dolly Parton, enough to make Madonna blush.
Yet there’s another side to Kirsty, a fervently astute entrepreneur with clear direction on how to market a vocation through projecting the perfect appeal and disposition. Yet none of these reasons, I suspect are the sole reason why Fit the Shoe, is shooting up the streaming sites after being released only today, rather an amalgamation of them all, but mostly, because it’s gorgeous and immediately lovable.
Our fiery redhead instinctively knows where the goal is, shoots and next thing you know the net is pulsating with the shock. “My main goal is to touch the hearts of many though my art and spread awareness that a positive attitude leads to better paths,” she explains. “I already achieved my first goal by travelling and performing in Nashville at venues such as the BlueBird.” Nashville is something Kirsty regularly brings into conversation, who wouldn’t. But it’s here, in collaboration with Peter Lamb, providing bass and mastering, in the atmospheric splendour of this single that we see a true star shining.
“As an independent artist,”Kirsty Clinch speaks her motivation, “you must have 100% faith in yourself and your worth, you must work hard to gain all your goals and dreams you desire and I have a lot of energy to still give to the world, so I’m going hard or I’m going home.”
Local reggae a rarity around these backwaters, but when it does rise you can trust Pop-A-Top Records is a watermark of quality. Since prolific Swindon Skanxter keyboardist, Erin Bardwell’s amazing solo album, Interval, he’s rubbed his unique style into a collaboration with Hotknives co-founder, Dave Clifton on this sublime project called The Man on the Bridge.
A double-A EP was out in April, followed this week by a six-track album A Million Miles. There are chilled echoes of rocksteady and traditional boss reggae blended with slight roots and dressed with a garnish of Bardwell’s inimitable take on the genre. Naturally, there’s a splinter of Two-Tone reggae too, which works on so many levels.
Dave Clifton
The Hotknives are best known for their live albums, but did release one studio album The Way Things Are. Formed in Horsham, back in 1982, they principally play ska. Guitarist Dave Clifton was among the original line-up. He left in 1993, but with a slimmer roster the band still perform today.
Opening tune to A Million Miles, Don’t Blame Me, is immediately likeable rocksteady, and wouldn’t look out of place on a classic Trojan Tighten Up compilation. Looking over the Land plods securely, resonances Erin’s band the Erin Bardwell Collective and is just simply beguiling.
Erin Bardwell
Just Dreaming though dubs, is as at sounds, dreamy, using flute, by another ex-Hotknives, Paul Mumford of Too Many Crooks, it connotes that eastern dub vibe of Augustus Pablo. Yet with Believe we return to chugging boss, with sublime horns, also by Mumford, and Dave’s picking guitar riff. The guest vocal is a refreshing change, provided by Pat Powell of the Melbourne Ska Orchestra. Proof, as I’ve said, ska is an international thing, and the Melbourne Ska Orchestra are pushing boundaries on the other side of the world.
Title track, A Million Miles again deviates, fusing a slight English folk influence, it reflects memories and cites Dave and Ansell Collins and the O’Jays in a theme of a lost romance. Never Say Never raps up the journey you don’t want to end, with a plonking fairground twist; as if Madness worked with UB40. With Erin’s dream team, Drummer Pete O’Driscoll, Pete Fitzsimmons on bass, except Looking Over The Land where long term friend from The Skanxters, Vinny Hill features, we’re in capable hands, and this is a memorable collaboration producing a superb and varied mellow reggae vibe. You need this right now!
Stained glass and mixed-media artist, Ros Hewitt takes stained glass to contemporary levels. Using fused and sandblasted glass techniques, her designs are refreshingly modern and graphically stunning. She opens her studio in Great Bedwyn on Saturday 24th & Sunday 25th October. 11am-5pm.
Working as a graphic designer in the field of scientific illustration, it was a quirk of fate which embarked Ros on a new artistic career in stained glass, initially while living in Sydney, Australia. On returning to the UK, she took a course in traditional stained-glass painting with Paul San Casciani, (author of The Technique of Traditional Stained Glass) in Oxford.
Ros has been using her lockdown time experimenting with capturing air bubbles within glass, and reflecting on her residence in Wiltshire, she has a new collection of bestselling Wessex White Horses, painted and fired onto glass.
There’s also a collection of acrylic paintings of local bird life, something that has long been a favourite subject; professional scientific illustrator graduate, see? As I said! Yes, I did!
Might be the perfect opportunity to buy some lovely, local, artisan gifts for Christmas, they really are quite special. No appointment is necessary to see the artists’ work, and you can meet Ros, discuss techniques, equipment and discover her inspiration.
Due to Covid-19, all visitors are required to use anti-bac gel provided, wear a mask, and enter the small studio one at a time. Parents/guardians can enter with their children. For details: http://ros.glass/index.html Email: ros@ros.glass Phone: 01672 871 025. Location: Ros Hewitt Glass Studio, Great Bedwyn, SN8 3LT
Is it a bird? Is it a plane? Nope, just shopping I’m afraid, but a marvellous idea to help small businesses locally!
With a striking superhero comic-book themed corporate identity, a small group of marketing agents from Westbury have donned cloaks and set up a voucher system in support of our local high streets.
Claire Rowlands runs Fundraising in the Community, a local company dedicated to supporting businesses in Wiltshire, whilst helping schools, groups, charities and organisations raise funds. They plan to launch Crusader Vouchers as a subsidiary to FITC Media. As it sounds, it’s a voucher-based concept akin to the website Groupon, but for local small businesses, the ones hit hardest by the lockdown.
Fundraising in the Community is a quality, professional service that offers a unique platform with a tailored audience to help drive prospective new business through the doors of local companies; whilst helping schools, charities, clubs and organisations within the community fundraise for their good causes.
Their voucher idea launches this October, and asks you to “put on your mask, grab your vouchers, support local businesses and bag yourself the best deals in town!” They have a website, but the majority of action is via Facebook, so like their page, where you’ll be able to access monthly vouchers for independent shops and small businesses throughout the South West.
These crusaders of independent shopping say, “the offers that we provide are free for everyone to enjoy, no catches, just straight forward vouchers to take advantage of each month for local small businesses and independent businesses. Due to Covid-19 our businesses need us more than ever so we’re appealing to you to put your mask on, grab your vouchers, buy local and bag yourself the best deals in town!”
Since the successful IndieDay in Devizes, I’ve noticed many similar schemes in local towns but here’s something truly original but like any new scheme, it’ll only work if people get behind it. So please do, everyone loves a voucher!
On the day the government’s chief scientific adviser Sir Patrick Vallance predicts 50,000 new coronavirus cases a day by mid-October in the UK, leading to over 200 deaths per day a month after, still the rules are being flouted, and we shamelessly play the blame game, because we’re encouraged to grass up our friends and neighbours by a government who aren’t playing by the rules themselves.
Two days into the facemask covering law, my eagerness to grab some Derick’s Deals saw me headlong into the Spar shop without a facemask, I confess. We’ve now had two months to get used to it, and for me, like all of us, it’s become routine, a habit. It is also, because not wearing one in indoor public places meets a £100 fine. A fine Danny Kruger needs cough up, if a local university student whose party got uncontrollably out of hand faces a £10,000 fine.
Oops a daisy, and other timid posh-boy idioms for I’m pretending to care, our local MP was pictured on the train without his mask. For the entire London to Hungerford journey it didn’t cross his mind, bless. Because, as he explained, he forgot, the train carriage was empty. Obviously not empty enough for someone to snap a photo, though, to which his reaction, according to Wiltshire 999’s was, “If the person had reminded me rather than taking a photo and posting it on social media, I would of course have put on my mask then and there. I do apologise for my mistake.”
He said this, in a country with standards and decorum so high most are uncomfortable pointing out minor transgressions, like not wearing a facemask, in case the perpetrator is exempt. They may be suffering a medical condition or severe anxiety, and be subject to enough harassment from so-called do-gooders. Last time I did bag me some Derick’s Deals there was a facemask dissident in the shop, did I growl at them? No, I have basic manners.
He said this, working for, as I said, a government who encourage us to report such misdoings, precisely what the photographer did. It’s not under the control of the photographer if a social media witch hunt ensues.
Predictably, Priti Patel said she’d dog in her neighbours, as if living next door to the home secretary wouldn’t be traumatic enough. Boris waffled, as he does, something about only grassing if it’s an “animal house,” party complete with a hot tub. Uncertainly looms if he referred to the National Lampoons movie, or animals really need to be present at the party. If so, this leaves David Cameron’s idea of fun questionable, if he was still around of course.
Oh, but he is, magically popping up like the shopkeeper in Mr Benn this week to tell us all his forbidding austerity cuts prepared the UK for the pandemic, despite we were the single most unprepared nation in the developed world, and are consequently reaping what we sowed. Just what the NHS needed, cuts, keeps the staff on their toes, doesn’t it? The ones still alive that is.
What an absolute crock-of-shit, of which, unfortunately, Danny Kruger’s blatant flouting of the regulations is trivial, but relevant to the undeniable feeling building in this country, that it’s one rule for them and another for us. Given Danny’s last newsletter to his constituents reads, “I detest the rule of six, the compulsory facemasks, the Covid marshals and the snooping on your neighbours (not that we’re doing that in Wiltshire, I’m glad to say,” it doesn’t look as if wearing his mask is top priority for him, which is a shame, I bet he’s got a really fancy one.
Though I suspect the issue will fall into the archives after the social media assault mellows. He’s conservative, so every conservative will defend him, and those not will sneer. We make political point scoring out of a deadly pandemic, then wonder why we’re suffering the worst.
I’ll confess, I found myself disagreeing with left-wing rags, painting a picture of a stressed and exhausted Prime Minister, forecasting the end of both his teether and reign. Aching to show him in a bad light, selective photography; the guy had more getaways than Judith Chalmers, missing vital Cobra meetings about an impending pandemic. Having financial difficulties, now he is; Earth calling Boris.
Do you ever get the uneasy feeling our Prime Minister is rubbing his hands together behind closed doors, sniggering like an insane Bond villain? Logical steps are indisputable; it’s unavoidable if we ease restrictions, more cases will occur. Yet daily it feels more like an ingenious trap. Conservatives crave traditionalism, whether the public feel rudiments maybe outdated, oppressive and intolerant or not.
A Matrix red pill revelation, are they using the pandemic to maintain control, make their prejudicial vision a reality, Morpheus, and as an excuse when it goes economically tits up on their watch? The tranquillity of the initial lockdown trashed as they encourage us to shop our neighbours, because that’s how their own backstabbing agenda functions. Face facts, it’s up the swanny because day-to-day they move the goalposts and confuse all, abuse their own loopholes and encourage every cluster of the public to blame another while nipping out for a Nandos. Ha, there was me thinking the buck stopped at the top.
Hancock’s Half Hour has never been so dreary, as the health secretary blathers “follow Covid rules or they will get tougher.” Surely a case of do as we say and not as we do?
Clamping down on the reappearance of illegal gatherings; they’ve craved this since illegal gathering begun, yet freedom to jet around the world is fine and dandy. Pubs shut early, like the good ol’ days, because drinking at 10pm rather than 11 makes a massive difference. Places of worship get special attention, unless you’re a pagan. Then consider this exemption for hunting and shooting wildlife from the rule of six regulation, symbolic of this notion they’re using Covid19 as an excuse to return us to an era of yore, tally ho. Exemption depends solely on Boris’s personal preference.
If you want your hobby or interest exempt from the rule of six, be like Carphone Warehouse co-founder David Ross and slip Boris £15,000 for a winter break in the Caribbean. Or is it coincidence the guy owns two grouse moor estates? This bothers me, enough to warrant contacting our local hunt sab group. What did they say? That’s for next time, folks, stay tuned; I’ve waffled enough over something trivial; politician is a stressful occupation, I wouldn’t want it. Forgiveness is a virtue; apology accepted, Danny, get your wallet out and let’s move on with the next inconsistent contradiction from our leaders.
If I’m majorly disappointed by all the planned events and gigs this year done gone cancelled, probably the biggest of all was when I badgered Devizes Arts Festival into booking Limerick’s folk singer-songwriter Emma Langford. It didn’t take much convincing, just a song or two, and if you hear her new album Sowing Acorns, released yesterday, I guarantee your arm will be twisted too.
Sowing Acorns is everything I’d expect and much more. A spellbinding composition of intelligent lyrics reflecting on past, a place or observation, Emma’s mellifluous vocals and enchanting folk melodies. A magnum opus for this award-winning emerging artist who I’ve followed the progress of for many years.
It’s an album which will transport you to an Irish coastal path, a gentle zephyr as you peer out to the ocean. Port Na bPúcaí perhaps the prime example, with its chilling cello merging into the drifting poetic title track. It’s a whisk of untamed Andrea Corr blending Clannad to Mari Boine, yet somehow completely inimitable. Yet there’s astute honesty within these pieces of musical jigsaw, tales of family woe or enriching scrutiny of a lifecycle. There’s enough going on here to pull to pieces and discover alternative angles with each listen, but allowing it to drift over you is recommended, like waves upon said ocean.
But while Sowing Acorns opens acapella and drifts into traditional acoustic folk, it doesn’t rest, rather merges styles, and by the time you get to Ready Oh some nine tracks in, there’s a blithe soul pop feel, teetering do-wop, similarly the Latino marketable feel of Goodbye Hawaii. Towards the end it returns to the thoughtful prose of Emma’s sublime acoustic and feelgood Irish charm, and it ends with an ambient trance remix of the title track by Avro Party. But each and every segment, every journey this album takes you on, darker or uplifting, is expressively awe-inspiring, as if Emma pushed everything she has into this release; the definitive Emma Langford.
It is, in a word, utterly gorgeous, a definite contender for album of my year, and one I’ll be submerged in its mesmerising portrayals for a long time yet.
When I started Devizine it was an exploration, knowing next to nought about local performers and artists. Nowadays I consider venturing further afield, figuring I’ve successfully mapped our region of musical talent. But whenever I do, I find an area of unchartered territory, a Devizes resident lurking undetected in a dusty shed. Literally this month, it’s Hew Miller, a singer-songwriter, multi-instrumentalist, producer and mix engineer living among us.
Upon hearing his uplifting and breezy pop-rock latest release, Let’s Do Something (but nothing at all)I figured, I’m going to hassle this guy for an article and expose any inhibitions he might have about his talent, as it’s common for an artist to shy away from shameless self-promotion. I warned him what we do here, and how scrupulous we are. He replied he’s a reader but “the reason you haven’t heard of me is that I’ve been pretty backwards in coming forwards!”
None of that matters, you see, backwards or forwards is all the same to me because I never know which way I’m going. It’s not so much about allowing me to spread wild gossip about him, rather I haven’t seen Hew listed for a gig locally either. Does he like playing live?
“I haven’t played live for quite a long time. I tend to focus on writing, producing and recording,” he explained.
Hew Miller
Hew has three singles released on Bandcamp, the earliest, Upside Down World (We’re fine in here) was this April. It’s a stomping Peter-Gabriel-fashioned pop-rock observation on the tranquillity of lockdown. And in the middle, it’s not over yet, causally breezes with equal skill, a trumpet and quirky romantic reflexion. That one was released in July, but you’ve only got to listen to the competence in song writing and production to assume Hew’s must have been making music long before that.
“I played in bands when I was younger but then moved down to Devizes for work and never found the time or musicians to start up a band,” he tells. Hew’s been in the Vizes since 2002, moved from Nottingham.
“I’ve been a recording and mix engineer mainly as a hobby for many years; it was an underground thing but I’ve been wanting to get more exposure for my own music and to expand on the producing, mixing and mastering sides.” Hence his nom-de-plume, Hew, “because there are loads Matthew Millers and the name has already been taken on Spotify.”
Ah, story checked out. I found a Hungarian one on Bandcamp, among others, who by his profile pic, bears an uncanny resemblance to Elvis Presley. “Definitely not me!” he expressed, as did the rest of our chat retain a witty and light-hearted angle. Flicking through his Facebook page I paused on an image of an amazingly plush tree-house styled studio, and given he’s called his studio Dusty Shed Studios, I figured this was it. “No,” he owed up, “I wish…. I went there for a weekend! Mine is less grand…. it literally is a shed!”
“It was in the middle of a fields away from everyone. No-one to complain about the volume of the drums,” Hew enlightened, but I changed the subject, fearing it might get like a Monty Python sketch continuing discussing his shed! “Yes,” he agreed, “well when I was young, we lived in a cardboard box…”
On the subject of boxes, Let’s Do Something was recorded at Real World Studio in Box, and his own studio, said Dusty Shed. “I’m open for mixing/mastering and recording projects,” He informed. Hew works a DIY ethos, all instruments and production are his own. I like this, freedom of creativity an all; judging by these singles, he knows his way around those buttons and switches.
“You said you were in some bands back in Nottingham,” I asked, trying to unearth a possible heady past of thrashing metal or punk, “what kind of genres?”
“Yes,” he replied, “I guess it hasn’t changed that much; its indie pop/rock.” No juicy gossip there then, I thought I’d inquire about Hew’s influences. “They range from David Bowie to Peter Gabriel, David Sylvian to The Psychedelic Furs to The BareNakedLadies.” Hew seems at ease with where he is with his music, a quiet hidden gem, and as the tranquillity of lockdown subject of his first single, Upside Down World, might suggest, he’s happy mixing and producing in his dusty shed; it’s a guy thing!
Just as lockdown tore down borders of what we’ll feature here, Hew found it a rather fruitful period, “as everyone is getting into playing music,” and continued to say about some tunes he’s mixed for some American rappers and another international artist, “which I probably wouldn’t have done without lockdown. Hopefully we can now get back to some normality and live music can flourish with more musicians.”
True, for his easy-going amiable sound would be great for a Sunday session at the White Bear, or an afternoon in the Southgate’s garden, but even if we cannot prise Hew from his dusty shed, you should check out his discography. On Bandcamp, here. And his latest, Let’s Do Something (but nothing at all) is released on the streaming services on 25th September.
This extensive belter of eighties-fashioned high-fidelity pop waits for no man, a sonic blast opens it, and the riff wouldn’t sound alien appearing in a John Hughes coming-of-age eighties movie. Visualise Jud, Molly, Emilio et all, dancing around a school library to this latest track from Swindon’s Atari Pilot.
After our glorious appraisal of their previous single Right Crew, Wrong Captain in July, they reckon I’m going to be fair on them again, but really, there’s nothing to dislike about Blank Pages. A review in which they quoted me suggesting, “this sound is fresh, kind of straddling a bridge between space-rock and danceable indie.” Here though, save the strong bassline, the space-rock element is lessened and retrospective synth-pop chimes in a racing beat, twisting this into a real grower on the ears.
Press release aptly cites “everything from Springsteen to Daft punk, Kathleen Edwards to Love,” as influences. As if Daft Punk would work with Springsteen, but if they did, I’d imagine something rather like this. And that alone, makes for an interesting sound, again akin to what Talk in Code are putting out locally, perhaps more so for this single. While we could hinge on an inglorious comeback from an eighties pop star and be thoroughly disappointed by their timeworn platitude and fame induced narcissistic attitude, nostalgia has never been so energetic and fresh when it’s channelled as an influence rather than comeback or tacky tribute act.
There’s a backstory about Atari Pilot, I may have mentioned before but worth reminding. After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle for Onze. But getting a second chance at life gave him the inspiration to get back to writing, and Atari Pilot reformed in 2018 with an acoustic set at the Swindon Shuffle. Reforming the band was actually planned from his hospital bed.
With this in mind, Onze describes the thinking behind this great song, “Blank Pages, like the other songs for the struggle, were inspired by being diagnosed with and recovering from cancer. The songs reflect the highs and lows of life and the struggles we are faced with and have to overcome to reach where we want to be.”
There’s a heartening theme of struggle in the face of change, “it’s also about trying to recognise that we can’t escape ourselves, and asks whether we can use our history and baggage to fire a brighter future,” Onze explains.
It’s a DIY production, recorded and mixed in Onze’s home studio by using Logic Pro X, but sounds stunningly professional. Atari Pilot are Onze (vox,) Paj (bass,) Frosty (guitar) and drummer Andy, and we look forward to hearing more from them. I even managed to review this one without mentioning retro-gaming:
“The Truth is Hard to Find celebrates their unique but retrospective style with a passion for pop-reggae, an uplifting beat, chugging ska riff and beguiling two-tone vocal harmonies….”
Far from what the name suggests, and common generalisation of the genre, I found Northampton’s six-piece reggae/ska band, The Bighead, not in the slightest egotistical and very approachable! Thus, I’ll be spinning their tunes on Ska-ing West Country on Friday, and for the foreseeable future.
That said in this era where a plethora of bands like the Dualers and Death of Guitar Pop have breathed renewed energy and a fresh approach to the UK two-tone scene, which otherwise risked falling into a diehard cult of seniors on Lambrettas who spent their pension on a pair of cherry Doc Martins!
Though nothing with Bighead is as the frenzied ska blended with delinquent-filled punk of yore. They tend to flow maturely, with rocksteady and roots reggae, while attire the fashion akin to the two-tone era. I’ve no issue there, through the furious ska thrashings of The Specials, the downtempo Ghost Town is likely cited foremostly, and on the island of origination, the short rocksteady age between ska and reggae was undoubtedly the most creative musical period in Jamaican history.
Seems while previous decades hugged youth cultures which devoted to a sole variety of Jamaican music, newly formed bands, like Bighead in 2008 by Da Costa, follow a similar ethos as what we discussed when Trevor Evans’ Barbdwire came to Devizes Arts Festival. They select the benefits and choosiest elements of ska, rocksteady and all subgenres of reggae, and fuse them with sublime results.
There’s a plentiful gap to fill, and it’s all trilbies and shades for Bighead. Their May single, The Truth is Hard to Find celebrates their unique but retrospective style with a passion for pop-reggae, an uplifting beat, chugging ska riff and beguiling two-tone vocal harmonies, signifying an optimistic new era for the old genre. In contrast, the other two brilliant tunes Da Costa kindly emailed me, Step Up and Try Me Again, rely on roots reggae and doo-wop rocksteady respectively.
The Bighead are no strangers to the festival and club circuit, have headlined and supported original 2-Tone acts such as the Beat, The Selector, Bad Manners and a 2013 show with Madness. They’ve played over Europe and are regulars on the Berlin Reggae scene.
So, polish your boots, snap on your braces and follow Bighead; not that I should really be flattering a band who are already self-confessed big heads!
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Word on the towpath is our wonderful theatre, the only theatre in Devizes, The Wharf Theatre is preparing for curtains up in October, starting with an amateur production of My Mother Said I Never Should.
Since being forced to close in March the team have been working tirelessly to keep East Wiltshire’s best loved and only theatre afloat. There was a time, in June, when the future looked rather bleak for the little theatre. After the renovation three years ago, surplus funds were already low, then lockdown happened. The Gazette reported it may have to close due to a £30,000 shortfall in income. Celebrity patron Christopher Biggins praised and promoted a campaign, at the time they hoped to reopen for 2021. So good news is, we’re some months earlier you can enjoy the Wharf productions once again.
While it’s great news for entertainment in town, be aware and be quick to book. Only thirty tickets are available for each performance, in line with current guidelines. They can be purchased by ringing 03336 663 366; from the website Wharftheatre.co.uk or at the Devizes Community Hub and Library on Sheep Street, Monday to Friday, 9am-5pm
Last years’ Chair, Oli Beech says: “Break out the bottles, the phoenix of theatre does rise from the ashes and soars high above Devizes! Our dear little theatre is back in the black after a close encounter with disaster! The call went out and boy, was it answered. We’ve had donations pouring in, generous members and locals passing the hats around, bake sale proceeds, even an overwhelming donation of £10,000. We are so thankful to everyone who has helped us either financially or with their many words of support and encouragement….”
During their enforced closure the team hosted three costume sales to raise further funds; completely updated their website and launched a YouTube channel to keep people entertained with specially filmed monologues and some short behind the scene films.
The Wharf also welcome a new Artistic Director, Debby Wilkinson. “Restrictions are beginning to lift but with social distancing still very much in place,” Debby said, “anything we do in the theatre itself will be limited. However, we are very proud to launch the first three plays of our Autumn/Winter season.”
Whilst social distancing restrictions remain in place please continue to refer to their website for the latest details. But I’m happy to announce the new performances will be:
My Mother Said I Never Should
Friday 16th and Saturday 17th October 2020 7.30pm each evening
Written by Charlotte Keatley and Directed by Debby Wilkinson
This rehearsed reading is scheduled to run on October 16th and 17th. First performed in 1987, this play breaks with convention in that it doesn’t follow a linear timeline. The text is now studied for both GCSE and A level and tells the stories of four women throughout several periods of their lives. It explores the relationships between mothers and daughters along the themes of independence and secrets. It is a poignant bittersweet story of love, jealousy and the price of freedom through the immense social changes of the 20th century. Copyright: this amateur production is presented by arrangement with Concord Theatricals Ltd on behalf of Samuel French Ltd concordtheatricals.co.uk
Tickets: £10/£8 concessions.
Adam and the Gurglewink
Friday 13th and Saturday 14th November
7.30pm each evening with a 2.30pm Saturday Matinee
Written and Directed by Helen Langford
Three rehearsed readings of an original play by the Wharf’s own Helen Langford. Adam is planning to run away when he stumbles across The Gurglewink, a childhood toy who has come to life in the attic. They form a reluctant friendship where reality blurs and magic happen. They meet Rainbowgirl who challenges Adam to a dangerous quest which will depend on his ability to keep going when things are not always what they seem.
Suitable for children 6-12 years and their parents. Tickets:/ £8/£6 concessions
Collected Grimm Tales
Monday 14th to Saturday 19th December 7.30pm each evening with a 2.30pm Saturday Matinee
By: The Brothers Grimm Directed by: Debby Wilkinson
Familiar and lesser known stories are brought to the stage using a physical and non-natural style of performance. These stories journey into the warped world of imagination. We will meet Hansel and Gretel, Ashputtel, Rumpelstiltskin and others, performed by a small adult cast, on a simple set. The audience will need to use their imagination and fully embrace the living power of theatre. Suitable for children and adults.
Copyright: this amateur production is presented by arrangement with Concord Theatricals Ltd. On behalf of Samuel French Ltd concordtheatricals.co.uk Adaptor Carol Ann Duffy Dramatised by Tim Supple and the Young Vic Co. Tickets: £14/£12 concessions
Getting snowed under here at Devizine Towers, but speedily need to push this to top priority, ahead of tonight’s (Saturday 12th) gig at Salisbury’s Winchester Gate from Bristol hip hop outfit, The Scribes. I whopped up a quick preview of the event, but as I pressed publish an email popped up with their latest EP The Totem Trilogy Part 1, made in collaboration with Chicago raised producer Astro Snare. Should fans of UK hip hop hear it, they’d be planning to head to the Gate for this free gig, by hook or by crook.
The Scribes are a multi-award-winning hip hop three piece based in Bristol consisting of lyricist/multi-instrumentalist Ill Literate, rapper Jonny Steele and beatboxer Maestro Lacey. In 2013 they signed with US label Kamikazi Airlines, co-owned by Dizzy Dustin of legendary hip hop act Ugly Duckling and released two albums, The Sky Is Falling and The Scribes Present Ill Literature worldwide to critical acclaim, garnering the group a sponsorship deal with ethical clothing company THTC, alongside artists such as Ed Sheeran and Foreign Beggars.
By 2016 they had signed with Reel Me Records, releasing a sonically challenging 16-track album which thrived on a perfected blend of poignant lyricism, A Story All About How, and the apocalyptic concept album, Mr Teatime & The End Of The World, winner of the UndergroundHH.com “Concept Album of The Year” award. Last year The Scribes received global recognition, upon releasing Quill Equipped Villainy, featuring Akil the MC from Jurassic 5, TrueMendous and Leon Rhymes from Too Many T’s.
My personal affection for the genre though, goes back to the old skool. Prepped by Kraftwerk’s influence on eighties electronica, rolled with Giorgio Moroder and Pete Bellotte’s production on Donna Summer’s I Feel Love, and still nothing equipped me for the eureka moment I first heard Afrika Bambaataa’s Planet Rock, on a journey to Asda in my Dad’s Cortina! Only lingering in the underground less than a year, the US hip hop and breakdancing movement swept the UK, and it was inevitable we’d develop our own brand.
As hip hop spread through the States it distorted to hackneyed fashion far from the original blithe ethos of revelry. Pretentious bling, hoes and pimping one’s ride, and of course gangland rivalry were never on the original agenda. While some during the later eighties, like De La Soul and A Tribe Called Quest, strived away from this tenet, recapturing hippy, carefree roots, the east-coast/west coast rivalry and vehement bravura dominated and hallmarked the modern preconception of hip hop.
Meanwhile, by a method akin to rock n roll some twenty years prior, the place to hunt for creative and innovative progression of the genre was neither east nor west coast, but here in the UK.
Because hip hop was never supposed to be uniform, shaped by urban multiculturism it’s naturally a melting-pot of genres and an experimentation in fusion, always has been. Given Caribbean roots and common affection for reggae, it’s inevitable those influences would have a profound effect on UK hip hop.
Full-circle in actual fact, considering pioneer of the genre, Kool Herc was a young Jamaican NY immigrant with a sound system, who altered from dub to disco and funk as residents didn’t favour reggae. And, in a nutshell, and to wrap up my waffling, that’s precisely why I love this EP; it’s like The Scribes dipped a colander into said melting pot, and extracted only the very best ingredients.
It’s a non-commercial, bundle of heavy beats not relying on a single subgenre. Opening with I’m Back, for example, fresh, dripping with early east coast scratching and rapping. Yet Mighty Mighty follows, leaning on dub akin to Roots Manuva with brass, subs and a contemporary dogmatic theme comparable to Silent Eclipse, albeit this was divergent towards John Major’s government (apologies for my archaic comparisons, it’s an age thing!)
By the third tune we’re back to nonchalant fun with Rock This; I’m in awe, this is lyrically composed with a witty genius parallel to the Fu-Schnickens. Heart Breaks though swaps back to east coast; sublime rap harmony with a R&B slant, pensive piano chops and soaring strings with a definitive Bristol angle, as if a Tribe Called Quest came out of St Pauls!
Keep Bouncing ends the ride, and I’m left pondering Dizzee Rascal’s influence, yet tougher, as Rodney P, this is fresh, possibly the most marketable sound given today’s impact on the scene. The Totem Trilogy Part 1 is the first of a 3 EP series featuring the stunning artwork of renowned illustrator Chris Malbon. The absolutely gorgeous cover designs of the 3 EPs will link together to form one image of the titular totem. With guest vocals from both AstroSnare himself and founding father of the UK hip hop scene MC Duke, here, clearly, is something imminent, a rise of The Scribes, a method grasping an evolution for UK hip hop, yet firmly aware of its roots and unafraid to exploit them.
Most girls want wireless Mpow headphones, an iPhone 11, a Himalayan salt lamp, or something like that for their fifteenth birthday. Maybe Lucie Green of Devizes does too, but in an awesome act of kindness, her focus is on having twenty inches of her hair cut off to donate to the Little Princess Trust.
The Little Princess Trust is an amazing charity which provides real hair wigs for children suffering from hair loss. When a child loses their hair to cancer or another condition, the Little Princess Trust provide a free, real hair wig to help restore their confidence and identity.
They also fund research and say, “we won’t stop until the research that we fund ends childhood cancer forever. Promise.” Though the Trust relies solely on the efforts of enthusiastic community fundraisers, and receive no formal funding.
Can we help her raise money for this worthy cause? Even the smallest donation is greatly appreciated, and all the money will go towards the cost of making a wig, which can be up to £500.
Wishing you the very best of luck, Lucie. Maybe we could get a before and after picture?! For more information on the Little Princess Trust: www.littleprincesses.org.uk
On first hearing Wonderland of Green, I was like, yeah, that’s as sweet as a sugarcane field. But it’s moreish; every listen it approves all elements, everything I love about reggae, and why I love it.
Fruits Records may be based in Switzerland, but their dedication to authentic Jamaican roots reggae is paramount. This latest release featuring the Silvertones is a prime example, a sublimely balanced one-drop riddim with all the hallmarks of reggae’s golden era; the roots sound of the seventies, Black Ark, the legendary studio of Lee “Scratch” Perry, and the Roots Radics rub-a-dub riddims of the early eighties. These traditional styles echo through this 7” EP; the heavy bass, the offbeat guitar riff, and the traditional female backing vocals as passed into mainstream by the Wailers’ I-Threes.
Yet it also pounds contemporary at you too, fresh sounding, with a version, Living In A Wonderland, toasted by Burro Banton, an incredibly gritty-voiced DJ popular in the late eighties and nineties dancehalls of Jamaica. Even the subject matter of Wonderland of Green is timeless, as it suggests, it’s earthy and ecological, a tenet inherent in Rastafarians long before it became trendy.
The band behind the riddim is the 18th Parallel. Produced, composed and arranged by Antonin Chatelain, Léo Marin and Mathias Liengme, and recorded at Geneva’s Bridge Studio by Liengme. There’s an instrumental on the flipside, and an extra killer dub mix by French wizard Westfinga, who retains the retrospective ethos using the traditional dub values set by King Tubby.
Burro Banton
But what makes it so thoroughly beguiling is the vocals by The Silvertones. A legendary vocal harmony trio from the early ska era, originally, Keith Coley, and Gilmore Grant, with Delroy Denton joining early in their career. Delroy’s individual baritone and guitar skills saw him quickly become the frontman. Though he migrated to the States and was replaced by Joel “Kush” Brown.
Though the only remaining member is Keith, who takes lead, that’s just technicalities, as the modern line up rests with Norris Knight and Nathan Skyers on harmonies, both of whom have solo careers in their own right.
Westfinga & The 18th Parallel’s Wonderland of Dub
Recording at Coxsone Dodd’s Studio One, they interestingly triumphed in Jamaica with their debut single, a ska re-creation of Brook Benton’s “True Confession,” a track producer Duke Reid would also have the early Wailers record, but the Silvertones is indisputably more poignant. They also recorded under guises The Gold Tones, The Admirals, but most popularly as The Valentines, prevalent with the skinhead’s ska revival era was a tune called “Blam Blam Fever,” denouncing the rude boy’s gun culture.
The Silvertones
Through the late sixties they enjoyed success recording for Reid’s Treasure Isle label and Clancy Eccles, as vocal harmonies became more significant during the rock steady era. Yet their dominant period was the early seventies when they stepped into the converted carport which was Black Ark.
The eccentric amplifier genius, Lee “Scratch” Perry is renowned for getting the best out of any artist, he shaped the way we view Bob Marley & The Wailers. With penchant for outlandish, heavyweight psychedelic sound testing, he was the experimentalist who would pave the way for dub pioneers like King Tubby.
Historically then, Wonderland of Green slips right in as if it’s been there all along, but prominent now with its environmental subject matter, it’s gorgeous. I look forward to blasting it on my Boot Boy Radio show this Friday, maybe blending versions together, even if they’re live from the Skinhead Reunion, and who’s punters would favour boss reggae!
Wonderland of Green is newly released this week, as download, or on regular black wax 7” vinyl and on a beautiful limited and numbered picture sleeve edition with opaque dark green vinyl; how apt!
Coming from Essex where shopping is religion, you’d think I’d be impartial to the duty. But no. To be bluntly honest, as I believe I mostly am, I find nothing entertaining or enjoyable in sauntering a continuous stream of mundane chain stores aimlessly, other than to spend money I haven’t got on crap I didn’t want or need in the first place. Blessed we are then, in Devizes, with an array of original, charming and interesting independent shops, which make shopping endurable for whinging cronies like me! An ethos celebrated, kind of, this Saturday by the group Devizes Retailers and Independents who, in order to return commerce to our wonderful and lively town, held an “IndieDay.”
MP Danny Kruger opened the event, I missed that, loads of shops got involved and opened their doors to a festivity-fashioned celebration, missed that too. Donkeys and more, I missed. Far better for me to contribute by loitering outside Brogans café, munching on a bacon roll and taking credit for Mike J Barham’s hard work!
I arrived late, The Devizes Rotary Club arrived long before to lend us a grand gazebo, and Mike too, he set up a PA, he managed the PA, he hosted the event with his charming and entertaining charisma, and everyone came up to me and thanked me; result!
Honestly, as I’ve said, I have to give a massive thanks to everyone involved for making it such a special day, and in this day and age it was indeed even greater. Mike Barham for one, aforementioned contributions, but two, for rocking both the opening and finale with a plethora of his own work, such as the lively Bowser’s Castle, and thoughtful prose through downtempo blues, to the thundering satire of a west-country-styled Top Gun theme, Danger Zone! The guy is a one-man machine, the best of the best, of the best.
So yes, breakfast to a late lunchtime at Brogans got lively, as people filled the plot outside and the carpark, in the sunshine. It was something until late last night I feared would fail, with gapping gaps between the confirmed acts. Sadly, and for various reasons, Archie Combe and Tom Harris had to cancel, and our opening act, Pewsey singer-songwriter, Cutsmith was also unable to attend. The worry took me until 10pm when I unleashed a masterplan; Tamsin Quin cropped up on the book of face, to thank me for reviewing the new Lost Trades single, and so, whammy, I dispatched note of my concern and asked nicely if she would be able to grace us with her presence, and naturally, sing us a song or three.
I highly suspect they’re secretly superheroes, Tamsin, Jamie and Phil, and if not, they certainly saved my skin, more than once before. Tamsin dragged Jamie R Hawkins along, and as their alter-egos with no need for superhero costumes, they did it again. Thank you both so, so much. Tamsin gave it her all, which needs no surprise, her confidence and professionalism doesn’t preside her charming grace and skill to entertain. Jamie accompanied her brilliantly on cajon, claiming to be “getting into it now!” after just two songs in.
Then Cath and Gouldy rocked up on their way to the Southgate, to play as their folk duo Sound Affects, which was, as ever, blindingly awesome. All originals and finishing on Mr Blue Sky and Come on Eileen covers, it was superb. So, a massive thanks to them.
The finale then, was rocked by Mr Michael J Barham, which I’ve said already, but needs another mention. Thanks to everyone who turned up and made it really special day, including our photographers, Ruth, Nick and Gail, writer Andy and all the supporters. Thanks to Brogans for having us, I trust we behaved, least it could’ve been worse, believe me! It’s times like this which make Devizine feel more than me clonking on a keyboard, and rather a thing of community, of spirit and substance. Though now I’m back clonking, vainly bigging up our own gig, which I justify by noting it’s not about me, or my bacon roll, and more about the good folk who regularly contribute to make this website function, the musicians, writers and photographers, and supporters. Here’s to more, I want more!
This is not an act of vanity, but a condition Gail set forth in order for me to get permission to use them! Thanks Gail, it takes a highly skilled photographer to capture me smiling!
Described by The Evening Herald as, “raw and exciting, honest and sensitive, a soulful brand of rap,” Bristol’s trailblazing hip hop outfit, The Scribes play Salisbury’s The Winchester Gate, on Saturday September the 12th.
The Winchester Gate is a community pub just on the out skirts of Salisbury city centre which heralds live music, particularly supporting reggae and hip-hop culture. The event is free, The Scribe planning to begin at 7pm.
The Scribes are a multi-award-winning hip hop trio, whose unique blend of beatboxing, off-the-cuff freestyling and genre-spanning music has created a critically acclaimed live show quite unlike any other on the scene today, with appeal ranging far beyond traditional hip hop fare.
The Scribes at BeCider Festival
They have consistently proven to be an impressive and engaging live act with 2019 festival appearances at Glastonbury, Wilderness Festival, Shambala, Boomtown Fair, Bearded Theory, to name but a few, and have toured extensively across the UK and onto Europe.
The Scribes are also proud winners of both the Exposure Music Award’s “Best UK Urban Act” and the EatMusic Radio Award’s “Best Live Act”, and have provided original music for BBC and Channel 4 television, as well as being featured regularly on both national and local radio and media including BBC 1Xtra and BBC Radio 1 Introducing.
Hotly tipped as one to watch, The Scribes have shared stages with the likes of Macklemore, Wu Tang Clan, Dizzee Rascal, Kelis, Rag N Bone Man, Example, Lethal Bizzle, The Wailers, Jurassic 5, Sugarhill Gang, KRS One, De La Soul, MF Doom, and Souls Of Mischief, and are steadily establishing a growing following across the continent to add to their already significant fan base at home.
Check out their new EP, The Totem Trilogy Part 1 here.
Midlands Jon Lewis and Sierra Leonian Jah-Man Aggrey, are a branch of world dance collective Le Cod Afrique, who play a cheerful combination of multicultural roots-pop. A welcome addition to the Southgate’s continuing mission to provide a diverse range of live music to Devizes; and a grand job they’re making of it!
With Aggrey’s bright, chatty vocals and bongos, and Lewis’s acoustic guitar picking, this promises to be something great and wholly different around these waters. They’ve done the festival scene from Womad and Glasto to the Montreux Jazz Festival & Glastonbury, and their acclaimed album “Legacy” has been much featured on BBC Radio 3 & BBC 6 Music.
Daniel Jae Webb reports for Wiltshire 999s that the organiser of the house party, in Wick Lane, Devizes on Friday night, has been issued a £10,000 fine by Wiltshire Police, for ignoring a police warning.
Officers were called to the house and requested the party was be shut down in line with COVID-19 regulations, and claims their pleas were ignored. A spokesperson for Wiltshire Police said, (which I’ve had to amend the basic grammar of, like a primary school teacher): “As we continue to navigate through the COVID pandemic, we all have to take personal responsibility for our actions and adhere to the regulations.”
“Despite a warning, the organiser allowed the gathering of 80-100 people to continue, which is in clear breach of the current restrictions. Which states that ‘no gathering of more than 30 people may take place indoors, which would constitute a rave, if it were outdoors; amplified music, at night and due to loudness, duration and time it would likely cause significant distress to locals.”
Partygoers were dispersed and the hefty fine was issued. It’s a substantial amount for anyone to digest, the website stated, “there is no discretion given to set a lower amount.” Job done police, story dusted and archived. In my opinion, though, I’m afraid it feels far from over and arguably raises a number of questions.
I feel impelled ask then, firstly, was it shut down for safety reasons, due to the pandemic, or as the Wiltshire Police spokesman clearly states here, “amplified music at night would likely cause significant distress to locals?”
I cannot help but agree in this era of the pandemic we all must consider the risks and act accordingly, but the environment must be attained for people to want to do this, and take action appropriately, rather than feel they are being forced by law. Yes, the organiser and everyone who attended was putting their own health and the health of others at risk, and were foolish to do so. And when the officers attempted to engage with the group, they should have taken heed. Yet they should have wanted to do this of their own free will.
The harder the law, the more likely the rebellion toward it, though it may be important for the law to be enforced, an unaffordable fine such as this is draconian. It’s likely to have an adverse effect from the youth, who understandably see their lives disrupted in the same manner as everyone else, yet with no clear indication of ideas are being pitched to support them.
We’re casting our children out into the riskiest easing of lockdown ruling since it began, by returning them to school and college, and though you may deem it necessary, can you not also see they must feel like lab rats?
From all ancient philosophies and all of history we see a continuous pattern; people wishing to gather and celebrate is ingrained in our psyche and culture. And let’s face it, the conservative ethos set to stamp out partying long before this pandemic.
The breakup of the trend of the free festival scene in the eighties, only constituted a bigger problem to attempt to outlaw, the raves in the nineties. Retrospective youth cultures we can reflect back on now, and realise and agree the occurrences of these events were not only ground-breaking for artistic progression, and memorable for the attendees, but in reality, harmless fun.
Regulating and eventual normalising of the Criminal Justice Bill, saw something far worse; a political and social rejection of society, and a fight between police and people; a disgruntled conflict.
The psychological effect of lockdown is only just beginning to be felt, as we venture away from it. You feel isolation for the elderly was difficult, how was it for our younger generation who, by the illusion of timespan, six months feels far longer? The need in younger people to party must be recognised, as I’d imagine older generations reflect upon their youth misdoings. Rather we’re stamping our authority around and closing individual cases with a pat on the back and a job well done. We should, as a society in the dawn of change, be considering how we can arrange and organise celebratory events and parties sensibly and safely.
We have managed to adopt and implement new systems for shopping, for eating out, travel, and all other activities older generations wish to engage in, we should now focus on ways to keep the younger satisfied too. I don’t profess to have the answers, but believe by thinking together, and frankly, giving a hoot about our entire population, we can work out methods to accomplish it. Furthermore, if ideas were suggested and implemented so parties could go ahead safely, the need and want to break the law will surely lessen.
Break up the party, yes indeed, as we’re far from out of the water, but chuck people a paddle. They need a release; they need party and celebrate now more than ever in these trying times. If not, issue 10k fines to all who break the regulations; every grandad who forgets and leans over you in a supermarket, every businessman internationally jetting around the world, anyone, I dunno, who felt like driving across the country during lockdown to visit a castle, perhaps?
New song from our local purveyors of the perfect folk vocal harmony trio, The Lost Trades. Out for another Bandcamp Day, today, Friday, where the website drops it’s fees and gives the artists 100% royalties; and darn it, if this isn’t worth a quid when it constitutes a mere quarter-cup of coffee from a posh café these days, I dunno what is.
The origin of the idiom, cloud nine is largely debated. Explanations relating the US Weather Bureau of the 1950s denoting fluffy cumulonimbus type clouds, or the penultimate stage of the progress to enlightenment for a Bodhisattva, are mostly debunked. But who needs a debate when you’re in a definite state of blissful contentment anyway?!
All you need know is this tune will land you on said cloud as if you were the monkey-god Sun Wukong on a mission. We are blessed with all the hallmarks of a Lost Trades signature tune; the calming tingle of xylophone, the gentle sway of acoustic guitar, the heavenly vocal harmonies, and uplifting lyrics to boot.
As Pink Floyd, around the Meddle era, after a bout of heavy space rock, when it suddenly drifts into thoughtful acoustic mega-bliss, this song just drifts akin, without need of heaviness, of Simon & Garfunkel, perhaps, meandering along a river on a gondola, thinking; hey man, let’s, like, sing; and it’s gorgeous, as we may’ve come to expect from this Trowbridge-Devizes trio. I wonder if we’re looking at a track from the highly anticipated album, yet, even if no, it’s the perfect display of progression for the newly-formed trio, who’s exceptional solo careers combine to create just as the title suggests; sitting on cloud nine.
With Tamsin advancing with her album, and Phil some way in front, teasing us with a cover design for his, titled Revelation, it’s clear the solo side projects will continue, but as a trio they bounce perfectly off each other, though it’s hardly a shove, more mooch. Download it here.
Well blow me down, cover me in peri-peri sauce and call me Natisha if we’ve had a Devizine event recently. Understandable all things considered. Annoying though, being I passed on the idea of holding a second birthday bash last autumn thinking we’d host or co-host something better in the summer.
Crystal ball smashed, see? Face bothered? Yeah, a bit, y’ know. Hits to the website has taken a blow, yet that informs me just how many people were using it as a what’s on guide in times prior to lockdown. And anyhoo, for me it’s a hobby, like trainspotting, just without the trains….and spots. I still don an anorak for formal appearances! For businesses and performers alike though, it’s been a rough ride.
What was waffling about before a class 55 diesel locomotive chugged past me? Oh yeah, events. Well, you may/may not be aware town centre will be alive on Saturday, 5th September, when the Devizes Retailers and Independents group hold their Indie Day, celebrating our array of independent shops and cafes. There’s fun to be had, shopping and eating and stuff, with lots of prizes to be won, etc. Original idea was to have buskers around and about, but I believe that’s not so easy to do with current restrictions.
So, we plan to be in presence, centred in the rear garden of Brogans in the Brittox, purveyors of a fine breakfast, nice tea or coffee and scrumptious lunches and cakes. In which we will have some live acoustic music running throughout the day from, I dunno, 10ish till 3ish; that sound good?
Check dis out; Vegan Jaffa Cake style cake @ Brogans, say no more!
Rather hastily put together at short notice, due to getting approval on our proposal to observe social distancing, so if you come along, it’s essential you abide by them. We will track and trace, advise you to wear a facemask if wandering outside of your “bubble,” and Brogans has measures already in place too.
I think it’s important, the day as a whole, being local business have been hit hard by the lockdown. Yet equally is our side-stall, gigs were the bread and butter for musicians, sadly missed by the punter, desperately reducing performer’s revenue. That said, the budget I’m working on is zero and I’m asking the acts to come for the love of it. I sincerely hope if you come along, you can show your appreciation when I badger you with a bucket, thank you.
I also encourage them to bring their wares, CDs and any merchandise they have for sale on the table; and this goes for anyone passing by also, who may have a creation for sale. Make sure you drop past by 3pm to pick up any earning. Any earnings are 100% yours, I might get my arm twisted if your offer me a bacon butty, other than that I’m asking for nothing!
Said tip bucket will be shared between all participating performers at the end. Shutdown is around 3pm, giving us time to finish up and head to the Southgate where the amazing Absolute Beginners will play from 4pm, and I’m getting a round in for all the performers. That’s the plan anyway, subject to change as ever. In fact, I’m delighted to say Cath and Gouldy of Absolute Beginners are pencilled in to drop by around 1pm, before the gig at the Gate, so you can see for yourself how damn good they are.
Everything is in pencil at the moment, just wanted you to give you plenty of notice before you start planning a shopping trip to the Greenbridge retail park, or anything wildly hedonistic like that. Colour pencil though, rainbow; on the cards we have the one-man army, Mr Mike J Barham, who’s kindly to offered to setup a small PA while I rub my stubble, and pretend I know the technicalities he’s referring to.
Also, hopefully dropping by will be our brilliant Tom Harris of the Lockdown Lizards, Pewsey’s finest Cutsmith, and London-based Archie Combe, a classically trained jazz pianist, composer and musical director. I’ve not given them timeslots as of yet, but we’ll play it by ear, which will be a beautiful thing given the wealth of talent. There might be room for one more, if you’re up for it, let me know, or just drop by with a guitar on the day and I’ll try fit you in; can’t be any vaguer than that! But vague is my middle name (actually, it’s Lee, but c’est la vie, Lee.)
So yes, it only leaves you to browse past and enjoy the day. Danny Kruger is coming, and if he can make it so can you; don’t believe the hype! Let us know you’re coming on the book of Face.
How long does it take to take to put together a single, and how much longer during the lockdown?
I dunno; don’t ask me, I just write about this stuff, and don’t make a great job of that! I suppose you’ve got pull in all the elements, y’ know, paste together drums and vocals and stuff like that, and y’ know; okay, I’ve no idea what I’m talking about. But they do down at Potterne’s Badger Set.
Marlborough guitar tutor, singer-songwriter and bassist of local covers band Humdinger, Jon Veale’s single, “Flick the Switch,” is flicked on tonight. As the name suggests it immediately hits you square in the chops, despite the drums were recorded prior to lockdown, by legend Woody from Bastille, and Jon waited tolerantly for lockdown to end before getting Paul Stagg into Martin Spencer’s studio to record the vocals.
Jon Veale
Patience paid off, with a speedy vocal harmony intro, this song packs a steady rock punch, yet none too metal. It appeals wide, as a driving, rolling-stone-themed belter, and Paul’s vocals are stimulating, reminding me of a grinding Jamie R Hawkins. Yet, for what it’s worth, it’s the composition which makes this a winner; a couple of listens is all it takes to be singing the chorus, allowing the drums and guitar combo to wash over you like a warm wave crashing on a tropical beach, or, something like that, (apologies, I need a holiday.)
As well as this supportive team, the distribution through Emu Records, Jon also thanks Christine Hurkett who has produced “an insane” lyric video and cover for the song. “In case you’re wondering what did I do on this song,” he jokes, “I wrote the music, the lyrics and played all the guitars!”
I’m intrigued to hear more now, for if this was a track on an album it’d be a title track, unless Jon has something else up his sleeve, there’s already a previous tune featuring the vocals of our Sam Bishop on the iTunes link, so yeah, I dunno, don’t ask me, I just write this stuff!
Spent a recent evening flicking through old zines I contributed cartoons to, relishing in my own nostalgia. Not egotistically admiring the artwork, or even laughing, rather cringe at most of it. More so because every publication has a backstory; where I was, what the hell I was up to, and thinking, if at all, at the time. It’s like Gran’s photo album, to me. But I guess reminiscing is symbolic of this pandemic year, nought else happening.
With that in mind, Bill Green of local self-titled Britpop trio Billy Green 3 has a great story to tell, ending with a retrospective release on the streaming platforms. He met Simon Hunt at a party, they liked each other’s jumpers, shared a love of music from the Beatles to the Stone Roses, and hung out on the guest list with Chester’s indie rock band, Mansun on their ’96 tour.
Billy’s mate John ‘Jimmy’ Burns “simply wanted to be in a band and dressed well.” Never having played their instruments before, let alone in a band, one night they decided to form one with another of Billy’s friends, Mark Molloy. “We” Bill explained, “jumped about to ‘The Jam’ and had often spent nights drumming along on bars and tables.”
With Mark on drums, Simon on Vox, Jimmy on bass and Billy on guitar, Still was forming. Yet I guess Bill was reminiscing this foundation when deciding upon a name for his debut album as the trio, back in January, which we cordially reviewed, here.
“I’d written a few songs,” Bill continued, “so we set up second-hand instruments in Marston Village Hall, and banged out a few tunes, no covers mind.” He had been DJing the ‘Vroom!’ Club, at the Corn Exchange. “Ian James was kind enough to put us on that Christmas and New Year’s, and people actually came to watch, a band was born.”
Still played the local circuit and even had a dalliance with Virgin Records, having spent a day travelling around London knocking on doors and dodging receptionists and PAs. They booked studio time with Pete Lamb’s studio in Potterne, followed by more studio time at Holt Studios, where a personnel change saw Andy Phillips join on drums and later, James Ennis on guitar.
As a five-piece they played into early 1999, before calling it a day and believing the recordings were lost. Simon Hunt recently unearthed the cassette, much to Bill’s delight, and the demos have been remastered “and tidied up a bit,” with the help of Danny Wise. Returned to Bill, who has enthusiastically released it as an album called Destruction at the beginning of the month. “And here they are,” he excitedly called, “as a permanent record of the biggest indie band ever from Devizes…. called Still!”
“I’m just shocked that Marston has, or had a village hall,” I expressed.
“Rubble when we finished playing!” Billy kidded, possibly.
These are raw demos, but brilliantly echo a time of yore when Britpop was in the making and a newfound generation of garage bands were spawning like a wart on the bottom of commercialised pop. What is great about this album, aside the backstory, is it represents all those early influences of the scene and mergers in a way we might today take for granted, but were, in essence, different scenes and youth cultures divided by decades, at the time. Yes, these may have been bought together by his more defined recent album, Still, but this is essential history for fans of that album, as it opens the casing and shows the very workings of it. Similarly, it works more generally than that, as an insight for fans of the genre.
For if influences of Britpop’s ‘big four’ are represented here, in the jaunty attitude of Blur, the maladroit studiousness of Pulp, the euphoric ballads of Oasis, and the brashness of Suede, there’s also arty punk rock and psychedelic reprises, like Elastica’s affection for Wire, even the Beatles.
There are echoes of Britpop inspirations, ‘Respect Now’ feels like it’s drawn from the genre’s eighties influences; the Jam, up to the Stone Roses. Yet tracks like ‘Happier Now’ ring drum-based upbeat riffs, but slating postpunk vocals, and the sobering drone of The Smiths. Whereas, ‘Pale Impression, Man’ is closer indie enthused from post-punk gothic, rather the end of the era anthems, like the track ‘Catch,’ which rings Suede or The Verve.
‘Lady Leisure’ just rocks, simple; this was produced at Pete Lamb’s, along with the other first bout of garage-style rock, ‘Happier Now’, and ‘Superstars,’ the latter savouring the sound of the Kinks. Perhaps the most poignant are two the love ballads, which along with ‘Catch’ were recorded at Holt. Bill informed me, “‘Gav4Saf’ was a fledging love song written for a friend’s wedding.” But the beautifully crafted ‘LoveSong’ is a missing piece of Oasis, and as a stand-out ballad is the only track rightfully to be reworked for Billy Green 3’s modern album Still. The finale is the title track, with a sublime rolling bass guitar, Who-like.
“We hope there are some people who will listen and remember those heady days as fondly as we do,” Bill expressed, “it’s basically demos but such good memories!” It may help, but is not, I reckon, essential. I reason, quite regularly, that finding the early recordings of any artist is often more worthy than the celebrated later releases, when eagerness overrides rawness and economical recording sessions. They brought out the original enthusiasm, the roots to greatness. I favour ‘The Wild, Innocent and E-Street Shuffle’ rather than Springsteen’s ‘Born in the USA,’ for example. Even delve into bootlegs of Steel Mill, where despite the boss not being frontman, you can hear a distant echo of genius harking from the background. ‘Destruction’ is out now, as well as the single, ‘Catch,’ across the streaming sites, (Spotify) a notable antiquity of the local music scene.
He’s a fast learner, that Keanu Reeves; think how he progressed to “the chosen one” in little over an hour and half, while his superiors barely advanced at all; comes with the chosen one job, I suppose. Think cat scene, for example, where this novice presumed déjà vu, but twas a glitch in the Matrix.
Had a touch of déjà vu myself on Sunday, chatting with Essex’s Jamie Williams and the Roots Collective; alas I’m not the chosen one, until it’s time to do the washing up. Barefacedly had to check my own website, suspecting they’d been mentioned before. And I was right, Andy wrote a part-review back in July; I was briefly there too. Blame it on a glitch, rather than memory loss; this is 2020, glitches in the Matrix are abundant.
Regulars at the Southgate in Devizes, Jamie Williams and the Roots Collective are as the name suggests, but don’t do run of the mill. Cowboy hats and chequered shirts held a clue, but arrive excepting unadulterated county & western and you’ll get nipped. While there’re clear Americana influences, here’s an exclusive sound unafraid to experiment.
Jamie’s abrasive vocals are gritty and resolute, perfect for this overall country-blues sound, but it progressively rocks like Springsteen or Petty, rather than attempts to banjo twang back to bluegrass. It also boundlessly exploits other folk and roots influences, with a plethora of instruments and expertise to merge them into this melting pot. And in this essence, they are an agreeable rock band, appealing to commonalities; but do it remarkably, with upbeat riffs, tested but original material, and passion.
Not forgoing, I still need to be careful, and it was but a whistle-stop to the Gate, to wet my whistle. As current live music restrictions being the way they are, it’s unfair to use a gig review as a base for an act’s entirety. For starters, they’re missing bassist Jake Milligan, and drums deemed too loud to bring, James “the hog” Bacon made do with a cajon and bongos. The remaining two, Jamie and Dave Milligan, cramped in the doorway of the skittle ally with acoustic and electric guitar, respectively. Which, in a way, proves this band’s aforementioned adaptability and desire to experiment. The proof is the pudding though, and battling through the restrictions of the era, they came up with a chef-d’oeuvre.
Professionally, they scorched out a great sound nonetheless, mostly original, but a rather fitting Knockin’ on Heaven’s Door, with Jamie’s grinding vocals apt for a later Dylan classic. But this downtempo cover was the exception to the rule, their originals upbeat and driving.
To pitch a fair review, though, is to take a listen to their latest album, Do What You Love. The cover of which is unlike your cliché Americana tribute too; highly graphical splashes of colour akin more to pop, or a branding of fizzy drink. The songs match, a popular formula of cleverly crafted nuggets intertwining these wide-spanning influences. One track they did live from their album was accompanied with an explanation the recorded version used a brass section and even a DJ scratching, yet they made do with Jake joining James for a hit on the bongos.
They certainly enjoy what they do, and appear relaxed in the spotlight. This doesn’t make them tongue-in-cheek, like, say Californian Watsky & Mody, who blend hip hop into bluegrass for jokes. Rather Jamie Williams & The Roots Collective has evenly balanced said collective’s influences and conjured this celebrated, danceable and fun sound, flexible for a standard function, like a wedding party but would also liven up the day at a mini-festival.
As an album though it encompasses all I’ve said above, there’s cool tunes like Lazy Day, the orchestrated reprise If I met my Hero, and rather gorgeously executed ballad, Held in Your Glow, but also frenetic tunes, driving down the A12 with the windows open music, Red Hot and Raunchy being a grand, light-hearted example but I’m A Stone as my favourite, with its clever pastiches of Dylan and The Rolling Stones, it rocks.
You need not visit the Oracle, waiting with spoon-bending broods, Keanu Reeves, for her to tell you Jamie Williams & The Roots Collective are not some “chosen” livid teenagers trailblazing a new sound and striving for the spotlight, but a collective of passionate and talented musicians loving every minute of performing, and this comes across as highly entertaining.
The Smart E’s “Sesame’s Treet” bleeped through the hills of a west country location in 1991. There was an air of delight and mirth when someone pointed to the ridge yonder. “Look,” they chuckled, “the pigs are dancing!” Story checked out, I turned my head to witness a couple of police officers jumping and waving their arms, mocking the fashion of a dancing raver. Imitation we never took to heart, ravers were tongue-in-cheek about their chosen music; repetitive beats over a children’s tv theme was comical nostalgia, and not supposed to be taken seriously. As for the police, seemed as individuals observing, they saw the simple truth that there was no harm in what we were doing. Yet there was always hate in the establishment they took orders from, and we were months away from being grounded by force.
Hysterical measures by a desperate conservative government, who failed to see the value we held for something they couldn’t understand, an electronic art movement, principally, a modern folk music.
Authoritarians detest art, least the progression of art, seems to me. And it has been plaguing my mind of recent. Freedom of expression, they fear, encourages liberation, unrest and consequently, rebellion. Munich, 1937; Third Reich leaders combined two opposing art exhibitions into one, the “Great German Art Exhibition.” The first hall featured art which Hitler considered suitable, orthodox and representational, lots of flaxen folk gallantly posed like Roman deity sculptures, and local idyllic rural sceneries.
The second displayed what Hitler deemed “degenerate art,” contemporary, progressive and mostly abstract. But they ensured it was demoted, through exhibiting it callously, with disorder, and bestowing dissuading labels on it, describing “the sick brains of those who wielded the brush or pencil.” Hitler pushed stringent boundaries onto German artists, because he figured art was key to the rise of Nazism and his vision for the future.
Damn, he hated the Bauhaus. Forced the art school to close in 1933. Their angular designs which would herald the most efficient revolution of modernist architecture, were deemed communist intellectualism by the Nazi regime; give them an archaic Spalato Porta Greek arch, or be shot!
I see humour as my art, my aim is to make you laugh, whenever possible. In a week where a keyboard warrior reported me to Facebook for an ironic slate at Boris Johnson, yet a grammatically atrocious meme, stating they need not pay for a holiday, when purchase of a dinghy from Argos will see them put up in a hotel, is hailed as hilarious, I receive a message of eternal doom for the grassroots music industry, from a professional musician.
Gone, it seems, are the days of eighties “alternative comedy” of the Footlights, of Ben Elton and Rick Mayell scornfully ridiculing Thatcherism. Gone is the echoing mantra of Joe Strummer demanding “a riot of our own.” Today the art of comedy, and music, barely touches political matter, and never takes risks. Humour is subjective, as is all art, I accept this, but art enriches our lives, provides joy and entertainment, and should never be curbed or censored. Yet we find a consistent urge by blossoming traditionalists to dampen the spirit of artists.
The Trump administration eliminated the budget for the National Endowment for the Arts. An annual $150 million is a devastating blow to the industry, yet hardly major cost-cutting as it weighs in at only 0.004 percent of the federal budget. Akin to the ethos of the “Great German Art Exhibition,” history is peppered with examples of right-wing philosophy opposing art. The Stalinists enforced stringent principles of style and content, to ensure it served the purposes of state leadership, methodically executing the Soviet Union’s Ukrainian folk poets, according to the composer and pianist, Dmitri Shostakovich. Just as Chile’s coup of 1973, when Augusto Pinochet tortured and exiled muralists. Singer, Víctor Jara was murdered, his body presented publicly as a warning to others.
In the UK, the reopening of lockdown restrictions despite the pandemic still mounting, where it seems perfectly acceptable to travel to foreign lands on a luxury holiday and return without quarantine, where we are encouraged to shop till we drop and eat out in restaurants to save the food industry, and it’s commonly accepted our children will be used as lab rats in a herd immunity experiment, a government, who let’s face it, should have imposed a lockdown sooner, as was the example of every other developed nation worldwide, rather than fail to attend meetings with the World Health Organisation, and use unreliable companies to supply software and PPE to help combat the virus, simply because they are mates of theirs, will not allow us to have a sing-song in a pub.
Now, at first, I accepted the possible threat, but in light of recent lessening of restrictions, I fail to comprehend the logic in this, in continuing the restrictions on art and music. Given the historical facts surrounding the authoritarian’s apparent hatred of art, I am beginning to fear the virus is a being used as a convenient excuse to suppress and suspend creativity. Oi, loony leftie, shut up, stay in your home and watch the celebrity Pointless special.
I suggested, didn’t I, art is subjective? If Hitler liked the conventional, representative of Renaissance tradition, it was his prerogative, but there was no need to kill everyone simply because he couldn’t draw horses very well. Since the invention of photography can duplicate precise imagery, artists seek expression, inimitability and design according to their own mind. If it constitutes liberal or reformist ideals, why should it be devalued by opposing attitudes? The problem arises when oppression is enforced, freedom will return the fire, and will be back, refreshed, to bite them on the bum!
Just as the Jamaican JLP party of the right, battled burgeoning Rastafarians into the Wareika Hills in the 1950s, and labelled them “Blackheart Men,” or bogeymen, yet the surge of reggae and the popularity of Bob Marley today sees Rastas accepted in Jamaican society for the tourism it attracts, The Battle of the Beanfield in 1985 did nothing to control travellers in the UK. Less than a decade later the free party scene metamorphized into a rave generation which saw youths rally to support them. You cannot curb progressive movements in any art without risking a wave of rebellion. Ironically, the very thing they’re trying to prevent.
We’ve seen a return of the rave, police fearing a riot if they try to prevent them, but they reflect nothing of the magnitude of the nineties, yet. Unless grassroots music venues and pubs who were regularly supplying live music are reopened, even if that means social distancing measures are in place, it is inevitable you will open a gapping underground and future generations will strike back. This does nothing for the values conservatives uphold, or their vision of a totalitarian future, but furthermore severely punishes every professional in the arts industry from rock star to sound engineer, every prospering new performer in an era formerly to lockdown, I see equivalent to those swinging sixties; a time I suspect most baby boomers of tory ethos hold dear. An era where every youth was in a band, and focused on music rather than belligerent misdoings.
Yet still, gammons, I believe is the modern terminology, if the left is snowflake, persist in whinging about how youths have no respect, how they were flaunting rules in the park, gathering, conspiring, they so suspect, against them. What if they are, though probably just socialising as they likely once did in their younger years, what if they’ve some masterplan to overthrow this Tory charade; they surprised by this? How egocentrically imprudent, how selfishly insular. This is people’s livelihoods they are toiling with. As Bob Marley once said, “a hungry man is an angry man.”
All Cannings Pre-School are holding an auction for the summer! It includes tickets for days out and experiences, plus vouchers and gifts.
There will be a post for each item in the auction, with an image and description. Bidders will comment on the post with their maximum bid, hopefully increasing it to beat others over the weekend! All to raise essential funds for All Cannings Preschool. A very big thank you to everyone who has donated items for the auction.
Hi all, back with our regular updates. Though we are still some way to returning to normal, the event calendar is looking a little healthier as events are being added. Please note some events listed may have been cancelled and I’ve just not noticed, so check the links before planning anything.
And on Fri 14th August, Mad Dog Mcrea online live stream from Bath’s Komedia, and the Beat stream from Birmingham. Find links on the event calendar.
In Swindon, there’s an outdoor Amy Winehouse tribute at the Ridge.
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Sat 15th:
Devizes: Eddie Martin Band @ Southgate from 4pm.
Seend: Paranormal Investigation @ Old Bell
Amesbury: Eddie George Live at The New Inn
Swindon: Sophia & the Soul Brothers at the Cotswold Water Ski Park
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Sun 16th
Devizes Wide Community Yard Sale
Park Yoga @ Hillworth Pk
Jamie Williams & the Roots Collective @ Southgate
Bath: Two Tunnels Race
Kevin Brown’s Shackdusters Live at The Queens Head, Box
Swindon: Bandit & B2D Present: The Acoustic Sessions @ The Vic: with Mike Barham, Jordy Pearce & Jade Coral Feast. This is free entry, doors at 7pm.
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Tues 18th
Devizes: Vinyl Realm have a Vinyl Listening Session at the Literary & Scientific Institute
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And that’s the week. I’m delighted to say, I’ve worked on a proposal for live acoustic music at Devizes Indie Day on 5th September which has been pitched to relevant councils. Hopefully we will get permission to do this, and as soon as I know, you will too; if you keep in touch with www.devizine.com
Other things to look forward to: The Concert at The Kings has been cancelled this year, but check out some small, social distanced gigs at the Kings Arms in All Cannings: Los Pacaminos with Paul Young is sold out, but tickets are available for 23rd August with the Sloe Train Blues Band: https://www.ticketsource.co.uk/concertsatthekingsarmsltd1
You should note, and I’m completely upset about this, but Facebook has decided Devizine is a spam site and has blocked our URL. I am trying to rectify this, but to be honest, I’d get better luck finding alien life in the universe. For now, do as I am doing, try not to depend on notifications from us via Facebook, and go direct to the site, or follow us on Twitter, LinkedIn and Instagram. We plod on.
A cracker of a single from Swindon’s Paul Lappin this week, a Britpop echoing of Norwegian Wood, perhaps, but tougher than that which belongs on Rubber Soul. Broken Record is an immediate like, especially the way it opens as crackling vinyl and the finale repeats the final line into a fade, as if it was indeed, a broken record.
Shrewdly written, the venerable subject of a passionate breakup metaphors the title, “ignore the voice of reason, leave the key and close the door, do you think you’re ready, to become unsteady, like a broken record, you have heard it all before.” Paul does this frankly, with appetite and it plays out as a darn good, timeless track.
It’s head-spinning rock, intelligent indie. Harki Popli on tabla drum and Jon Buckett’s subtle Hammond organ most certainly attributes to my imaginings of a late-Beatles vibe. Yet if this is a tried and tested formula, as I believe I’ve said before about Paul’s music, he does it with bells on.
Sign away and get your say in how we slay the seagulls, even though there’s no such thing as seagulls, so they cannot be any causing trouble, here, or at sea. Gulls, Wiltshire Council, without reading National Geographic, could possibly mean. Love or hate them, they don’t taste particularly nice, even with a thousand island dressing, that much we can all agree on. And they can be annoying blighters, taking gluttonous tourist’s chips to, you know, survive and stuff like that. Unlike other wild animals which have the common decency to ask politely.
They squawk too, don’t they? Bloody annoying when you’re trying having a lie-in, pondering if Waitrose is lowering its class demographic these days. Dogs bark all night, owls hoot, cows moo, ravers have parties, but none poo on your Audi, keep them. So, if you’re enraged by our relatively low by comparison to coastal areas, increasing seagull population, fill in the survey and you could win a holiday for two to Southend-on-Sea.
Other innocent birds are exempt, even Tory supporters and other pests. Still, let’s bring those gulls in line with the fox and badgers of yore, tally-ho! Pests are pests, but can be subjective, I mean, I’m none too keen on wasps, and councillors who fail to respond to people’s enquiries, such as, is it possible to fix a swing in a park, stuff like that.
Glad they’re in charge of Wiltshire and not New South Wales, you know, with scorpions and black widows; a gull’s nip on the bottom might not seem so bad then. Read between the lines, one councillor woke up one morning with gull poo on their nice car and bingo, they’re going to convince you we need to punish them all! Next week, who knows, a hoodie might try to nick their hubcaps and all teenagers will be shot.
You know me, I’m impartial, but maybe we should stop pigeonholing and cull all pests. Talking of pigeonholes, how come we’re fine with pigeons, who outnumber the seagulls and are generally ranked higher in most lists of bird pests? They backhanding the council or what?! You can bet your bottom dollar those pigeons have signed, takes the pressure off them!
Is it still fashionable to be late for a party, or are we conversant enough to realise this refined art is solely perpetrated by egocentrics pretending to be too popular to be punctual? Rather, I’m am obsolete slob who can only apologise to Jay and Wise Monkey for my delay in reviewing his debut single featuring the vocals of Ben Keatt, but what excuse can I give? Here’s where fatherhood comes in handy, being too candid to be vain, least I can blame it on my kids and their perpetual school holiday! That said, I’ve gained some experience on Minecraft and, if I really try, I can do more than two keep-me-upsies.
Sunset Remedy is the track, released last Friday. Jay, Bath’s first external artist of Wise Monkey Music is a producer and instrumentalist, defined as “a bright shining light in the future of DIY and Bedroom Pop,” and I can only but agree. In the fashion of the classic neighbouring Bristol downtempo sound of Massive Attack and Portishead, it came as a surprise to note the soulfulness beats of this sublime track, as it melodically traipses with funky guitar, poignant lyrics and an uplifting air.
If Pink Floyd came after Morcheeba, they might have sounded a little something like this; neo-soul, the kind of song you wish was physical matter, so you could pluck it out and give it a cuddle! It’s breezing with nu cool, with a melancholic plod and would blend between tracks on Blue Lines unnoticed, save for perhaps this backdrop guitar riff, providing scope of multi-genre appeasement. Ben’s vocals are breathtakingly touching and accompanies the earnest lyrics and smooth beats perfectly. Yeah, this is a nonchalant chef-d’oeuvre, crossing indie pigeonholes and one I’m going to be playing until I hear more from Jay.
And don’t run away with the idea I’m singing it’s praises simply because of the delay in getting to reviewing it! So not me. You trust I speak my fractured mind, and anyway, time is an illusion to this aging hippy. If punctuality was money I’d be happily broke; procrastination rules, ok. No, I urge you grab this beauty, and show some love to Jay’s Facebook page.
The protest at Downing Street due to happen today has been postponed, but Tanya Borg has been working tirelessly to raise awareness of her campaign since we reported on it, a fortnight ago. So, a quick update on its progress and how you can help this Pewsey mum fight to get her children home.
Tanya’s two daughters, Angel and Maya were abducted by their father five years ago, and taken to Libya to live with his family. After being granted full custody in both nations, Tanya travelled to Libya to rescue them, but Tanya explains when they tried to get away, they were bundled in a car and driven away. She hasn’t seen or had contact with them since.
I’m glad to have received a reply from our email to Danny Kruger on the issue. He stated “I share your concern for the awful and distressing position of this family. Please be reassured I am in contact with Ms Borg and with the Foreign Office, and of course I share your belief that the British government should do everything it can on behalf of British citizens.”
Although Tanya expressed, she has had a reply from Danny, forwarding the response from the African representative, “it’s the same response I got two years ago saying they can’t help, but also that Danny Kruger can offer me a meeting.”
A glimmer of hope must go a long way for anyone involved in such a heart-breaking situation, as Tanya awaits a date for this meeting, “but it could be interesting,” she says.
You may recall hero, Wayne Cherry of Rowde, standing for a hundred hours in remembrance at the top of the Brittox in Devizes during November 2018, to honour those lost in the First World War.
For this year’s 75th VE day celebrations, self-isolating never stopped Wayne, he pledged to stand in his garden for 75 hours, raising £1,272 for the NHS fund.
Now Wayne is back, and he has decided to raise funds for SSAFA the Armed Forces charity, for VJ Day in August by completing a 75-mile trek around the Devizes area.
Under the banner, “Not Forgotten,” Wayne explains his reasoning, “treatment of allied prisoners of war by the hands of the Japanese army in Asia during WW2 was without question, barbaric. Those who survived struggled to come to terms with their experience and many would never talk about it. 15 August 2020 is the 75th anniversary of the end of the war in Asia and one that I shall be marking with respect.”
I asked Wayne how many days he planned to take over it. “I will have to start on Friday 7th,” he replied, “looking to average ten miles a day, which in reality is a push with a knee replacement and diagnosed with Polymyalgia Rheumatica, which is painful hips and shoulders.” The walk will end on Friday 14th August. “I just grit my teeth and get on with it,” he continued, “nothing compared to those who have paid the ultimate price for the freedom we enjoy today.”
Wayne will start his route each day leaving from Wadworths 10am. He will head towards the Market Place on Northgate St, through the Little Brittox, along the High St following Long St, to Southbroom Rd, and continuing onto Sidmouth St to Maryport St, through the Brittox, and back through the Little Brittox into the Market Place, up to Snuff St, along to New Park St and finally, heading back towards Wadworths. That’s approximately a 2-mile circuit, 5 times a day.
“It would be very much appreciated,” Wayne expressed, “if anyone would like to accompany me for as little or as long as you wish, I will be carrying a collection bucket each day for anyone who may wish to make a donation.” Alternatively, if you join his Facebook group, here, you can follow and support him, and find bank details, if you would like to contribute this way.
I’d like to take this opportunity to wish Wayne the very best with his astounding effort, and congratulate him on the amazing fundraising he has done to date already. I know the people of Devizes and the surrounding area will rally to support him, as they have done in the past. Go Wayne Cherry, you are an inspiration to us all.
Relished in your own nostalgia or, if you’re too young to have lived it, curiously influenced by a bygone era, no one can deny the eighties was a decade of musical progression in a similar manner to the sixties. From the beginnings of the decade, pop showcased a legacy of youth cultures, from glam to rockabilly, from punk to two tone, from the refurbished mod to ironic ethos of the skinhead, and from frilly-sleeved new romantics to jogging-bottomed breakers. The pioneering genres of electronica and electro saw hip hop become the new rock n roll, but it would take some time to find a niche in the UK. Naturally, by the end of the decade, a new driving force via electronics would saturate the underground, as acid house exploded, and we stomped into the following decade with whistles and white gloves.
While it developed, there was a period, a kind of no-man’s-land of youth culture, a void in creativity in which the hit factories strategically bounded out of the trenches and perpetrated a full-scale attack. Make no mistake, pop crime is wrought in every decade, manufactured atrocities occurred throughout every era since pop begun, but never on this scale. It was mass genocide with diddy-boppers.
“It was mass genocide with diddy-boppers.”
Maliciously, the target was aimed younger than ever before, the demographic was 10 to 14-year olds. The commanders were specialists in the field, making Simon Cowell seem like Beethoven by comparison. Three in control of the fiercest battalion, one Mike Stock, the other Matt Aitken and last, but by no means least, Pete Waterman. Fortunately, I had just surpassed their target audience, and thanks to Zeppelin, Hendrix, and others, our generation rewound to previous eras for protection against the shelling, eagerly awaiting rave. But prior, when I was the right age, I fell hook, line and sinker; most pre-teens do.
This is why it’s important to note, Stock Aitken Waterman may’ve redefined pop crime to an all-time low, but not until near the ending of the decade did the crimewave truly flourish. Plus, they did not offend alone, many tried before, no matter how petty the crime, they committed them. SAW’s first singles, Divine’s “You Think You’re a Man,” and Hazell Dean’s “Whatever I Do,” only charted at numbers 16 and 4, respectively, in 84, their first number one, “You Spin Me Round (Like a Record)” by Dead or Alive the following March, but all were petty compared with the carnage of their perpetual recidivism during the decade’s second half, dubbed an “assembly line.”
“Petty compared with the carnage of their perpetual recidivism during the decade’s second half, dubbed an “assembly line.”
I tried not to choose the obvious then, the classically nauseating novelty songs which slayed for humorous effect. From the only way we Tweeted in the 80s for example, the Birdie Song, to ethnic stereotyping for kicks; shaddap your own face, Joe Dolce. Or randomly pushing pineapples, shaking trees, and wishing you could fly right up to the sky. Never forget, there’s no one quite like Grandma.
Neither have I selected the memorable later evils of Stock Aitken Waterman et all, where the naive befell to their despicable set formula, from Bananarama to Cliff Richard, and a showcase of new recruits, many from Ozzy soaps. No, I favoured to concentrate on the period just prior, when I was susceptible to pop crime, an accessory to murder; for actually buying these 7″ monsters, and, at the time, loving them. We tend to block the worst parts of our memories and focus only on the highlights, so to buy a “best of 80s” 16-CD boxset for a fiver from a supermarket is deflecting the whole truth. These are the commonly cited worst songs of the period, Europe’s Final Countdown, Rick Astley, and so on. But to list the renowned offenders would be to simply copy and paste SAW’s discography; the truth being, we had some other serious pop crime in the mid-eighties, which went largely unpunished.
“To list the renowned offenders would be to simply copy and paste SAW’s discography.”
See, credit where credit is due, Vanilla Ice deserves some recognition for not only publicly apologising for his wrongdoing but elucidating the reason for pop crime. “They waved a massive cheque in my face,” he later explained, “What would you have done?” We could do with the staff of the TV show New Tricks to reopen these case files and investigate. The only problem I foresee with that is Dennis Waterman, who was partially guilty himself.
Here then I present evidence to the court, in hope pleading guilty by circumstance may lessen my sentence. Forgive me Marley, for I have sinned. Yes, the pop crimes which I naively involved myself with, the ones I played over and over, and live to regret my foolish immaturity. I warn you now, this was no simple to task to access the archives of my memory, it was dangerous to both mind and ear, musically akin to regenerating Frankenstein’s monster. But do not fear, fear will only lead to the dark-side, and you might just permanently injure yourself mentally by the horror of these video nasties, or even, open the closet to some skeletons you had long forgotten about. Tobacco needs a government health warning, if these tunes resurfaced, it would be advisable to do likewise. You have a lot to answer for, YouTube.
1: Five Star: System Addict
I confess, I loved Romford’s would-be-Jacksons siblings, period. My uncle lived in Romford and driving to visit, I’d keep a keen eye out in hope to catch a glance of them, until the Daily Mirror reported they moved to a plastic palace in Berkshire.
Buster Pearson, their Jamaican-born father and manager had an impressive résumé, working with soul and reggae legends Otis Redding, Jimmy Cliff, Wilson Pickett, and Desmond Dekker. From “All Fall Down” their debut single, unconcerned if I fancied Doris or Denise, I loved everything about them, until their flopped hard-edged dance comeback in 1988.
I loved their style, their soulful harmonies, and choreographed moves; ask me my favourite album in 85, it would’ve been Luxury of Life. I was 12, my only defence. I had some years before comprehending the crime of manufactured pop; today I can only cringe. This video for 1986’s System Addict says it all, a warning, I think, about the over usage of computers. Maybe they should’ve been warning about the over usage of shoulder pads.
2: Jermaine Stewart: We Don’t Have to Take our Clothes off
The junior disco at Pontins, Camber Sands in 1986, I didn’t know what to do next, but I knew I’d reached first base with a husky-voiced brunette with zips on her sleeves. Then this song came on, which I liked, but would be the stinger in any chance of ever taking the relationship further. Maybe for the best, the song was commenting on the AIDs pandemic and probably lessened the funky Jackson-a-like Jermaine Stewart’s chances of copping a shag too. I imagine the girl saying, “but you said, in the song….” as she holds up some cherry wine suggesting they danced all night instead. And an infuriated Jermaine replying, “I know what I sung, baby, but that’s not my words, just a song, come on….”
Sadly, and perhaps ironically, though, Jermaine died of aids-related liver cancer in 1997. Still, a foul pop crime, though only a single, first time offence.
3: Falco: Rock me Amadeus
Someone, somewhere thought it would be a good idea to rap in Flemish, and, fortunately for Falco, it was. He is the best-selling Austrian singer of all time. But here’s a massive selling pop crime single which time doesn’t do justice to.
At the time, 1985, I couldn’t get enough of this avant-garde trash, and the plush video of powdered-faced Germanic bourgeoisie busting out of their corsets. More so when I mistook a line, thinking he used both the F and C swear words, which was actually, “Frauen liebten seinen Punk,” “women loved his punk.” But the follow-up “Vienna Calling,” didn’t do it for me, and two things I learned from Rock me Amadeus, if anything, Mozart didn’t rap and the wonder of the one-hit-wonder.
4: Sam Fox: Touch Me
Interesting video portraying Samantha Fox as an established rock chick when the truth was, I always thought, she was famous only for getting her tits out in the Sun newspaper. Hers were, undoubtedly, the first pair of knockers I’d ever seen, and for that I’m truly grateful. But reinventing herself as rock star was a step too far.
Though, it was her mum who sent photos of her in her under-crackers to the tabloids, while the same year, a sixteen-year-old Samantha struggled with a pop career. In ‘83 “Rockin’ With My Radio” was her first single, produced by Ray Fenwick formerly of the Spencer Davis Group. Makes you wonder; mum distracts daughter from the depravities of the music industry my encouraging her to get her tits out for the newspapers. A lesson learned, never trust your mum if you want to be a pop star.
Me, I don’t care, I never wished to wallow in my brother’s obsession with Sam Fox, not because I was a prude, just more of a Linda Lusardi kind of kid, and, secondly, this title track from Jive Records’ 1986 album “Touch Me,” is horrifically criminal, and, nice tits or no, that is all.
5: Trans X: Living on Video
As with poor ol’ Sam Fox, Trans X is listed here due to assumption. Research again proves me wrong. As I figured, here was a mid-eighties single which desperately harked back to the synth-pop sound of the early eighties, rather than took the progressive stance with music technology other similar bands were. In actual fact, the 1985 version I had of it, which I thoroughly loved at the time, was a remix, the original dating back to 1982, bang on time for its style.
Trans-X were from Montreal, their only defence, passing the buck to the DJ for his remix is akin to getting your mum to take your speeding points. Even for 82 it sounds unpleasantly tacky. Mud sticks, it’s barbarism by today’s standards, in a manner Blue Monday doesn’t; I rest my case.
6: Nick Berry: Every Loser Wins
Wicksy, you wet blanket. If promoting your slushy song through your soap opera character isn’t cringeworthy enough, the character dedicated it to mismatched couple, Michelle and Lofty, and labelled it “their song,” only for Michelle to jilt Lofty at their wedding; such is EastEnders. For Berry though, this mawkish crime against pop swashed in enough sentimental sludge for it to hit number one in the charts for three weeks, the second biggest selling single of 86, and helped him ditch his contract with the soap.
Yeah, I bought this one, sucked in under false Disney-esque pretences that every loser does win. In reality of course, they don’t, else they’d be called winners instead by the terms of the word’s definition; idiot. Please, let’s never speak of it again.
7: Huey Lewis & The News: Stuck with You
There is no honour among thieves with pop crime. Huey Lewis cried “Ray Parker Jnr started it, sir!” When he did blatantly nick from Huey’s track “I Want a New Drug” for the Ghostbusters theme, and they settled out of court, but Lewis blabbed, so Parker hit back, a violation of the agreement to not discuss the settlement publicly. They both should’ve been slimed.
It was the reason why Huey Lewis got involved with rival movie Back to the Future, the reason I got into the group. It sure was a captivating moment, Marty McFly avoiding 1955’s bullies on a self-made skateboard with Huey Lewis and the News blasting The Power of Love in your face.
Yet, I cannot think of a better example of a band who got progressively worse as they went on. Someone must have known, and did nothing to stop them. Fore, they called their 1986 album, it destroyed any shards of creditability, foreskin more appropriately, and one which should’ve been circumcised because of the build-up of cheese. I only choose this pathetic pastiche of doo-wop barbershop over Hip to be Square, as that was at least upbeat, that is all
8: Maria Vidal: Body Rock
Graffiti artists might fancy the idea of telekinetic spray cans as featured in the video for Maria Vidal’s Body Rock, but while I supported the commercialisation of hip hop, at the time, this was step too far.
Agreed, left up to the comparatively documentary film, Wild Style in 1983, we may never have heard of hip hop in eighties Britain. Though Beat Street, the following year, was commercial, it had clearer narrative and higher production values. Beat Street was boss, but movies on the subject flowed thick and fast, and increasingly wrecked the reputation of the genre. Breakin’ kicked it off, and its sequel followed within the year, Body Rock took it to a whole other level.
Here is a song which advises one to move out of the way rather than stand up for yourself; hardly “street.” But what is more, it’s a template for the crimes of the hit factory, this and eurotrash, which is why we mention the next pop crime.
9: Spagna: Call Me
Ivana Spagna took it upon herself to assume she was famous enough to mononymous her name, and through her work with Italo disco duo, Fun Fun in her native Italy it might have been true. We didn’t know of her until this monster of a pop crime, Call Me.
Euro-pop would never regain the success of Nena’s 99 Red Balloons upon the UK charts without manufacturing a revolting formula. It’s catchy but empty of content, verses do not matter, just repeat the chorus, spray enough hairspray to bore a hole in the o-zone above you and jump into a stranger with headphone’s Suzuki and you’ll be fine. The criminal aspect so widely attractive to Pete Waterman went unpunished and, still at large, she continues to offend.
10: Peter Cetera: Glory of Love
Nothing wrong with fighting for honour and being the hero, they’ve been dreaming of, but, put a bit of umph in it for crying out loud. Peter Cetera was from acclaimed seventies band Chicago, it was sentimental slush but with grace. Take his song “If You Leave Me Now”, a song he wrote for their tenth album and gained Chicago its first Grammy Award. Begging the question then, what went so terribly wrong in the mid-eighties?
It seems the pop crime pandemic was at large and no one was safe; the soft rock power ballad proves it. This mullet-driven monstrosity is so nasty, so corrupt if you hear it through to the end, you’ll puke, Karate Kid or not. Wax on, wax off, sweep the leg, yes, this didn’t do anything for the sequel expect cause the audience stomach upsets. Yet, as with all these songs, at the time, I thought it was great, I thought it was a romance advise line, and ultimately resulted in years of hurt and anguish; no one was ever this romantic in 1985, not even Chris de fucking Burgh!
From Robert Johnson selling his soul to the devil at the crossroads to bipolar bank robber George “Babyface” Nelson, there’s so many Americana mythologies and folklore veracities apropos in the Cohen Brother’s “Oh Brother, Where Art Thou?” I could draft a lengthy essay. One I’m reminded of last Sunday down our trusty Southgate, was the scene depicting the Carter Family singing “Keep on the Sunny Side” at a governor’s election rally. Reason; there’s something simplistically bluegrass about The Lost Trades, matchless vocal harmonies, ensuring the circle is unbroken, even in a distant Wiltshire.
It was only a whistle-stop to wet my whistle, and when I did arrive the trio I’d came for where on their break. Tamsin was selling handcrafted spoons and lesser original band merchandise such as t-shirts and CDs, Phil was lapping the pub chatting enthusiastically and Jamie was having a pint with his family. None of this really matters, as individuals, we’ve rightfully nothing but praised these marvellous local musicians. When they formed a more official grouping and the Lost Trades were born, we broke the news. Neither did it matter, at the time, that I would be unable to attend their debut gig at the Village Pump. I had my new writer Helen offer to take my place, and what is more, I knew I’d be catching up with The Lost Trades in due course; couldn’t have predicted the impending lockdown the following week.
Yet prior to Sunday I had ponder if there was anything else to write about these individuals we’ve not covered in the past, but I was wrong. The angle can only be the difference between them as individuals or periodically helping one another out at a gig, to the trio The Lost Trades. Because, when they did everything was very much adlib, with the Lost Trades three minds are working closer than ever before, and if two brains are better than one, three is not, in this case, a crowd.
It wasn’t long before they resettled, and huddled in the doorway of the skittle room playing to the crowd in the garden, as is the current arrangement for these brief acoustic sessions at the Gate. They joyfully toiled with a cover of Talking Heads’ “Road to Nowhere.” This was followed by my favourite track from Tamsin’s album Gypsy Blood, aptly, “Home.” Topped off with a sublime version of Cat Stevens’ “Moon Shadow.” But I did say it was a whistle stop.
In consolation I picked up their self-titled debut EP, something I should have done months ago. With this beauty in hand I could take a little of The Lost Trades home with me; it’ll play perpetually through those thoughtful moments. Recorded in session at The Village Pump, “because we really like the acoustics in there,” explained Tamsin, here is a recording oozing with a quality which, despite predicting, still blew me for six. As I say, it’s the combination of these three fantastic artists in their own right, as opposed the jamming we’ve previously become accustomed to, which really makes the difference.
Five tunes strong, this EP equally celebrates these three talents and harmonises them on a level we’ve not heard before. The acapella beginning of the opening tune, “Hummingbird” glides into stripped back xylophone and acoustic guitar, and is so incredibly saccharine, it trickles like some beatniks performing on a seventies Children’s TV show. Yet, it works. In true Simon & Garfunkel manner, it’s not mawkish, just nice.
Hummingbird serves as a great introduction, but is by no means the template. As is commonplace, from the Beatles to The Wailers, The Trades, I detect, conjoin the writing effort but the lead singer seems to be the one who plucked the idea. “Good Old Days,” then, screams Jamie at me, who leads. It has his stamp, ingenious narrative centred around thoughtful prose. “Wherever You Are,” likewise is a Tamsin classic, wildly romantic and wayfarer.
“Robots,” follows, the quirkiest and perhaps erroneous after an initial listen. Yet through subtle metaphors the satirical slant charms in a manner which nods Phil Cooper, and why should one stick to a formula in subject matter? Because the sound is authentically Americana of yore, Robots superbly deflects the notion it’s lost in a bygone era and cannot use modern concepts, and Robots ruling the world is, however much a metaphor, still fundamentally sci-fi, and that makes for an interesting contrast. With that thought in mind, this could be the track which stands out for originality.
As in this review, we’ve returned to the unbroken circle. In full circle the final song, “Wait for my Boat,” is a sublimely cool track, casting a direction the trio are clearly heading. For although Jamie leads, there’s elements of all three middle tracks combined in this sea shanty sounding song. It’s metaphorical, romantic, with sentimental narrative. It wraps up the EP perfectly, leaving you hanging for the album they’re working on.
Yes, the Lost Trades is a live group you need to see in person, but this EP really is way beyond my already high expectations. It’s combination of talents is honest, bluegrass-inspired acoustic gorgeousness you need in your life.
The pandemic has pulled us into a time of change for everyone, we find methods and ways around restrictions to try to continue, best we can, the way of life we’re used to living. Historically eras like these see great innovations and ideas which now have become commonplace. Online meetings through Zoom, drive-in concerts and many new-fangled concepts are falling into place, but sometimes, the best ideas are the simpler ones. Devizes resident Laura Johns had such an idea, the kind that if she was a cartoon character it would be represented by a lightbulb above the head!
Laura has created a Facebook group dedicated to holding a town-wide, community yard sale and intends to run the first one on Sunday August 16th, running from 8am-5pm. Anyone is free to host a yard sale in their garden or close green space on that date, and the group are hoping it’ll turn the town into a whopping great car booty, without the cars; kinder on the environment too, Laura!
I reckon this is a great idea, and something which has the potential to be a regular event. Many of us undoubtedly have been having a clear-out during lockdown, made some home improvements, and now have “stuff,” for want of a better word, clogging up space in their homes. The obvious banning of car boot and jumble sales means you’re restricted to donating to charity shops, dumping them at the recycling centre if you get a slot, but selling via Facebook pages is the only way you’re going to make a little money back. Of course, you could hold a yard sale at any time, but with this clever scheme, we will all know when and where.
All participates are invited to set their own yard sale up, freely, and they will be included on a map of the town, so buyers are free to roam the town and browse. Last count, 16 people wish to set up their own yard sale, and more are joining. My work is done notifying you and hoping you’ll join in on the day, setting up your own, or browsing the yard sales on offer. Laura and the team hope to extend the idea to neighbouring villages, where an alternative day will be set for each village. Who knows how far this idea will catch on?
So, join the group for more information and updates as they develop, and support this ingeniously simple idea. Oh, and there’s a Facebook event page you can respond to; great if you wish to attend as a buyer but not participate in the selling part. I like it so much it’s my pleasure to donated a little poster/header for the group, and you can be sure Devizine will be supporting the event as best we can, provided there’s not too many pubs en-route!!
Only gamers of a certain age will know of The Attic Bug. Hedonistic socialiser, Miner Willy had a party in his manor and wanted to retire for the evening. Just how a miner in the eighties could’ve afforded a manor remains a mystery; but that erroneous flaw was the tip of the iceberg. In this ground-breaking ZX Spectrum platform game, the Ribena Kid’s mum appeared to guard Willy’s bedroom, tapping her foot impatiently. Touch this mean rotund mama and she’d kill you, unless you’d tided every bit of leftovers from the bash. Turned out, months after the game’s release, one piece, in the Attic, was impossible to collect. Until this glitch became public knowledge, players were fuming as an intolerable bleeping version of “If I was a Rich Man,” perpetually looped them to insanity.
I swear, if I hear that tune, even some forty years on I cringe; the haunting memory of my perseverance with the impossible Jetset Willy. Music in videogames has come a long way, thank your chosen deity. Yet in this trend of retrospection I terror at musical artists influenced by these cringeworthy clunky, bleeping melodies of early Mario, or Sonic soundtracks; like techno never happened, what are they thinking of? It was with caution, then, when I pressed play on the new single from Swindon band “Atari Pilot.” I had heard of them, but not heard them. I was pleasantly surprised.
For starters, this is rock, rather than, taken from the band’s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geek’s wet dream. While there is something undeniably retrospective gamer about the sonic synth blasts in Right Crew, Wrong Captain, it is done well, with taste and this track drives on a slight, space-rock tip. Though comparisons are tricky, Atari Pilot has a unique pop sound. No stranger to retrospection, with echoey vocals and a cover akin to an illustration from Captain Pugwash, still this sound is fresh, kind of straddling a bridge between space-rock and danceable indie. Oh, and it’s certainly loud and proud.
A grower, takes a few listens and I’m hooked. Their Facebook blurb claims to “change the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.” After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle. But Atari Pilot returned in 2018 with an acoustic set at the Swindon Shuffle. The full band gathered once again the following year with live shows and a new set of “Songs for the Struggle.” This will be the title of their forthcoming follow-up album, “When we were Children” being the first single from it, and now this one, “Right Crew, Wrong Captain,” is available from the end of July.
Its theme is of isolation, “and defiance, after the ship has gone down,” frontman Onze informs me. There’s a haunting metaphor within the intelligent lyrics, “you nail yourself to the mast and you pray that everything lasts, you just want to know hope floats, when the water rises, coz it’s gonna rise, take a deep breath and count to ten, sink to the bottom and start again.”
There’s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands I’ve highlighted previously, Talk in Code and Daydream Runaways, Atari Pilot would not look out of place billed in a festival line-up with these acts, and would add that clever cross between space-rock with shards of the videogames of yore, yet, not enough to warrant my aforementioned fears of cringeworthy bleeps. Here’s hoping it’s “game over” for that genre. That said, thinking back, when you bought your Atari 2600, if you recall, oldie, you got the entire package of two joysticks and those circler controllers too, as standard; could you imagine that much hardware included with a modern console? Na, mate, one controller, you’ve got to buy others separately.
So, if decades to come we have a band called X-Box or PlayStation Pilot, I’d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!
Just to clear up confusion prior to mandatory face covering in the UK from July 24th, we’ve pictorially listed below those undoubtedly exempt from wearing a mask. Everyone else should either wear one when shopping, or apply to the Hidden Disabilities charity for a Face Covering Exempt card for 55p, available here.
Exemption cases include:
young children under the age of 11.
not being able to put on, wear or remove a face covering because of a physical or mental illness or impairment, or disability.
if putting on, wearing or removing a face covering will cause you severe distress.
if you are travelling with or providing assistance to someone who relies on lip reading to communicate
to avoid harm or injury, or the risk of harm or injury, to yourself or others
to avoid injury, or to escape a risk of harm, and you do not have a face covering with you
to eat or drink, but only if you need to
to take medication
if a police officer or other official requests you remove your face covering
There are also scenarios when you are permitted to remove a face covering when asked:
If asked to do so by shop staff for the purpose of age identification.
If speaking with people who rely on lip reading, facial expressions and clear sound. Some may ask you, either verbally or in writing, to remove a covering to help with communication.
And, if you are:
Big Hero 6
With only a line across his eyes as facial features, this friendly Disney robot is so obviously exempt. Even if he was to have a mouth and nose, he’s a robot anyway, so there.
Rorschach
Alan Moore’s mysteriously ruthless detective Watchman, Rorschach may have been a bit of a mentalist, but, as it turns out, he was way ahead of us all in wearing a facemask. Although, self-morphing inkblots on your mask are not compulsory in the UK, yet. Rorschach never took off his mask until he was forced to do so. Be like Rorschach.
Hello Kitty
No milk for Hello Kitty, this manga cutie is one feline without a mouth and only a button nose; no need for a facemask. If you’ve already bought a facemask and wake up on the morning of the 24th July realising you are, in fact, Hello Kitty, perhaps you could make it into a cute hair bow.
The Silence
Steve Moffat’s creepy alien religious order, The Silence maybe the scariest Dr Who monsters ever. However, without a mouth or nose anyone converted to the order are exempt too. Even if they weren’t, are you going to pull one up on it in the queue for Lidl? No, I thought not; just take a photo and inform the Facebook police.
Marvin the Martian
Mars has an excellent Covid19 infection R-rating of zero, so even if this lovable Loony Tunes alien had a mouth and nose, he’d still be exempt. Interesting to note, he first appeared in a Buggs Bunny cartoon in 1948, and there’s no telling baby boomers anyway.
Optimus Prime
He may be an extra-terrestrial synergistic blend of biological evolution and technological engineering, but you have to hand it to the leader of the Autobots, he’s been covering his mouth and nose with a metallic plate at least since their awakening 1985, if not the pre-historic era when they first crash landed on Earth. Boris Johnson himself stated that, with the exception of Lightning McQueen, vehicles do not have to wear a facemask, even if they do turn into robots. It was in fact, the only comprehendible statement he’s made on the matter to date.
Neo
If, like Neo, you find you are but a digital version of yourself trapped in a virtual reality world created by machines to use humans as fuel, you are exempt from wearing a facemask as the world is not really real at all, ergo neither is the virus anything more than malware and nothing good scan with Norton won’t fix. This applies even if Agent Smith doesn’t try to silence you by temporarily sealing up your mouth. Anyone else with an alternative conspiracy theory should check with their online geek blogger before shopping without a facemask.
Intoxication levelling nicely, some friends and I trekked up the hillside and looked down at the sight below. Well aware it had become fairly large, as was the illegal rave scene in the summer of 1992, we hadn’t fathomed just how large. Overwhelmed by the unexpected magnitude, I sighed, doubting this would ever be allowed again. Still, we had no idea then, we were part of an historic moment; didn’t really care or wish to be.
Ravers were apolitical, we only wanted to celebrate life, dance harder than any generation prior, and masticate lots on chewing gum. Yeah, it was anarchy, but it was a passive anarchy, there was order and morals amidst the chaos. It was more movement than youth culture, as we only did what ancients have always done, but embracing technology to do it, and while previous youth cultures had a set uniform and rules, rave was a melting pot of expression which anyone and everyone would succumb to, regardless of their previous cultures, age, gender, race or religion. It was, basically, too radical for the conventional government.
When I eventually made it home after the festival of Castlemorton Common in the Malvern Hills, the first thing I did was check my parent’s newspaper, and smiled to myself at a job well done; then I slept for three days. Lechlade on the Beltane weekend may have made the front page of the broadsheets, now this had similar clout with the tabloids; still didn’t fear it would be the final nail in the coffin. An estimated forty-thousand revellers flocked here; government were eager to act. A change in the law was conceived the following week, and would take a couple of short years to implement; a final stand from a crumbling, desperate Conservative substitute of Thatcherism. Many of the sound systems jumped ship and took off to Europe, and although this spread the culture worldwide, those left in Blighty were forced into smaller, localised events, large scale paid raves and the clubs.
Nowadays I sigh, all I have is diminishing memories and fantastical fables like a quibbling old wino. Unbelievable to youth today, we took no photographs at the time; to bring out a camera at an illegal rave in the early nineties would’ve been frowned upon. But, I’m okay with that, never the diehard, content that it is now just a treasured part of my youth. As with every trend, they usually return, two decades normally, when the influence of parent’s stories inspires their youth. When 2010 hit, then, I was prepared to venture to the loft in search of my white gloves and whistle, just, you know, for nostalgic reasons and to hark to youngers about how we used to do it, Uncle Albert style. I don’t think I could stomach a full-on sess, the convoys, dancing all night to banging techno, probably just give me a banging headache.
The thing is, I doubt the rave scene ever completely ended, that intransigents still party and press rarely jump on it. I attended one over a decade ago in Savernake Forest, but it didn’t have the same vibe. Pushed further underground, the gabba-techno, the attitude of ravers reflected a much harsher vibe, of punk, of pure anarchy. Regrettably, the happy vibe which once reigned had passed, due to the outlawing of the culture and the spread of harder drugs. I winced at a report in the Independent which spoke of “a rave just like the old days,” when it continued to suggest ravers heard of the event via Twitter.
It was always just tremoring in the mountain. For rave is akin to the monkey-god, Sun Wukong, trapped under the mountain, awaiting release. How do I feel about three thousand youths gathering at a disused RAF airfield on Charmy Down near Bath? I feel the nature of Monkey is irrepressible! It is inevitable, if, for whatever reasons, even a worldwide pandemic, if you curb freedom you will get a backlash. Yes, it’s horribly ignoring social distancing, but so are the idiots fighting outside every Spoons in the country, and even if I’ve not attended for the longest, even if the original ethos is waning, I believe the media desire to exemplify an illegal rave without revenue for big business, negatively. I’m firmly convinced, from experience, that in the eye of the storm, any modern equivalent of what we once did would never be as vehement or disparaging as a brawl in a Wetherspoons.
So are the shoppers, the traditionalists protesting against the wearing of masks, so are the pensioners in care homes, the children in the parks, so is everyone heading for the beach every weekend. Let’s not fool ourselves, millions of us are now ignoring, rebelling from the lockdown restrictions, we only need to stop to contemplate it all, and give self-policing on social media a break. Our once happy lockdown bought about peace and tranquillity, now is causing frustration and a rebellious nature, a bit like the downfall of raves. What then, could be more apt? Instead of scorning at them, attempting to stop them, perhaps the government and police forces should suck it up, accept its inevitably and work on methods to stage relative social distancing measures for them.
What do I think of the media exposing the return of rave? You know, when the Ibiza die-hards recreated acid house in UK cities I was just a delinquent, with an appetite for exploration and in need of escapism. We were looking for something, we didn’t know what. The original acid house crew was little over a thousand, recruitment was by introduction, and some doughnut invited a tabloid journalist. “Look at what your teenagers are doing!” it over-exaggerated. If it wasn’t for the media hype we’d have never known. So, you go on, reporters, and what you think is a scare story will backfire into intrigue before your very Facebook site, and youth will look to attending, and the scene will flourish again like a phoenix rising from the ashes. Then, as a mass, they will look rewards, to how it once was, and how as a group consciousness and rising movement, it had morals and it had principles. We cleared up after ourselves, you may be surprised to note, we looked after each other. You will free a new love generation, and in an era such as this, god knows we need it.
Watch violent crime diminish, watch teenage depression wane, watch a generation free from the restraints of its former oppression, as it once did. See a rising generation thinking for itself, throwing away this baby-boomer selfishness and regain a likeminded consciousness. Wrigleys will be back in business too!
Bobbing around the St John’s corner of Long Street, trying to act important, and sober, I had a message for Ben Borrill, Pete was looking for him, he was on next; ah, gave me something to do. It was the fantastic Devizes Street Festival, made that much more fantastic by Vinyl Realm organising a second stage, showcasing local talent. You must’ve heard about it, even if you weren’t there, I’ve harked on about it enough!
Mission accomplished, he was loitering the doorway, and equably replied with an “oh, okay.” There’s a casual air around Ben, perhaps the most altruistic and modest musician, and, oh, skateboarder too, on the local circuit. It was this way when I first met him during an acoustic jam at The Southgate. Yet there’s a magnetic sparkle when he performs, which captivates. Other than friendship, it’s probably the plausible reason he supports Daydream Runaways recurrently.
Image by Nick Padmore
I never held out for something recorded from Ben, content as he seems to roam the local circuit performing live, yet with the current climate surrounding gigs, time and effort is channelled into getting studio time down, for everyone. Sometimes this transmits the talents of a live performer, occasionally not, and I happily report it’s far from the latter.
Groovy, in a word; there’s something pleasantly sixties Merseybeat-come-beatnik about Ben Borrill’s debut single, Take a Little Time; not in a tacky tribute kind of cliché but in a nonchalant, progressive way. Particularly in the intro, the reference of seasonal change, shifting leaves and blossom of a fading spring, balances into romantic ditty, and spanning just over two minutes too; it’s short but sweet.
While it doesn’t go off down a completely psychedelic sixties formula, it’s no Mammas & Papas, the riffs do lean heavily on all that’s golden about that golden era, of Kinks or Hollies, with a fresh tinge of modern acoustic. Here’s a smooth ride into an intelligently grafted, but easy-going song, reflecting Ben’s charismatic and breezy attitude. It is, blinking marvellous, and leaves you yearning for more… jump to it Ben, equably I’d imagine he would reply with an “oh, okay!” Spotify link here.
So, Devizine exists to highlight and promote local events and I try my best, apart from the odd bit of cheeky satire, to steer away from political matters. Yet I’m both heartbroken and at a loss for words this afternoon, chatting online to Pewsey mum, Tanya Borg. But within it, there is an event I need to let you know about, in this horrid mess, please read on….
Tanya’s two daughters, Angel and Maya were abducted by their father five years ago, and taken to Libya to live with his family. After being granted full custody in both nations, Tanya travelled to Libya to rescue them, but Tanya explains when they tried to get away, they were bundled in a car and driven away. She hasn’t seen or had contact with them since.
Red tape between the Crown Prosecution Service and Wiltshire Police has prevented further action from being taken, and under advice of the CPS, Wiltshire Police have closed the case. “The CPS are saying they don’t tell the police what to do,” Tanya explained, “But Wiltshire Police are saying the CPS don’t want to take the case.” I cannot imagine how distraught she must be. “You have no idea,” Tanya continued, “Angry. Frustrated. Sad. My daughters need help.”
In fear for the treatment of her daughters, Tanya went to explain how, after a court order for joint custody, their grandmother wouldn’t allow them to leave the house, so Tanya tried for full custody, but they ran away with the children. Angel is now twenty, and Maya just eight. A Daily Mail article exposes the issue, with a video of the father’s family driving them away. It is with hope the video will pressure British authorities to reopen the case.
This is where I asked if Tanya had or has any further contact with them, and the short answer was “no.” In England we complain about this, whinge about that, the bus being delayed etc, we really don’t understand how life is in Libya. “Because there is no authorities inside Libya, due to the situation, as Libya is at war with itself,” Tanya detailed, “it is dangerous, and that is their excuse, but now there has been a newly elected government, they could at least try, that is what is most upsetting, they haven’t even tried. I feel like my children don’t matter, because I am not of status.”
Firstly, Tanya has a GoFundMe campaign page, where you can contribute. “It’s a corrupt country, and money talks,” she explains, “I can’t do anything without it.” Tanya has spoken to Claire Perry, who passed it onto the Minister of the African Department, “which say,” Tanya claimed, “They cannot do anything.” MP Danny Kruger has been emailed, which was my first port-of-call, and we await a response.
Tanya plans to take a protest to Downing Street on the 8th August, but has also staged an event in Pewsey on the 25th July. Meeting at the Cooper’s Arms at 3pm, the protest will follow the eminent carnival route. “My eldest daughter,” Tanya explained, “was carnival princess back in 2011.” They will be chanting “Free Angel and Maya,” but ask protesters observe social distancing and wear facemasks. “I would love as many people to attend and support,” she hopes, “to help me bring my babies home.” Tanya will also be organising a local coach for the Downing Street protest.
Ex-Devizes boyband and half of Larkin, Sam Bishop is away studying music in Winchester. He posts about his latest single, Fallen Sky with the thought, “I really do think this is the best song I’ve ever made.” You do always say that, Sam, tee-hee, but it’s no bad thing! I think it was legendary underground cartoonist, Hunt Emerson, who once told me, “never put anything out you’re not confident to say it’s the best thing you’ve ever done.” It suggests Sam is always striving for better, but the proof is the pudding, and this is a Michelin star sundae. Yeah, I believe you’re deffo right with this one.
It’s got that dark, moody ambience, backed with a deep bassline, sonic piano and ticking drumbeats, as if William Orbit took boyband to dubstep. This compliments Sam’s humming vocals to a tee, as it characterises dejected teenage anguish and echoes the passion in early romantic interactions. While it’s a bromide subject at the best of times, Sam rests on it well, as was a time when we wanted Phil Collins to have a broken heart, so his reflection on it would be so powerfully crushing and relevant to our own life!
I feel old ears will nod in memory, but Sam’s defining style speaks volumes to younger generations. This is heartfelt stuff, as ever with Sam, but this time, in particular, the production on Fallen Sky envelopes that atmosphere so brilliantly.
You know what I’d like to hear? And call me old-fashioned if you will, I’ve been called worse, but I’d like an amalgamation of songs filling a complete narrative, as the parable ends like an open-ended short story, leaving you wondering the next decision Sam’s character in the song will take. Like a chick-flick plot, he sings, “does it feel like it’s the end of our lives?” While this is great, I’m left yearning to know if they get back together or not, so, just a suggestion, but an intertwined set of songs spanning a complete fictional relationship, like, dare I say it, a concept album. This may not be the modern way to go with distribution I know, but here is Sam Bishop at his best, and a development worthwhile expanding.
Two things former humble truck driver Gerry Watkins is a natural at, plucking an ingenious idea and putting it into action, and putting on a gig to fund it. In 2017 Gerry raised four-grand to buy a double-decker bus, which he converted into a homeless shelter in Cirencester. Since he’s launched a similar plan in Swindon, and continues to raise funds for this amazing homeless project. The Big Yellow Bus project is innovative but simple, and Gerry works tirelessly to keep it running.
With live music teetering on return, it still maybe a while before some venues are ready to reopen, despite yesterday’s sudden given date of August 1st. The following weekend, 7&8th, sees a grand restart for The Big Yellow Bus, to get funds rolling once again. The Tavern Inn in Kembleplays host to this glorious two-day mini festival, which is free, with collection buckets for the Big Yellow Bus doing the rounds.
Music plans to kick off at 7pm on Friday 7th August with our good friends, Absolute Beginners. I know, like most, Cath, Gouldy and the gang will be itching to get back to live music. While there’s still a few gaps in the line-up to confirm, The Roughcut Rebels will be a welcomed act, introducing their new frontman, the one and only Finley Trusler; an awesome unification we look forward to hearing. Mick O Toole is also on Friday’s header.
Saturday 8th though is an all-dayer. Paul Cooper (Martin Mucklowe) from the twice BAFTA award-winning BBC tv series, This Country, will be opening up the event at midday. Shaun Peter Smith will be the Compère for the day, as Miss Lucy Luscious Lips, he’s certain to add a little bit of glamour and sparkle. There’s a number of faces I know to this busy line-up, and plenty new to me.
An interesting Opening at midday, Ascenda are a four-piece, playing smooth music with a rock edge and thoughtful, theatrical vocals. Their current collection of songs ‘Celeste,’ forms a love story that explores conflicts; solitude versus companionship, and spirituality versus practicality.
Cath, Gouldy and the gang return as The Day Breakers at 1pm, with their irresistible blend of Celtic and mod-rock covers, it’s guaranteed to go off! Swindon’s all-girl rock and pop covers band, Bimbo follow at 2pm. Dirty and filthy punk is promised to followed with The Useless Eaters, a band who accurately recreate the iconic sound of late 70’s British and American punk.
Six Lives Left
Cirencester’s masters of high-energy classic eighties rock covers, Loaded Dice are on at 4pm, followed by a mesh of Britpop, new wave and ska with SkA’D Hearts at 6pm. Era-spanning soul follows with Joli and The Souls, and rock restarts in style with Six Lives Left. Sticking with six as the magic number, the finale will be from Calne’s fantastic misfits of Britpop and new wave, Six O Clock Circus, who are always up for a party!
Joili & The Souls
Yeah, it’s all slightly out of our usual jurisdiction, but with a line up like this, all for such a great cause, and with limited events these lockdown days, this is highly recommended and worth the effort. Kemble Railway Station is right opposite The Tavern Inn so it’s easy to find.
Note, putting such an event on so early after lockdown will not be without expected guidelines, everyone must abide by. Gerry urges social distancing and that you respect those around you. “This is all done so you can enjoy yourself and have a great time watching and dancing to great live bands and performers, thank you for all your support and together we can have a great time.” I’m sure they will, Gerry. If anyone is heading off from Devizes, gimmie a lift, pal, because this sounds unmissable!
Back in January 2019, I was dead impressed with Talk in Code’s debut album Resolve, and labelled it “sophisticated pop with modern sparkle.” I offered the track “Oxygen,” as best example of how, like classic pop anthems should, its instantaneous catchiness gets stuck in your head. To compare and contrast that favourite from the album with the upcoming release from this Swindon indie-pop four-piece, it’s clear they’ve come an incredibly long way to enhancing and refining that fashion.
Reflecting back, Resolve has the definite “indie” sound of the nineties, only dipping a toe in the pool of eighties synth-pop. I felt this coming, each track they release sounds more like an iconic mid-eighties sugary hit, and Taste the Sun dives right in. It supplements my “sophisticated pop with modern sparkle” label much more.
Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as “about waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.” Nothing wrong with that inspiring concept, but perhaps nothing original; writing style they stick to a model template, but the sound is invigorating. In a word, it’s refreshing, like the zest of a sparkling iced fruit drink on a humid holiday afternoon, it encompasses all that is glorious about pop. Blooming with good time, summery vibes, Taste the Sun is the sort of lively “Wham” anthem a younger you would’ve retained from a holiday camp disco, and evermore evoke a fond memory of a fleeting romance.
That said in the best manner possible. Talk in Code is a well-oiled machine, refining that classic sound for a new generation and, most importantly, extracting and binning any cliché or cringeworthy elements. You know the sort, listen to any eighties pop now and wince at a particularly ill-thought out component, be it a castoff sample, badly grafted rap or, worse still, a “talky” part; “I thought I told you, Michael, I’m a lover not a fighter!”
Yet I find similar with today’s pop, and hold my daughter accountable! “Why they doing that bit?” I grumpily whinge. “What bit?” she retorts. It’s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of “indie” to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. It’s true, I concern myself at the prospect of taking my daughter to a pop festival, be it I’m cowering at her modern taste, or she’s dragging me away from something I like the sound of. Talk in Code is something we could both agree is great, and throughout reviewing their singles, Taste the Summer is perhaps the prime example of this notion.
Released on Monday 27th July, on digital download at http://www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms. Go on, you have a listen, and I challenge you to find something bad to say about this sparkling, uplifting nugget of pop; because I can’t!
I am listing local restaurants, cafes and pubs who are participating in the “eat out to help out,” scheme and encourage owners in the Wiltshire area to contact Devizine, to be listed freely. Although you know me, have to have a little rant beforehand, so scroll past my waffling if you wish to get direct to the list! Note the list will be updated, so check back in August.
For information on how to apply for the scheme, see here. Note the scheme comes with restrictions. Only available on Mondays, Tuesdays and Wednesdays from the 3rd to 31st August 2020, and offers a 50% discount, up to a maximum of £10 per person, for food or non-alcoholic drinks to eat or drink in.
“I believe I dust my broom.” Robert Johnson sung that, the bluesman who sold his soul to the devil at the Mississippi Delta crossroads, in exchange for faultless musical flair, so he must know what he’s on about. Although, to dust your broom actually means to make change, derived from the expression “get up and dust,” or get out of town fast. I didn’t need to do that, just get out of B&Q!
Had my old outdoor broom for decades, but timeworn, it finally gave up the ghost. Sunday, I nipped into B&Q and returned home proud owner of a new broom with a screw-on handle. Too loose, one swipe and the head fell off, tighten it and it passes the thread and…. the head falls off. Time passed and my patience caved by numerous attempts to secure the handle on the head. I came to the forgone conclusion, it’s either fate; star alignment’s fault, since NASA claims I’ve moved from Pieces to Aquarius, or, more likely, it’s mass-produced shite.
After hand sanitising, queuing and following the one-way circuit around the entire store, I returned it, swung into town, parked dead outside Mainleys and picked up a far cheaper, better broom. By very design, glued and stapled, it’s old-fashioned, but a coupling method which has worked for centuries. If it’s not broke…. A lesson learned, then; should’ve shopped local.
Make no mistake, I consider this soundbite “eat out to help out” nauseatingly haughty, coming from a government who had to be dragged kicking and screaming to provide basic meals for school children. Guaranteed, this is yet another move to line the pockets of big business, the mass-producing restaurant chains.
Never forget Boris’s bum-chum, Tim Martin and how he refused to close during lockdown, refused to pay his staff and suppliers. If a Frankie & Benny branch sadly closes, the staff will be the only ones to suffer; that’s sorrowful reality, I’m afraid. Note the variety you think you’re getting with a parade of Wagamama, Frankie & Benny’s, Chiquitito, et all, is false, they’re all the same company and will subside each other; different sauce, same old chicken, pal. If the government are going to open taxpayer’s wallets, I urge the small business and independent eateries, who would otherwise close, lock, stock and barrel, to dip in before the fat cats.
Unfortunately, I’ve experienced the rubber chicken which bounced off the floor of Wetherspoons first hand, lost teeth on Hungry Horse waffles, and felt famished twenty seconds after eating an air-pumped big mac. Like my broom experience, I’m at my tether’s end; best to shop local.
Not that I’m trying to persuade you, the choice to eat out is your prerogative and risk; many pubs and restaurants are continuing to provide takeaway services, many established takeaways are delivering and continuing to provide an excellent service too. Sometimes though, it’s nice to be able to eat out, remember your mask. If you can, here’s a list, then, of local places participating in the 50% off “eat out to help out” scheme; let’s support them.
If you missed my social media requests for participating places to be included, do not worry, I can update this if you twist my arm with some love…. and remember the best way to a man’s heart! Ah, insert laughing emoji here; only kidding, cheeky blagger that I am. Just message me and I’ll get your café or restaurant added! Do take heed though, while we’re here, overflowing with banter, our foodie reviews are the most popular articles, and we’d love to do one for you.
You can find more participating eateries via postcode search on the Gov site here.
Devizes
Massimo’s Ristorante
For twenty-seven years Francos was the finest Italian restaurant in Devizes, but with the departure of Sicilian chef, Massimo Pipitone things were never quite the same. Two years ago, Massimo returned to Old Swan Yard to recapture the restaurant’s reputation and with a name change, has succeeded in putting it back on top. Still operating the takeaway service, it begun during lockdown, they’ve now reopened the restaurant, excellently observing social distancing regulations. They serve traditional Italian and Sicilian cuisine, and the pizzas are awesome!
Take it from me, one who loves his tucker, you will not find better service, quality and tastier food this side of Roma! Booking at weekends is essential.
The Pelican:
Splendid inn situated at the Market Place, known best for its roast dinners, which can be takeaway too. The Pelican have various cuisine events and has a scrumptious bar menu. An example from this weekend’s roast option: Slow Roasted Leg of Lamb. Chicken is always an alternative every week with a beautiful Home-Made Vegetarian Option. Vegan or Gluten Free diets also catered for with advance booking. £8.95 per person, £5.95 per child, £4.50 per Home Made Dessert. Please telephone 01380 723909 to book.
New Society:
Sitting somewhere between glorious pub grub and restaurant, New Society in the Market Place was quickly established as one of our best eateries. Our review last September has always been one of our highest hitting articles, and they were glad to announce reopening on 3rd July. Breakfast, lunch and dinner, or perhaps a coffee stop, New Society is a comfortable setting and serves a large selection. Operating usual daytime opening hours, but currently evenings are restricted to Thursday, Friday and Saturday. It is advisable to pre-book for these nights (01380 722288).
1Spice
One of the newer establishments, it did not take long for 1 Spice in Maryport Street to earn the jewel in the crown of Indian restaurants in Devizes, and rightly so. It’s my chosen place for a knees-under, and is often cited top of majorities’ list. Conventionally, Indian restaurants convey an aptitude of exceptional customer service and etiquette, and 1Spice is of no exception. Expect to be welcomed, but what is more, expect a wide and gorgeous selection, mixing the flavours and spices of India with the finest seasonal ingredients the West Country can offer. It’s driving my appetite for a Ruby just typing this, and I’ve had my dinner already!
The Hourglass:
Tucked away at Devizes Marina, the Hourglass is a perfect location and serves a high-quality pub menu. Options have been restricted since reopening on 4th July, but expanding now, and takeaway service is available. Booking is advisable for food. Subject to change, opening hours are 11am-9pm every day, with food served between 5-8pm, Thursdays through to Sundays. Book online here.
Tea Inc
A cup of Rosy-Lee for me, I’m not a coffee guy. Still, I’ve not been in Tea Inc in the Ginnel (just off the Market Place) and now in Marlborough, sovereign of tearoom towns. This must change, I’m coming for you guys, ensure you have some custard creams! This humble teashop throws off the doily and delicate fingertip-cup-hold stereotype of tea rooms and prides itself with an eclectic, quirky environment they affectionately call “The Shoppe.”
Serving crumpets (fnarr, yurkk, yurkk) sandwiches, salads and soup, this could just be the essential shopping stop-off for tea drinkers; get away from me with your X-L vanilla Nespresso dripping down your MacBook!
Times Square
Central to Devizes Market Place, Times Square is simply the perfect little coffee shop for a light lunch. Cakes and ice cream, say no more. As the name suggests it may have started by being inspired by American cuisine, yet only in the best possible taste. Times Square is no stranger to hosting the odd event, and is a welcomed shopping stop off.
Brogans Café
Brogans Café in the Brittox is one I confess I’ve yet to try. Outside space, ice cream, cakes and milkshakes and smoothies, Brogans prides itself on its vegan options. “Vegan Jaffa Cake style cake” as pictured below, might just twist my arm!
Bengal Bite
Throughout my years here in Devizes, Bengal Bite in Sheep Street has always been the tandoori kitchen of choice. The Bengal Bite offers contemporary Indian and Bangladeshi food. It’s comfy and hospitable, a romantic place to woe a prospective love with a mild Korma, or equally a place for you and the lads to blow your pants off with a blistering Vindaloo! The Bengal Bite has been voted the best restaurant in Wiltshire by the readers of the Wiltshire Gazette & Herald, and 2014 finalist for Small Business of the Year in the Wiltshire Business Awards.
The Fox & Hound
A little out of town but worth the trek down Nursteed Road, The Fox & Hound is an inviting family pub, offering romantic carriage rides followed by lunch or candle-lit dinner, and successful horse-drawn ghost and historical tours of Devizes start and finish at the Fox.
Jeffersons
The most down-to-earth café you’ll find in Devizes, this is Monday Market Street’s gem; great service, gorgeous homecooked breakfasts and lunches at affordable prices, never had a bad fry-up there yet!
The Bell on the Green
Always a favourite for the location in its title, The Bell has reopened with times and obvious restrictions. Here’s their menu….
Bradford-on-Avon
Coffee Etc:
Marvellous little coffee shop in Lamb Yard, just off Kingston Road, serving hot and cold beverages, breakfast, lunch and afternoon teas with great homemade cakes, and vinyl records too. Comfy hideaway this place, perfect for a stop-off when strolling town. I reviewed it a long time ago for Index:Wiltshire, but the site has been taken down now, so you’ll have to take my word for it! Facebook page here.
Has lockdown made us appreciate the simpler things in life we once took for granted? Even if, it’s pathetic to lose your shit over the lessening of restrictions and go on an all-out bonkers spree of drunken foolishness, playing into the media’s hands creating a drama from a crisis. It is understandable isolated folk fear the idea of venturing to pubs when carefully selected images of hordes of pissheads scrapping outside some chavvy chain bar are spread across social media, just as a few weeks ago a trip to the beach would’ve been scorned at.
For me, a relative good, aging boy, who’s been looking forward to the prospect of an unpretentious pint down the Southgate all morning at work, to return home and regrettably check Facebook to notice a local post claiming sixty-plus youths were last night causing havoc in town, and extend the horror to hear similar events occurred in the Sham too, it’s discouraging. Will I be held up as a hooligan, because I desire life to return to a time when going to the pub was normality?
It’s a matter of being selective. If it was up to me, I’d encourage a mass boycott of Bojo’s philistine bum-chum, Tim Martin’s shamelessly uncultured shithouses, but each to their own. They lead by example, a bad one. If you want to pour your hard-earned pounds into the pocket of this billionaire who treated his staff with such utter disrespect, perhaps you’re the kind of insensible sociopath who enjoys a punch-up. Not me, I went to the Southgate for an afternoon pint and report back a decidedly lack of hooliganism from rampaging shirtless knob-jockeys; don’t believe the hype.
Going to this pub was safer than shopping, and the delightful experience it always was, if not more being it’s been a while.
I actually got what I anticipated all along; a warm welcome, orderly queuing for the bar, a bottle or two of hand sanitiser and a slight gathering observing social distancing, able to contain their excitement at being let off their leash. But what is more, some breezy live music; what I’ve been holding out for. Yay! I’m not writing to slag off some corporate monopoly, but wanted to compare and contrast, plus get the rant off my chest. Rather it is, our first live music review for seemingly eons, and who better to grace the step of the Southgate’s garden than Jamie R Hawkins? Okay, I know I’m asking too many questions in this piece, but that was rhetorical.
Perched in the doorway of the skittle alley, slighter of beard and longer of locks, Jamie was every bit the icing on the cake. Predictable, could be said, but welcoming to see the many faces admiring over his ambiance of acoustic goodness. In faith too, of the gradual phase-in for live music, the session wasn’t intended to be long; just a few songs from 4-6pm. Enough though to get a taste, and Jamie looked to be enjoying it as much as the crowd.
There were some new ones, Walking into Doors (?) one I arrived for, one perhaps called “Speechless.” Jamie did one cover, Simon & Garfunkel’s Cecelia, and went through some of his benchmarks, the wonderful Capacity to Change, the remarkably sentimental Not Going Anywhere, and being it was a family affair, the ukulele-driven “Welcome to the Family,” aimed at his restless toddler in her pushchair. Yes, an intimate setting, but with words crafted so beautifully and perceptible as Jamie’s, one cannot see the relevance in your own life.
It was also a notable notion that Jamie was the last person to perform at our splendid Southgate, prior to the lockdown, so fitting he set the ball rolling in reopening. Though, with the unification with Phil Cooper and Tamsin Quin as The Lost Trades, a band formed in just enough time to play a debut, Jamie and the gang are really gathering acclaim further afield. They are promised at the Gate, but again, we have to be patience; this was a teaser under certain restrictions. A band, a late night outside may not be feasible for this humbling pub, yet, but time will tell.
Here then, was a lovely teaser afternoon, and proof above all media hype surrounding this ease of restrictions, that it can be done sensibly and responsibly, and the Southgate is on top of the movement towards normality; when it does, it’ll be something wonderful. Has lockdown made us appreciate the simpler things in life we once took for granted? Not really, it’s always been this good.
Optimistic afternoon, the first time in months I’ve been adding events to our event calendar, rather than deleting them. Halfway through I paused to wonder if it was all too premature, then the update broke that restrictions are being eased further to allow outdoor sports and entertainment events.
It has been the most the bizarre time for us all, perhaps something our younger generation will tell their grandchildren about years from now. Pretty imprudent, I offer, but often comparable with a war, the ending of this pandemic lockdown will certainly not be as we imagined at first, a VE-Day styled celebration where we’re all hugging and jumping all over each other. Rather, it will be a gradual return to normality. Maybe there’s certain parts of normality which we’d rather see the back of, a return of traffic jams, road accidents, environmentally unsound practices, and general aggravation. But we will welcome back sociability; the chance to see relatives and loved ones again, as well as the simple things we once took for granted, like popping down the pub and catching a live band!
It is also understandable some feel uneasy about venturing out after being locked down for so long, if they’ve not been out much, I can appreciate some may feel like a squirrel at the end of its hibernation period, poking it’s head from its nest to check it’s safe. I find this notion the hardest to digest, as someone who has worked throughout the lockdown, harder than before I might add, I can only imagine what those permanently confined to their homes must feel like. All I will say is, take heed of the precautions, but really, it’s not some frozen-over wasteland outside, everything is pretty much the same as it once was. Of course, it is up to you to decide when the time is right to emerge back into the real world, but the time is near; defo!
I have been quiet about all this for a while, because, I, for once, was lost for words. I’ve been indifferent about all the decisions regarding lockdown, with mixed opinions. Do I think the government has had an easy task? Of course not, but during your stay in parliament one has to accept a catastrophe is possible. It’s no good having a government only dedicated to one agenda, as while they were wallowing in triumph, “getting Brexit done,” whatever the fuck that’s supposed to mean, they overlooked and ignored this looming threat.
Do I think they handled it far too late? Of course, I do. Yet we only have to look at Sweden to see it was necessary to lockdown, we can speculate it has saved lives, but we will never be fully sure. I’m not here to get political, despite the priority of this government is economy over the welfare of the masses, and it is dedicated only to large corporations, rather than the small businesses and employees.
It has, on the other hand recently offered something in the way of compensation for financial losses, I only fear promises are not something they’re particularly good at, and even if they do happen, they’ll be geared to supporting only the bigger businesses. Then, on a more optimistic day, I tend to feel, well, that’s democracy for you; the majority picked these clowns, we’ve no choice but to give them the benefit of the doubt. Right now, I’m so pissed off with lockdown, as I think we all are, whether we broke the rules to go to the beach, or if we abided to them and scorned at those who did, that I’m willing to accept any lessening of restrictions. We all need to get over it, and consider it history. If a second wave comes our way, least we will be more prepared, but it’s no use the squirrel hiding in his nest all spring, as it’d die anyway.
Anyhoo, I’m thinking about Devizine, this week, about how we can help to restore this normality. Updating the event calendar will take time. I urge you to use it to plan your celebratory reunification, but you should note, many events have remained on it, I didn’t delete future events in anticipation of the end of lockdown, but still many listed may have been cancelled or rescheduled. You should check the links and enquire direct to the organisers to check if it’s still going ahead before you head out.
I will gradually go through them to check, but I’ve got a workload now dumped on my desk. Getting the event calendar back up to its once, comprehensive standard will take time. I urge event organisers to help me to help them. DO check through the calendar and let me know if you spot an event which is listed but has been cancelled. DO contact me to let me know of your events asap, so we can add them. I will waiver all fees for advertising for the next two months, so if you’ve a poster please send me a jpeg of it too. I want to do whatever I can to support our events, organisers and performers, you only need to let me know how.
I do hope live streams will continue. They add another element to presenting talents, and are universal too. Our virtual festival lost track, but I will share them on Facebook, and I will add them into the main event calendar from now on.
I do hope our writers will return, to review and provide content. Prior to lockdown I had a small team building, but I still need more writers to volunteer; it’s fun, honest, message me for details. The more writers and photographers the wider and more comprehensive we can be, the better our product, the more we can grow, then profit may come our way. But this has never been my priority, as I said, I’ll waiver advertising fees for a period, but I still require about £50 by February to keep the site running, so any donations would be appreciated. I confess, I emptied the entire Devizine fund, and spent much from my own pocket, buying local music via Bandcamp, to support them as best I could during this terrible time for their livelihoods.
So, I ask you for your patience, to get Devizine up and running again, I ask for your support, and I ask for you to provide me with your information so we can promote your happenings as best we can. You can message the site, message the Facebook page, Tweet me, email devizine@hotmail.com or join our Facebook group, The Devizine Communications Group, to let me know. If I do not respond, rest assured I’m not ignoring you, I just need another nudge to remind me!
For the best part though, I’m looking forward to getting out and about once again, meeting with friends, and I thoroughly wish all the landlords, event organisers and our performers all the very best for the future in these trying times. Hopefully, today we see a light at the end of the tunnel.
At the Full Town Council meeting on 29 June 2020, Town Councillors made a decision, under a new scheme, to pass on to Wiltshire Council its support for the temporary widening of pavements in the High Street to make it a safer environment for residents and shoppers. Under new legislation announced last week which streamlines relevant licensing processes, this would also enable cafés, pubs and restaurants to serve customers outside. Bus stops, disabled parking spaces and the taxi rank will not be affected. Our Councillors also took a decision to use an annual parking allocation to offer some free parking to help compensate for the temporary removal of the 30 minutes free parking on the north and south sides of the High Street as well as looking at a future initiative to work with businesses to offer shoppers refunds for their first hours parking.
The reasoning behind this is twofold – to encourage people back to a High Street where they feel confident and safe and to kick start the local economy. The Town Council has been approached by some in the hospitality sector with fears about not being able to offer customers any service within their premises (in fact, some in this sector have already taken the difficult decision not to re-open in Marlborough at all). Others have expressed concerns about pinch points where queuing outside shops, banks and various businesses could not be properly organised especially where the pavement is very narrow.
The Re-opening of the High Street Safely Scheme is an initiative being offered to towns across the county and already being taken up in some (e.g. Malmesbury) and funded via the European Regional Development Fund. The Town Council’s agreement to pavement widening has been passed on to Wiltshire Council (the scheme administrators) where professional Highways teams will look at its technical viability before a decision is made by a WC Steering Group which is considering similar requests from other towns. Any measures agreed will not be permanent, will be monitored and can be changed if they are not working well.
The Town Council has, under the same scheme, asked that hand sanitizer stations are placed at intervals along the pavement and for signage indicating that it’s business as usual in our safe High Street.
Ahead of agreeing to support this, Councillors held two meetings with representatives from the High Street and also canvassed some businesses about the scheme. At one meeting, a WC officer dealing with Wiltshire’s economic recovery explained the opportunities and
restrictions offered by the scheme and confirmed that she will be working with Marlborough over the next couple of years to invigorate the local economy.
Our Town Mayor, Cllr Mark Cooper, said: “We mustn’t forget that whilst we welcome the lifting of restrictions, the government and medical experts are clear that the pandemic is still with us and will be for some time to come. The Town Council welcomes measures to keep its residents and visitors safe and amongst all of this, we are also trying to ensure that our businesses can find their feet again after months of being faced with uncertain futures.”
Ultimately, of course, the final decision on the scheme rests with Wiltshire Council.
For more information contact:
Mrs Shelley Parker, Town Clerk at townclerk@marlborough-tc.gov.uk
Marlborough Town Council, 5, High Street, Marlborough, SN8 1AA – Tel – 01672 512487 or 07931 996632
Ever seen those videos where some clever-clogs takes out the music to a film clip and it immediately loses all clout? It makes one realise how dependant the film is to the music, how, without it, there’s hardly any emotion, and in turn is symbolic of how music can emotionally move us.
None so much when evoking emotions such as fear or suspense, when the creepy music starts you’re edging on the sofa, feeling for the protagonist, you are beside the sacred little girl in the haunted house, or the cop seeking out the hiding villain in the disused warehouse, dreading what might be around the next corner. Take the film score out and you’d be like, yeah, whatever.
Saddened then to hear of the passing of Ennio Morricone yesterday, the Italian composer and conductor, best known for his work on Sergio Leone’s great westerns, The Dollar Trilogy. Though the films this prolific composer scored the music for are too many to name. Born in 1928 in Trastevere, Rome, when Italy was under fascist rule, Ennio’s father was a professional trumpet player and consequently, was the first instrument the young Ennio picked up. At just six he began writing his first compositions.
By the early 1950s he was composing pieces for radio plays, incorporating American influences, and also playing jazz and pop for the Italian broadcasting service, RAI. From Paul Anka to the Pet Shop Boys he has orchestrated many a pop song, but Ennio’s first love was film scores. After several, his association with Sergio Leone begun in 1964. Hard to imagine now he created those masterpieces of grandeur and suspense with a limited orchestra, the budget wouldn’t stretch to a full one. He used effects such as gunshots and cracking whips, and the new Fender electric guitar. Yet they will never be forgotten, and his work here expanded the possibilities and paved the way for progressive techniques in film scores.
Spaghetti Westerns would never be the same again, but neither would the benchmark for all film scores. Yet Ennio never left Italy, and never learned English, but still went onto working with hundreds of directors, including John Boorman, John Huston, Terrence Malick and Roland Joffé, even Roman Polanski and Quentin Tarantino.
More clout than Ocean Colour Scene I’d expected after hearing frontman Mike Barham’s prior thrashing solo releases and drummer Luke Bartels previous band, but more roaring blues than Reef was an angle I didn’t see coming when I first checked our local purveyors of loud, NervEndings.
We’re countless gigs in now, the band, with bassist and secondary vocalist Rob McKelvey, still tight and raucous. I’m glad there’s a six-track album doing the rounds on the streaming sites, as by way of a meanderingly drunken tête-à-tête with Luke down the Gate, an album in the pipeline was one of the random topics breezed over, but so was the debatable aggression levels between Welsh and English badgers too, so I only held hope it’d see the light!
“For The People”they’re calling it, then, out last week. It’s got the kick I now predicted, with that surprising blues element to boot, particularly in the opening track, Infectious Groove. Yet the Muddy Puddles single we’ve reviewed in the past follows, and sets the ball really rolling; it takes no prisoners, yet, for its catchiness, contains a slither of something very sixties; imagine pre-Zeppelin metal.
Emo, to audaciously use an unfamiliar genre, I’d best describe Colour Blind; smoother, drifting indie rock. And in that, Fighting Medicine is more as I’d supposed, guitar riff rocking like a driving song and Mike’s brainy lyrics, with added profanity to describe the drunken hooligan spoiling for a rumble. You know the bloke, there’s always one.
With themes of non-pretentious indie, Chin up continues this ethos, forget the attempts to conform to expectances, it’s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, it’s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isn’t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Here’s Jimi Hendrix covering Blur’s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the cliché indie sound, it works on my level too.
Nicely done, and, double-whammy, Mike has forced upon me this streaming inclination which defies all my generation stood for when collecting music. Our parents called us by name when shouting up the stairs to turn the music down, not “Alexa!” Ah, it needed to be done and I’m grateful, in a sense. “Send me a download or something,” I pleaded, “I don’t understand this Spotty-Fly thing!” But it only met with the reply, “it’s on all the streaming sites….” I’m of the generation who tried to turn over the first CD they got, to listen to the B-side, and only just got the hang of downloading. Now I’m causally informed downloading’s sooo millennial.
I dunno, all moving too fast it; seems so unphysical, not to have a record collection, rather a playlist. You can’t skin up on a Deezer playlist. At least downloading had a file, nearer, somewhat, to owning a record. But I’ve persevered and found the Spotify app on my PC more user friendly; I didn’t harass my daughter for assistance once, as I regularly do with the phone.
So, cheers, Mike. Hopefully this will help me surpass the “noob” label my son has tied to me, which, I’m told is a word for both a novice and an insult in one. Honestly, I feel like my grandad, who, when he came over once, stood staring at our new LCD television and asked, “where’s your tele?!” For the People needs to include the older people too, as I reckon many would either love it, or give this trio a ruddy good clip around the ear, which is maybe what they deserve for being so damn good; they’d have me talking emoji next.
Last time I saw Jon Amor he was queuing for Sainsburys. Sign of the times I suppose, would’ve much preferred to say we were in a pub or hall, and Jon was doing his thing. Capers, was what, he explained, he went in for. Those Mediterranean pickled berries, I figured; Jon is as epicure with his tucker as he is with his music. A new single, Peppercorn, expands the hypothesis; he’s cooking alright.
A contemporary blues performer with an established diverse repertoire, I was surprised upon reviewing his 2018 album, Colour in the Sky, of a distinctive and quirky fashion akin to late-seventies pop-rock in the more beguiling tracks; a drainpipe-suited Elvis Costello, of type, and songs as good to match. I’m thinking of the tracks Red Telephone and Illuminous Girl in particular, they don’t follow the archetypical modern bluesman manner, they’re upbeat, zany and define a certain panache emerging with Jon. I’m pleased to say Peppercorn doesn’t just correspond with this notion, but expands upon it.
Accompanied by video of crazy antics around his home, presumably recorded over his many entertaining lockdown live streams, with not only a rather perfected Ministry of Silly Walks tribute in snappy blue winkle-pickers, but an amusing puppet sequence to scream Sledgehammer at you. This is a quirky, catchy little tongue-in-cheek number. From Shanks & Bigfoot’s Sweet Like Chocolate to, more appropriately, The Soul Leaders’ boss reggae classic, Pour on the Sauce, food innuendo is no new thing in music; Louis Jordan nailed it in the thirties. Still with his demarcated and inimitable stylishness, here’s Jon’s own take on it.
With a little slide-guitar intro, after thirty seconds it’s having it; immediately enticing and definingly why Jon Amor sets the local live music bar high. Though he is, the hybrid between man-about-Devizes-town and blues legend. At a quid from Bandcamp, this shiny example of why is a winning dish.
“It’s easier to fool people than convince them that they have been fooled,” Mark Twain.
Brilliant quote, you best believe it. Here’s the ha-ha irony, I fooled you. There are no sources of information to prove where or when the well-documented author Mark Twain allegedly said this. At least, according to snopes.com. Unless they’ve fooled me of course, which is possible. Nevertheless, it’s a great saying, and as we’re locked up, we rely on the honesty of incoming information from our media.
But the mainstream media is under pressure, they are a business in an everchanging market where nothing is cut and dry. Speed and efficiency are key, it takes far longer to research, write, fact check, edit, produce, publish and distribute then it does to add a wonky opinion on social media, their ultimate competition. Because of this then, I forgive the certain local newspapers, and any other news sources who reported Wiltshire is due another lockdown, maybe they jumped the gun on this, or maybe, there’s a dying need to raise stats. We are in the same boat, please share this click-bait article!
Expressed as a percentage, yes, the R-rate in Wiltshire has risen, and caused our county to be added to a list for a potential second lockdown, but as reporter Dan O’Brien points out on Twitter, context is everything. Lab-confirmed cases went up from just one to four, a drop in the ocean compared to other listed areas. If this is bullshit, if this is a mistake or oversight, or even if it’s clickbait, it is dangerously wrong information with no consequence other than scaremongering.
Example, in the flowing social media comments in response to it I’ve already seen one suggest “it hasn’t helped with people rioting and trips to the beach.” Because, yes, one cannot deny the coastline of landlocked Wiltshire has been densely overpopulated with barmy beach nuts this drizzly week, and oh, we cannot forget the terrible race riots of Urchfont and Chirton, when the streets were amassed with rampaging village immigrants.
“For crying out loud, put the face mask over your nose and mouth, not your eyes and ears!”
Lockdown rules have become the new etiquette, and habit now. No one is suggesting we don’t need to take precautions, heed social distancing and the higher your risk the more important you continue as best you can to abide to the lockdown rules. But we need to be wary also, of new reports either rushed or bias, we need to understand if someone tells us it’s vital for our nails to be pedicured during lockdown, they’re most probably a nailologist desperate to reboot their business, and I feel for them, I really do. Yet a government with external business dealing doing likewise, feeding the masses false information to benefit their investments is unacceptable. Not only should they have a responsibility to the people they govern, the tax-payer forking out for their wages, their luncheons and newly painted aeroplanes, but they have sway over a vast amount of media. Here, we can see the media were wrong and the in my opinion, can only be scaremongering.
Wiltshire artist Si Griffiths is off out, with the right idea!
I’ve said this before and I’ll say it again, the good folk of Wiltshire, by comparison, have been nothing short of brilliant in reacting to this terrible pandemic, and we should be proud of that. You do need to talk to people from other places to see the difference it has. I have spoken to many who live in the coastal towns and they say the same complaint, “you wouldn’t believe what I’m seeing here.” Of course, reasons why we’ve done so well is a whole other debate, there’s our mostly rural population, our affluence and our good values and education, but most of all I put it down to, in most part, simply being sensible and abiding by the rules.
Yep, teenagers, they say, yep, I know right, yet aren’t we all getting tetchy to get out and restart our lives? Don’t blame the youth, I’ve seen pensioners secretly nipping out for walks at night, I’ve seen middle-aged shoppers blatantly ignoring social distancing measures, and, in turn I’ve seen younger people obeying and even volunteering to help. Idiots come in all shapes, sizes and ages; You. Know. This. Best we can do, is continue for a little longer, and not use our media to seek someone to blame.
If Devizine is a voyage of discovering artists new to us, ones who pop up time and time again do so because they’re both more than worthy and have become friends. A nice Friday spent watching Phil, Tammy and Jamie live stream from a garden, as The Lost Trades debuted lockdown set in, and well, a video helps in some small way to shield the fact we miss them, miss them all.
George Wilding isn’t one for a live stream, least if he has it was a covert operation. A new single though, I’ve been meaning to mention, Postcards from a Motorway. Postcards being apt, perhaps, while most of us would send a text, George is quaintly old-fashioned. But it’s a fashion which fits, drawing out a mobile phone a decade out of date, his “that’ll do,” ethos inclusive, except with his music. For while archaic style from a bygone youth culture, his music transcends the borders, is unique and refined to exceptional standard.
Here’s the sort of poetically balanced, orchestrated masterpiece we’ve come to expect from George. It’s silky Velvet Underground, arty and nonchalant, drifting through mummers and shards of thought, and entirely, it’s beautiful. It’s as wildly romantic as Tchaikovsky On The Tambourine, sombre as My Backwards Head, as he acoustically cries of paper walls, perpetual drunkenness, pondering without motive, and rambles from winds to lines swearing about the president.
Feels as if George has pumped as much in as he can with this, but rather than overloaded, it rolls in manner only the greats could accomplish. Example, remember first hearing Springsteen’s Philadelphia? To have seen the plan written you may’ve said whoa! But when that synth drumbeat kicks in, it only assists the ambiance. Yeah, experimental is Postcards from a Motorway, a minute and half in and there’s a clonk of drumbeat, but with married to the subtle piano, and simple acoustic guitar loop, it remains unmistakably George Wilding.
Rather late to publish some words on it, of which I apologise to George, who celebrated 12.3k Spotify streams and 12 playlist features with it this week. I’m posting it here, if you’re not one of those 12.3k, as I wasn’t, because I’m afraid of spotty-fly; old fashioned just like you George, see! Or just plain old. Though when I pointed this out, his response was, “try YouTube,” and I was like, “oh yeah, will do.” Not much of conversation, but his music speaks a novel.
Gorgeous as ever, but only enhances my want to walk through a pub door and see him perched on a stall asking the audience what they want to hear.
If last year’s fortieth anniversary of Two-Tone Records saw an upsurge of interest in this homegrown second-generation ska, it shows no sign of flawing anytime soon. Perhaps you could attribute parallels to the social and political climate of our era, or debate intransigent devotees are reliving their youth, but I’d argue it’s simply an irresistible sound.
One thing our eighties counterparts didn’t have to contend with was the Covid19 pandemic, and musicians of every genre are reflecting on it. Ska is of no exception, we’ve seen many contemporary performers releasing new material on the subject, but here we have a legend doing his thing, topically.
The Neville Staple Band releases this timely single, Lockdown. A dynamic modern-sounding reggae track, yet encompassing all the goodness of the Two-Tone era of yore. Understandable, original rude boy Neville Staple is conversant with this, a founder member and co-frontman of The Specials, Fun Boy Three and Special Beat. Those influences shine through here. There’s something very Fun Boy Three about this tune, with a slice of poetically-driven Linton Kwesi Johnson to its feel.
As true as the song suggests, in lockdown Dr Neville Staple has teamed up with wife Sugary Staple, to pump out this relevant single, commonly reflecting on the feeling of many concerning the virus and staying safe. “Sugary came up with the idea to write a song about the lockdown,” Neville explains, “which, at first, was a very fast-stomping ska track. We then realised that it was too fun and happy a tune for the theme. Most of us have been quite down about the whole virus thing, so we decided to take it on a more sweet but moody 2Tone reggae route, in a similar vein to ‘Ghost Town’, with some music we had worked on previously with Sledge [Steve Armstrong.]”
While I detect echoes of Ghost Town, this tune also breathes originality and present-day freshness, confirming progression of the genre rather than a frequently supposed nostalgia. Being a local site, some may recall his visit to Melksham’s ParkFest last year, where an unfortunately damp evening didn’t stop the revelling, and Neville stole the show with an assortment of Two-Tone classics. I was backstage with the wonderful support band Train to Skaville. A chance meeting with Neville, when he popped out of his tent for pizza, humourlessly failed to engage long enough to explain who I was, and ended with him pointing at his pizza-box and saying “yeah, I’m going off to eat this.” I should’ve known better than to harass a legend when their pizza is chilling in drizzle! I nodded my approval, knowing I’d have done the same thing.
Neville was awarded an honorary doctorate from Arden University last year. With a tour, and so many international shows and festivals postponed, the couple decided to do a lot of extra charity work as well as new song writing. DJ recordings for people sick in hospitals or in isolation, personally dedicated to them, was just the start. Sugary and Neville wanted to highlight the work of Zoe’s Place, a charity run for terminally ill babies and toddlers. As ambassadors for this charity, Sugary expressed, “charities like these really do suffer at a time like this, as the focus is on other things. But the work they do at Zoe’s Place is like one of a kind and so very special. They step in when families really do need the support, providing 24-hour high quality, one-to-one palliative, respite and end-of-life care for children aged 0-5 years. A heart-breaking time for anyone involved. We must not lose a charity like this – it is too important and so we will be supporting this, along with other charities we are patrons or ambassadors to, with this single.” And the duo dedicates this song to all those who have been affected by Covid-19.
Shared to our Boot Boy Radio DJs, you can expect we will be spinning in for the foreseeable future, but you can get it here:
SPECIAL NOTICE – FROM THE SPECIALS, NEVILLE STAPLE & SUGARY:
A MESSAGE TO YOU..! The Legendary Neville Staple (Dr), Sugary Staple & the Band, need your help please.
Can you wonderful people please donate just £3 towards this project (which will also get you 2 signed exclusives pics), or any random amount, or check out the mega exclusive vinyl 45 & CD gift set offers (these are going really well, and are extremely rare limited edition items, so grab them while you can). You just click this link and choose your reward, to then register your donation. https://www.kickstarter.com/projects/fromthespecials/lockdown-ska-2020-from-the-specials-neville-staple-and-sugary/
If you like a bit of ska and reggae, catch me on www.bootboyradio.co.uk Fridays from 10pm GMT till midnight!
Don my headphones, chillax with a cider, and prepare my eardrums for a new album from our local purveyors of space-rock goodness; Cracked Machine is a wild ride….
There are few occasions when mellowed music truly suspends me in the moment, when it just exists in the air like oxygen and totally incarcerates and engulfs my psyche. Jah Shaka and ambient house rascals the Orb both achieved this a couple of dusks at Glastonbury, but the same with likewise happenings, I confess I was intoxicated on matter maturity caused me to long leave in my past!
The issue for any reborn psychedelic-head is pondering the notion, will it ever be the same again, will music and art tease my perception to quite the same degree. The sorry answer is no, unless your intransigent mate slips something in your drink. Yet it’s not all despair, with a sound as rich and absorbing as Cracked Machine, it’s doable without drugtaking shenanigans.
They proved this at the most fantastic day in Devizes last year, which was that bit more fantastic, when what was intended to be a bolt-on feature became the highlight of DOCA’s Street Festival. Funded and arranged by Pete and Jacki of Vinyl Realm, the second stage highlighted everything positive about local music; a historic occasion we’ll be harking on for some time yet. I nipped away briefly after Daydream Runaways stole the early part of the day. But where the lively indie-pop newcomers had roused the audience, I returned to witness a hypnotised crowd and a mesmerising ambience distilling the blistering summer air. Smalltalk was numbed, as if the area was suspended in time. A doubletake to confirm we were still perpendicular, sitting in deckchairs or slouching against a wall on the corner of Long Street and St Johns and not slipped through a time vortex to a Hawkwind set at a 1970 free-party love-in. I was beyond mesmerised, but not surprised.
For this is how it was with their impressive 2017 debut album, I, Cosmonaut, the soundscapes just drifted through me, as I causally drafted the review, reminding me of a smoky haze of yore, giggling in a mate’s bedroom, listening to Hawkwind’s Masters of Universe. Youth of my era though, were subjected to electronic transformation in music, which would soon engulf us. Rave culture cut our space-rock honeymoon short, though, Spaceman 3 were a precursor to the ambient house movement of the Orb, Aphex Twin and KLF, others changed their style, like Frome’s Ozric Tentacles merging into Eat Static, and a perpetually changing line-up for Hawkwind appeased the older rock diehards.
I love I, Cosmonaut, it manages to subtly borrow from electronica and trance, only enough to make it contemporary, but keep it from being classed as anything else other than space-rock. I felt their second album, The Call of the Void avoided this slice of Tangerine Dream, and submerged itself totally in the hard rock edge; bloody headbangers! Therefore, it’s a refreshing notion to note newly released Gates of Keras bonds the two albums and sits between them perfectly.
Again, there’s little to scrutinise as it rarely changes, it meanders, trundles me to a world beyond wordplay, as these completely instrumental tracks roll into one another, gorgeously. A Deep Purple styled heavy bass guitar may kick it off, yet the opening track Cold Iron Light takes me to the flipside of Floyd’s Meddle, with seven and half minutes of crashing drums and rolling guitar riffs. Temple of Zaum continues on theme, Ozrics-inspired funkier bassline, and we’re off on the drifting journey, splicing subtle influences. The Woods Demon, for example, stands out for particularly smooth almost Latino guitar riff, making it my personal fave. Yet Move 37 is heavier, upbeat, like the second album. Low Winter Sun is sublime blues-inspired, imagine Led Zeppelin created Satisfaction rather than the Stones, if you will.
Recorded back in November, this is eight lengthy soundscapes of pure bliss, and will guarantee you a safe trip. A signature album for a lonely lockdown of dark, yet emersed in a time of Tolkien-esque vibes and mandelbrot set fractal posters. If this was released in the mid-seventies-to early-eighties every spotty teenager would be inking their army surplus school bag with a biro-version of Cracked Machine’s logo. As it is, age taking its toll and all, I have no idea if this still happens, but doubt it. None of that matters, here is a matured era of the genre, only with a glimpse of how it once was. Nicely done.
Five choirs strong, since their origination by Will Blake in Derry Hill six years ago, PSG Choirs run in Calne, Melksham, Devizes, Chippenham and Trowbridge and welcome all, with experience or not. All you need is a zest for singing. Function entertainment provider, Will formed PSG with a desire to unite his local community and provide a fun experience.
Known for expanding the preconceptions of a choir and taking multi-genre projects including pop, soul and gospel, today they’ve an impressive résumé spanning shows and concerts across Wiltshire and Somerset. Performances include The Festival of Light at Longleat House, a Bowood House charity concert, and a Macmillan Cancer care concert at the Neeld Hall, as well as the Calne Arts and Music Festival, oh, and there was that time they took to road, spontaneously performing through our market towns.
The choir operates its rehearsals with a walk-in policy, and have become socially engaging. “PSG is all about hope, happiness and getting pleasure out of the music we sing,” they say, and try to produce up to ten concerts annually. Things the way they are though, regular meeting are reduced to online, but nothing can halt the desire to sing, and members joined an assembly via Zoom to show their true colours yesterday. With a wonderful sounding video, the multitudes of PSG delivered a beautiful rendition of a Cyndi Lauper classic. It makes for an enticing showcase of the work they do, and is sure to cheer your afternoon up!
Where do these bell-ends get off? I confess, this scam got me….
A lesson learned not to check emails before I head off to work in the wee hours of the morning this week, as I fell hook, line and sinker for a shrewd little scam. That time in the morning, I’m even more gullible than usual! Thought I’d mention it here, so if you blog or work in the media, you don’t get fooled if it should head your way.
After the umpteen times explaining to my mum on the phone how to be mindful and wary of emails and social media posts with links, I confess, emotion got the better of me with this one. I feel like such an idiot for falling for it. My entire day was ruined by Melinda, the illustrator, the very angry illustrator, if she exists at all, which I doubt, so I’ll call them nasty pricks; for want of a more offensive term.
Note, I endeavour to check my sources of all the images we use on Devizine, I’ve been a victim of intellectual property theft myself and it’s a horrible feeling, like you’ve been psychically burgled. I’d welcome if anyone spots an image of theirs, they get in touch immediately, and we can credit you appropriately, link it to your website, or if you prefer, remove it. Note also, we are a non-profit-making website; this is a hobby but, in turn, I take copyright issues personally and seriously. Copyright infringement is a bitch, a red tape minefield in this digital era, and the last thing I want is to upset a creator. Imagine my surprise then when a message arrives via the feedback form on the website, claiming I had used their images without permission.
The message was thus: “This is Melinda and I am a licensed illustrator. I was confused, to put it nicely, when I came across my images at your web-site. If you use a copyrighted image without my approval, you should be aware that you could be sued by the owner. It’s illegal to use stolen images and it’s so nasty! Take a look at this document with the links to my images you used at devizine.com and my earlier publications to obtain evidence of my legal copyrights.”
It ends by requesting I “delete the images mentioned in the document above within the next several days, I’ll write a complaint against you to your hosting provider stating that my copyrights have been infringed and I am trying to protect my intellectual property.” Then it ends abruptly with a threat, “And if it doesn’t work, you may be pretty damn sure I am going to report and sue you! And I will not bother myself to let you know of it in advance.” Looking at it now I see the holes, but rather than a formal notice, it is just the sort of knee-jerk reaction you might expect from an angry artist upon finding their work stolen, and I fully sympathise with those who do.
My heart leapt into my mouth and the immediate response is to resolve the issue as fast as possible. The catch is Melinda, the imaginary illustrator, hasn’t named the images she has an issue with; you have to click on a link to see her “case file,” and reveal what images of hers you’ve blatantly nicked. I did click, it took me to a Google Drive page which didn’t load immediately, so quickly closed it down. I’d have to contact her via the email address she left or her website. The emails returned unsent; the website didn’t exist.
Yeah, I know, this should’ve been evidence enough to tell me it was a trick, but my mind was still wound up with what-ifs, and worries I’d offended someone. I had to speculate as to what images they could be, and came up with two on an article which I deleted post-haste. Then, throughout my work day I’m contemplating, what if they weren’t the right pictures, and I wracked my brain to think of others they might be.
When I got home, I tried the email again, to be sure, changing the capital letter for lower case. I messaged the person who was the subject of the article, as I lifted the suspected images from his Facebook page, though he is in Argentina, I’d have to allow for the time difference. Then I Google searched illustrators called Melinda as contacted them too, asking them if they’d messaged our website. It was only thanks to Ida of InDevizes who messaged me after seeing my Facebook post, I found out others had the same message, and it was confirmed a scam.
Virus scan today picked up no threat. No harm done, just an upsetting day, a pointless waste of my time and the notion I will be cautious of anyone calling up copyright issues in future, which in turn could affect our ability to work with creators to ensure we get it right. As if copyright isn’t complicated enough, these absolute bell-ends have to meddle with your emotions, and ruin your day. I’m just posting so you’re aware, as I’m surprised that I fell for it, is all. Onwards as ever….
Hats off to Sheer Music, who has a Music Venue Trust open letter template, calling for the government to consider grass roots music venues.
You can download the template letter from the Sheer site, link here, and are encouraged to send it to your local MPs and councillors, with a cover letter in your own words, explaining your circumstances and why you feel live music is important.
With news today pubs and restaurants will reopen on 4th July, massive restrictions are set and live music doesn’t look like it will be happening again anytime soon. With some thought applied and careful planning, I’m certain performances could potentially restart too.
This is vital to the livlihood for not only event organisers and landlords, but our musicians too. Please, if you can follow the instructions from the Sheer page, thank you.
Yay, happy Father’s Day, Dads, we are number one, so why try harder?!
Received a photo-card from my son of my good self proudly showing off my moobs, and my daughter got me a fit-watch thingy to measure my steps, heart rate and all of that malarkey; a smidgen suspicious they’re trying to tell me something. Yet, by way of a complete turnaround, I’ve also bagged myself a box of brownies from the Gourmet Brownie Kitchen in Poulshot and now I’m staring at my fit-watch, eagerly awaiting brownie o’clock to come….
…. hold on…. Yeah, oh, mmmm, nice, yeah baby; these are the kiddy! I rest my case. Take this as my specialised technical food review; who do I look like, Mary Berry?
Now the deed is done. Amazingly, I did twenty-six steps going to the kitchen to get the brownies! It was worth the effort though, probably worth it if my kitchen was located on top of Mount Etna. Cos, like, cakes have trends, don’t they? A year or so ago it was all cup cakes this and cup cakes that; all in the icing and fancy decoration. Don’t get me wrong, nothing against the cup cake, but brownies are the new top dog, all the fancy ornamental stuff and icing begone, simple, stodgy little blessings they are, those brownies. Though, there was a variety in the box, particularly standing out visually was the fudge one with marshmallows and covered in white chocolate. I couldn’t single any out though, for all their subtle differences, I loved them all with impartiality and equality!
I tried my hand at baking them once upon a time, bought a tray especially, but they came out like squares of chocolate sponge a six-year old might make.
What’s the secret in making those beauties stodgy and so utterly gorgeous? I don’t know, put a book on them like pressed flowers? Ah, I don’t need Google, I don’t need to know, really. Jodie Perkins knows, might well be her secret, and that’s good enough; leave the brownie-making to the experts. I’m only professional in the eating part and telling you, because I know a good brownie when I taste a good brownie, and the brownies at The Gourmet Brownie Kitchen are somewhere between a brownie paradise and brownie heaven; about halfway.
Jodie founded the business in 2013 and in June last year she opened her shop at the Poulshot Lodge, which is a double-whammy as I picked myself up some wicked ribeye steaks while I was there! Now she’s shipping these beauties out nationally. Jodie makes cakes for celebrations, she offers vegan and gluten-free options, and she has a website for orders, you don’t need to wait for the next Father’s Day; any day should be a brownie day.
If I penned an all-purpose article a week or so ago, about ska in South America being as prospering now as it once was in England, I follow it up with this grand example….
Argentina’s Dancing Mood trumpeter and producer Hugo Lobo made history this week, releasing “Fire Fire,” a skanking upbeat cover of a Wailers rarity, by calling in international troops. Throughout this prolific career, Hugo endeavours to encourage legendarily collaborations, exalting the international genre and keeping the flame of Ska and Rocksteady alive.
Dancing Mood staggeringly sold over 200,000 albums. Hugo Lobo presented his debut solo album ‘Ska is the Way’ in 2017. This renowned trumpeter not only performed and produced for many of the south American ska and reggae bands I mentioned in my previous piece, but transcends to international acclaim, working with Rico Rodriguez, Janet Kay, The Skatalites, Doreen Shaffer, and Dennis Bovell. With Jerry Dammers, Hugo paid tribute to Rico Rodriguez in 2015 at the London International Ska Festival.
In a transcendental meeting, three generations of ska artists from the corners of the planet combined to recreate this 1968 musical nugget from the Wailers’ homemade label “Wail’n Soul’m,” where Peter Tosh leads. Jamaican-born British rhythm guitarist and vocalist Lynval Golding, of the Specials and who later founded the Fun Boy Three with Terry Hall and Neville Staple, is central to the single, yet he always is central to something ska! Lynval appeared on Glasto’s Pyramid Stage with Terry Hall backing Lily Allen, and the Park Stage where Blur frontman Damon Albarn and beatboxer Shlomo knocked out Dandy Livingstone’s “Message to You Rudy,” a popular cover for the Specials.
Lynval Golding
With a generation-spanning résumé, Lynval Golding continues with current group, Pama International, undoubtedly the UK’s most celebrated contemporary ska outfit who we were the first new band in thirty years to sign to Trojan Records. Yet through this huge portfolio, Hugo Lobo proudly announces his presentation is Lynval Golding’s first solo material.
Lynval with Jerry Dammers and Jools Holland
If that’s not enough to whet your appetite, Hugo also called upon the current bassist of The Skatalites, Val Douglas to add to the enthralling sound. Check the bass on Bob Marley’s “Wake Up and Live” if you want a shining example of Val’s talent. Though Val is a multi-instrumentalist, arranger, composer and producer, working with just about any reggae legend you could name; Toots & The Maytals, Lee “Scratch” Perry, Ernest Ranglin, The Abyssinians, Delroy Wilson, Dennis Brown, Ken Boothe, Lloyd Charmers, as well as contemporary ska artists the New York Ska Jazz Ensemble.
Val Douglas
All this considered, it could go one of two ways, overloaded with ego and fighting for centre stage as would many legends of other genres, or simply a sublime sound. Bear in mind this is SKA, collaborations are more frequent and common than rock and pop, and unlike the often-pugnacious insolence of ska bands, there’s never anything narcissistic about legendary collaborations. Glad to announce it’s the latter of the two ways, this sound leads the way. It holds all the catchiness we expect from ska, it heralds tradition but sounds fresh and innovative; the hallmark of the scene I love.
If the name Clock Radio suggests an irritating box by your bed you simply want to lunge at in the morning, the casual “Talking Heads” fashion of local purveyors of self-proclaimed “deluded jangle rock,” entice no such violent action; they’re smooth and arty. Though, ironically describe themselves as “easily triggered, dishonest, cryptic yet flirty,” and violence is likely the disingenuous subject of a new tune, virtuously. Talking Heads though, Psycho Killer, qu’est-ce que c’est?
Idiosyncratic irony and intellectual self-satire, isn’t it? Regulars at Devizes Southgate, Clock Radio threw their retrospective namesake to the wind a year ago, and joined the download generation, as far as distributing their wares. “Throw out your vinyl grandad,” they call ageistly called to order, “Clock Radio just went digital!”
Their enigmatic sound though is much the same proficient “new wave” formula you’ll hear live; if it ain’t broke. They brand themselves through posters using snippets from cringeworthy seventies catalogues or Gilliam’s Python animation-styled images; all very pop art. Their sound reflects such an epoch, so such ageist jests can be nothing more than the elemental tongue-in-cheek bravura which will aptly see them billed alongside Calne’s Real Cheesemakers.
Out this week,“Virtuous Violence” is their fifth virtual release, following two singles and two EPs. With a spooky clocktower chime introduction, a gothic guitar riff flows through this otherwise poetic and smooth tune. It’s melodic retrospective post-punk goodness, would be avant-garde if appropriated its era. Yet if that Brian-Eno-slipping-on-The-Pixies kind of causal and breezy ambience is the fashion Clock Radio seek through their previously releases, they’ve nailed it with this one.
For while I’ll flitter with the genre, a tune has to “pop,” for me to take hold of it, and Virtuous Violence transcends the boundaries of their previous releases for catchiness and in capturing the imagination. Don’t run away with the notion they achieved this with the ease of synth-pop, for that’s an element of new wave they steer away from, keeping it traditionally analogue. No, this is just, well, nice on the ears. Another one for post-lockdown “must do” hitlist.
If we’re all eager to consign this lockdown to the history books, none so more, perhaps, than our pub landlords/ladies and event organisers.
I’d hope and imagine they’re considering ways to make the return to normal a real celebration. Just a suggestion then, as nothing with such universal appeal would bring the party to an apex then some live soul and Motown; yeah, I know right, comes at price though. But there is an affordable option, and they sound great.
I’d advise you check out this Sophia’s Soul Rebels video, recorded at the Bug @ Spider the week before lockdown, and tell try tell me this wouldnt liven your evening up!
We were all saddened to learn of the sudden and unexpected death of Cllr. Andy Johnson, the newly elected Town Mayor of Devizes, on the evening of 25th May, only ten days into his term of office.
Many people across the Town have already paid tribute to his kindness and generosity as both a neighbour and a worker for local charities.
One of the traditions of the Mayors of Devizes is to use their term of office to raise funds for charities which support the people of the Town. Andy had chosen three deserving charities to support, the Devizes Foodbank, Devizes Opportunity Centre, and the new St James Centre, but his untimely death occurred before he was able to turn that intention into reality.
Please join us in making a donation to this appeal, set up in Andy’s name, to raise much needed funds for his chosen charities in his memory. The Covid-19 crisis has affected all charities, but has been a particular blow for smaller, local, groups whose income has dropped substantially now that “lockdown” has prevented their normal fund raising activities from taking place. The need for their services remains as great, so many are in real crisis. Your contribution will not only allow you to honour the memory of a dedicated supporter of our local community, but will make a real difference to the lives of people within Devizes
Whether he’s sofa slouching with his one hand down his pants the other clasping a beer, watching classic Euro finals and yelping like it’s happening now, or digging up weeds in the garden, proudly displaying his builder’s butt, don’t forget your Dad this Father’s Day…..
ON SUNDAY! I confess, I did one year, and live to regret it now he’s gone; insert sad emoji. Though it’s a man-thing for banter to ride over showing our emotion, if you’re not a dad yourself you’re excused for thinking it’s all a commercial con and your dad doesn’t want the attention, and all they did, after all, was the naughty bit. You are wrong though, I’m afraid. It does mean a lot to those dadas and father figures, believe me.
Remember we live to embarrass you in public, that’s why we have those sandals and oversized khaki shorts, but we do it because we care! So, you’ve a few more days to get it together, shops are reopening, I urge you keep it local, but what can you do to show him, through all his faults, you love and respect that balding misunderstood numpty?! Here’s some ideas….
Cards and Gifts!
Yep, easy one, innit? Top of the list though. Keeping it local, nip down the High Street, Devizes, and find Expressions Card Shop. They have reopened, and have all the cards, balloons and gifts you could ever want to shower your pops with.
Another cool place to check out, antiques and vintage shop Ele’s Emporium in Seend, they suggest some homemade beer coasters which would save your mum having to moan at him for beer rings on her bespoke coffee table; you know he’ll try to blame it on you otherwise!
Or make something yourself, the Wiltshire Scrapstore & Resource Centre have everything the creative need to construct something truly unique. The scrapstore is a wonderful, eco-friendly charity whose aim is to promote learning through creativity. And if it all fails and you’re covered head-to-toe in double-sided sticky tape, gifts can also be found in Barty’s next door at Bowden Hill, Lacock!
Buy him a Record or CD!
Nip to Vinyl Realm, even if you don’t know what music the old fellow is into; experts Pete and Jacki will be able to advise, and nab yourself a long player that’ll take your dear ol’ pops back to a far off time when he was young; just take a step back if he attempts to belt out Cracklin’ Rosie or show off his dad-dancing; it’s never a pretty sight!
Beer and Snacks!
I admit some Batman socks once got me a tad excited, but usually socks are a cliché yawn. Beer, that’s what he wants, and snacks to go with it. The Vaults in Devizes and Piggy Bank in Calne offer Father’s Day boxes of such necessities, and they’ll deliver them on Saturday or Sunday. Order on their respective websites and you can benefit from the amusement of watching Dad get sloshed.
The Southgate is also available to get take-outs, might be a plan; check with your favourite boozer to see who’s also doing take-outs; Dads are raring to get back down the pub, so you could be onto a winner with this idea. Mathematically the equation is thus: Dad + Beer = Happy Dad.
Tea for Two!
I don’t know about you, but I’m happy with any food, and I’m a dad; must be something in that notion. The Happy Food Company of Devizes have put together a special afternoon tea for Father’s Day, fresh delivered to your door on the day.
Cake selection, Coffee and walnut cake, Guinness and chocolate cake, large pork sausage roll, scone, jam and cream, loose tea from teainc and at £20 for 2. Mum will love it too, even if it’s not her special day!
A Takeaway Roast Dinner!
Who’s got one of those Dads who is always in the kitchen? Yeah, thought not! Still, might benefit him if mum’s in a good mood; get a takeaway roast dinner from the Pelican in Devizes; wink, wink, nudge, nudge. Best way to a man’s heart. Roast pork, chicken or stuffed Portabello mushroom with blue cheese sauce and lovely home made desserts. Vouchers can be redeemed for up to one year, and they have Take Away Mid Week Specials from around the World!
Sweeties!
While we’re on grub, Dads love ‘em, simple as. Savannah’s Sweets in Devizes have reopened, and still do takeaway orders for home delivery. It’s an idea, save him nicking your Haribo, after all.
Picnic!
Every Dad is, in some way, like Yogi Bear, and love a pic-a-nic. Over at Lower Farm, home to Rowdey Cows and Spotty Dogs, they’re having a socially distancing picnic; the shop has everything you need to make it as swanky as you like, and the café is open for teas, coffees, and of course, it goes without saying; ice cream! The Spotty Dog also has a male grooming gift sets as a secondary idea. So, if your dad has adopted the Planet of the Apes look over the lockdown, this might be the very idea.
Have a BBQ!
Dad and barbeque, like horse and carriage. Butchers HF Stiles in Bromham have a mixed grill pack especially for Father’s Day
Avebury’s Gourmet Goat Farmer have some gift bags for a delicious goat-based barbeque. Complete with a goat-themed greetings card, and goat burgers, brioche rolls, goats’ cheese, and a selection of locally sourced salad items, the first 10 orders get a FREE bottle of Ramsbury Brewery beer thrown in too!
Crafts!
Amelia-Rose Creations in Trowbridge has lots of nice ideas, including some brilliant framed worded pieces with Lego superheroes on, get in faster than a speeding brick train though.
Sugar & Spice Bows is another great online crafter with some idea for Father’s Day, their keyrings might not get to you on time, but would be make a great belated gift!
And never forget our Naz at Cositas Bonitas, crazy little craft shop in Sidmouth Street, Devizes. While I cannot see they’ve anything specific for Dads, they’ll guaranteed to have endless ideas in there.
Get a book from a local author!
No point in doing this article without a shameless slice of self-promotion! Buy a paperback or Kindle version of the five-star rated sci-fi comedy, White Space Van Man by yours truly; it’s right up his street, lots of rude words, and it’ll keep him quiet for weeks, save for a perpetual bout of belly-laughs!
Let him eat CAKE!
Devizes-based TrayCake will deliver a Father’s Day treat box to a five-mile radius and, mate, I’ve checked their website, only browsed the photos, but I’ll be dribbling for the foreseeable future.
Secretly though I know what I’m getting, thus is the plight of being father, the invoice was emailed to me! I wasn’t going to mention it, because within half-hour of going online they were sold out. The good news is though, The Gourmet Brownie Kitchen at Poulshot Lodge has a new batch of Father’s Day Treat boxes. OMG and other such exclamation abbreviations, had some of these at the Devizes Food Festival; see, my kids know how to push my buttons. Although I’ll probably have lock myself in the downstairs loo if I think I’ve any chance of stuffing them all!
My work here is done. For the good of all Dad’s out there, the ones who deserve more than a Lynx deodorant set, but probably need one, have a great day! See you down the pub soon, alright?!
“Lying Awake in the Dark,” the new single from Swindon’s indie soloist Paul Lappin, drives a breezier and more melodic sound than previous singles, taking me to something Jamie R Hawkins or Phil Cooper might conjure. As his third single to discover on Bandcamp since the upbeat “Life Was Good,” near on a year ago, here’s an indie-pop rock artist I’ve just discovered, worthy of lots of attention.
Though our friend Dave Franklin, over at Dancing About Architecture got there first, describing Paul’s sound thus, “it bridges a gap between the sweeter sounds of the pre-Britpop era and today’s indie creations. This is an infusion of past and present, a blend of indie, rock and pop which is at turns melodic, euphoric and soulful but always honest, relevant, reflective and passionately in love with life.”
There’s a positively determine, tried and tested formula at work here, which may break no new ground, yet is beguiling nonetheless, and needs no experimentation. While the first two singles prompt me to suggest, though proficient, it’s all quite contemporary indie-pop, joyous and optimistic, Lappin reflects on the more melancholic theme a lost love with “Lying Awake in the Dark,” and to be honest, it suits. Backed by partial exerts of female vocals, provided harmoniously by Emily Sykes, whispering through the melody, the composition is exquisite.
Paul spent some time in rural isolation in France, polishing his song-writing skills, along with painting and sketching. Winning a song-writing competition with his debut single, the aforementioned “Life Was Good,” the story starts here. No stranger to this self-isolation era then, Paul says, “it feels familiar, all be it under very different circumstances. But now I’m confined to my parents’ house in England, where I’ll continue to draw, paint, and write songs. Might as well make the most of it.” Paul strives towards an album release shortly; something to watch out for from him, his handful of backing performers and Swindon’s celebrated Earthworm Studios.
There’s a kind of rueful honesty and openness about Paul’s building discography, the sort after attending just the single gig I’d imagine you retire with the content notion you know this guy, hence my comparison to our Jamie or Phil. Tracks are downloadable for a mere quid, for example; there’s no fleecing here. It wouldn’t surprise me to hear the cover art is a self-portrait, here you get the whole package of a person. It is, though, a watermark of a great acoustic musician, and Paul fits that bill.
Phone memory bursting with text messages from Gail Foster the day I did my fundraising milk round in my Spiderman onesie. A keen photographer as well as accomplished local poet, Gail had cycled to the summit of Monument Hill and sat awaiting to capture the moment I returned triumphant.
I confess, I underestimated my ETA massively due to the media attention, Carmela and family arriving, and passers by stopping me to donate. I was also irritable and smelly by that point, but those are occupational hazards at the best of times, doubly so in a onesie in the sweltering August climate. Gail, though, was as dedicated as paparazzi to getting the snap she wanted, got me smiling just to see her there, and it’s the same commitment she shows through her expressions in poetry. Her shiny new book, Blossom is a prime example.
Images by Gail Foster herself!
Perhaps its very title coveys Gail’s grouping of photography and poetry, natural elements crucial to her snaps, but her books bestow only the written word. We’ve reviewed Gail’s books in the past, never an easy task. Poetry not my bag, usually, so I cannot liken to similar creative outpourings. There’s also the fear that my own penmanship doesn’t compare and will not do justice to her creative writing. Poems are hard, something about bacon. Yet it is down to befriending Gail which has re-sparked an interest in poetry in me, and deflected my juvenile fear of a Ted Hughes book facing me on a school desk. That’s how universally appealing her words are.
While subjects chronologically stream from one poem to another, expect also, sudden changes in Gail’s train of thought. Blossom kicks off with a memorial forward and dark subjects follow, of wintery funerals and melancholic seasons. One may expect this, the platitude of poems often reveals a shadowy side of the poet. But, just a few poems in and though we’re still on the seasonal theme, winter cries a warning to Gail, to keep her knickers on.
Here is precisely why Gail got me into in poetry, a feat I never cared to assume would happen. The wittiness of the absurd, surreal, Pythoneske can crop up, without warning and provide actual laugh-out-loud observations. There’s a feeling of daring in Gail’s words, while acute and proficiently executed, nothing is off limits. Gail projects drollness, jocularity and just about every other emotion of the human psyche, in manner which though reflects poets of yore, breathes a fresh and unique approach to boot.
In this, her new book Blossom doesn’t necessarily take us anywhere new in comparison to her previous collections, there’s even a pigeon reference, a running subject in Gail’s words, yet an improvement in skill and wordplay is clearly evident. Gail strives to advance and progress in her wordsmanship, dealing words like a croupier deals cards, snappy and expertly.
The introduction enlightens us to Gail’s motivation and reason for writing, “I write poems for all sorts of reasons. Sometimes an occasion demands it, in which case I stare at a sonnet on a screen for three days; at other times a poem might tickle me in my sleep, wake me up laughing.” Blossom then conveniently divides into sections, poems covering Seasons, poetry itself, “Binky Liked to Bitch a Bit,” Politics, Characters, Sorrow, Love and Prose, even local thoughts in a section titled, “a bit of old Devizes.”
There are verses dedicated to friends, themes of celebrities, naughty royals and both Greta and Trump, odes to patronising old men, nosey neighbours, political sway, Brexit, current affairs and Nigel Farage depicted as a meerkat. As we pass through an era Gail documents them uniquely. There are unapologetic words of the sweary kind, bitterness at times, jollity in others; bugger, it’s tricky to nail this poet down; what does she want from me, trying to review a book so vastly sweeping with subject matter and prose?! I’m giving up, you have to read it yourself. You can bless your Kindle with one, or Gail favours that you nip to Devizes Books for a paperback, and I tend to agree. Devizes Books brilliantly supports local authors.
In this time of lockdown, you might need a good read, so too does the artists need some revenue. The advantage of holding Gail’s poems in your hand is that you can freely pursue them at your own leisure. We did once review a spoken word CD which Gail recorded, I like this approach and unsure if she will do it again.
Proof it’s in Devizes Books, here’s owner Jo holding a copy!
I could, but don’t, motivate myself to attend local poetry slams and readings, in fear those poets I know, Gail, our own writer Andy, and Ian too, might encourage me to get up. Yeah right, “here’s one I wrote called ermm, ermm, and ermm!” Yet, I do love to hear Gail actually reading her poems herself, it’s a Jackanory thing, to hear the creator express their words is far more effective for a slow reader like me. But you, clever lot, will love Blossom.
This is the second part of a two-part rant; just in case you didn’t have enough yesterday. The first part can be read here.
So, the campaign group “Devizes for EU,” emailed “avert another crisis,” lobbying to extend the Brexit transition so the country “can concentrate on recovering from the effects of Covid19.” I appreciate the angle, yet cannot help but feel they’re pulling a plaster off an arm slowly. Brexit is no bonza idea in my book, but this isn’t the injudiciousness of a persuaded nation, at least the nation four years ago.
It begs the question, how swiftly does “Devizes for the EU” suppose we will recover? I’d wager, and in some small way hope, the Brexit Bunch will be pushing up daises by then. It has to be all or nothing and it’s too late to tuck our tail between our legs and hold out in the EU for support (insert sneering French snort here.) Farage and his cronies ensured this when a sombre moment in history was displayed by childish sneering and flag-waving; an indicator we’re led by donkeys.
Donkeys with an escape plan; pin the tail on Covid19 when the economy takes another nosedive due to failing Brexit strategies. Or is that, tragedies? For it is tragic, or a “fuckduggery shitshow” for want of a more offensive term. If the Farage brigade did tuck their tail between their legs, they’d do it in juvenile mirth; “look mummy, I’ve got a willy!” In similar fashion they themselves acknowledged we’d be looking at forty plus years of glorious blue passports and straight bananas before we regained economic incline after deserting the EU. For their next trick, they cut off their noses to spite their face. No! Don’t touch the face!
Ah well, Dalek climbing off a dustbin; they’ll do what they want anyway, crafty buggers. Cummings; prime example.
If you recoiled at my Cummings comparison to the bald chap in Benny Hill and like to think he’s more like Michael Knight; a young loner on a crusade to champion the cause of the innocent in an EU of criminals who operate above the law, can we not make a compromise? Retain the Benny Hill scenario but in a parody of Knight Rider? Replacing Devon with Bojo Hill; easy. Vivid images of him slapping Cummings’ bald crown as auxiliary Hoff, while Liz Truss as Bonnie Barstow flashes her undies from beneath a mac at Donald Trump. A slap-and-tickle trade deal, but hold the punchline Benny, she’s missing a tooth. Strike a light; Daily Mail page 3 girl.
Who in the Tory Party forgot to pay the Mail their monthly backhander anyway? Certainly not the Knight Industries Two Thousand. Maybe his car turbo-boosted itself to Barnard Castle?
Seriousness aside for a historical tangent; believe, Cummings should have a flashing red light on his car, a warning to us all; don’t mistake Durham for Lourdes. You don’t gotta tell Waltheof, a bad-boy Earl of Northumbria who supervised the building of said castle. Geezer had a bit of beef with ol’ Willy the Conqueror, and joined an earl’s revolt against him. The nutter later repented and confessed his guilt to the king, thinking he’d sympathise and support him. But Willy jailed him for a year, then cut the twat’s head off…. just saying.
Ah, the Norman equivalent of posting a nasty meme on Twitter. You don’t earn the hashtag #bastard for being a light touch. “no 1 told me,” Waltheof replied, “LOL.” Whoa, arrow in the eye sorted him out, Bayeux Tapestry reported, probably hacked his papyrus. Applying social media into historical conflicts one has to wonder if they’d have happened at all, if they could screech their opinions on Facebook. Social media is akin to road rage, shielded by a screen, gossip about and slate who you like, then be nice to the same person if you pass them on the street; I do!
Appreciate we live in a time of peace, relatively. How bizarrely wonderful it has been to extend a Sunday afternoon ambience with a two-month Groundhog Day. It would be a crying shame, but perhaps inevitable, if post-lockdown our bitterness returns to real life levels. I admit, Wiltshire is great at this. Here you go, the Gazette reported, “only one person in the county was handed a coronavirus fine during the scorching bank holiday weekend.”
We’ve a great track record in abiding to social distancing, and as a consequence Wiltshire is doing well by comparison to other counties, or, say the blazingly ignorant example set by our leaders (more on this later.) Local rag continued, “But while the majority of people were abiding by the rules some were stretching the boundaries, chief constable Kier Pritchard said.” Because as we progress the rules get consistently vaguer. Waffled by an incompetent Prime Minster, it’s hardly surprising. “Stay alert” is the UK’s new motto, I gather that means If you see Covid19 heading your way, duck.
Could be worse, we could be in the USA, where I believe the President should freely practice what he preaches and inject himself with disinfectant. Do not delay, Trump, inject yourself with as much as you possibly can.
Or is it that we can hide flaunts of the rules in a largely rural environment? Ghostly figures of high-risk pensioners nipping out for exercise in the middle of the night; Covid19 takes a nap. I see you, Wee Willy Wrinkle. I’ve been in the supermarket queue too; oddballs shuffling closer. Unmoved by a virus, me, as a keyworker, probably got it anyway by now, more so, they smell. Question them and they apologetically claim they forgot. The streets are void of life, warning signs everywhere, spots on the floor, every media source bleating about it, people sauntering past wearing facemasks, how the fuck can you possibly forget?!
Ewe ‘avin’ a laff, shagger? Devizes; stuck in its ways, questionable or not. Opinions rarely change here. Example: I’m queuing for Lidl, somewhere near Etchilhampton. On the wall they listed all first names of their workers, thanking them for their risky labour. The disgruntled bigot baby-boomer behind me, who previously snarled aloud at the irony of a driver lowering her facemask to light fag, scanned the names and muttered to his wife, “humph, loads of foreign names.” Hello you, realise Lidl is German and operates internationally, do you expect someone in the Balkan states to be called Dave Smith?
Idle mutterings maybe, but it’s the same mindset which sees an Afro-American killed by police over the pond. And Trump’s reaction? Threaten to open fire on objectors. You’d think a congress would oversee what he tweets, but I’m glad they don’t; it shows an exaggerated interpretation of the real feelings of the far-right philosophy. Highlights my notion social media is akin to road rage. Trump is to Twitter what Reagan was to “the big red button,” hovering over it, dying to unleash his façade of showmanship. You have to understand the difference between idle mutterings and publishing something on social media, at least better than the melted figurine of He-Man.
Pandora’s box cracked open now, me boy. Let’s clear it up. Ideally, I believe a Facebook group should adhere to the objective it sets. It’s no use disguising a desire to cast political bias onto your Facebook page if it was supposed to be about local issues, and uncompromisingly delete every comment deflecting. This is bound to cause upset. Users of local groups are getting an inkling where I’m driving this. Watch out, I’m a cheeky monkey, flinging the poo back at you.
It is, however, as it is. Admins of Facebook groups are NOT expected to hand over their efforts into the hands of keyboard warriors with absolutely no respect for others. No matter how much upset this petty discourtesy causes you, the need to chastise admin with threats or obscene insults is beyond justified. For crying out loud, how sad have we become? I like the guy, often differ in opinion, but he is not Pol Pot.
I rest my case, but it is important, doubly so while we cannot go down the boozer. I’ve forgotten where the Southgate is; eh? Oh yeah, head south, towards the gate. Social media is a necessary evil now, addictive too. I’m a Facebook junkie, my dreams come over as a Facebook feed. Where I swoon though is when Police posted a photo of teens suspected of breaking into Devizes School and numpties tag their mates. What happened to honour among thieves?
Yes, you can
I tell you, shall I? I know you want me to. It’s all about setting a good example for youth. If you’ve read this far, I salute you. We like our news like the Spanish like food. Tapas, small, bitesize. But stay, just a smidgen longer. Oh yeah, you. Whisper; did you really expect Danny Kruger to risk his job to call out Cummings? That’d be letting him know he’s in charge of a haven of village idiots; nightmare on Sidmouth Street. But perhaps we could carve his name on the Market Place Cross next to ol’ Ruth, when you consider how much rural support he’s bleated about, how he’s donned green wellies and spoke with our blue flag-waving Tory farmers. Then note, while we swam in Cummings gags, he voted to lower our food standards during the Covid19 pandemic and endanger the livelihood of the farms, and in turn our entire infrastructure.
What do they take us for? Giving it, “we will sell our beef to America.” Baloney, they don’t call themselves cowboys because they’re partial to wearing bells around their necks; they’ve got their own beef, quite a lot of it too. Furthermore, I listened in geography class, you can fit the UK into Texas 2.8 times, and that’s just one of fifty states. Why would they want our family pack of Tesco burgers?
I don’t want a fucking bucket of Kentucky chlorinated Chicken, thank you. So, waddle off to Devizes Parkway, clap all the way for a health service your mates are supposed be funding from OUR tax, rather than expecting the poorest to fundraiser for, wait for the imaginary train to stop, pop that in your pipe and smoke it all the way to Westminster, Mr Kruger.
All hail the one-off, two-part return of No Surprises Living in Devizes, my excuse to rant freely. It’s been a while, I guess you could say I’ve a fair bit of ammo. Do not read if you’re easily offended, do not message me if you are offended after I warned you, twat…..
It may surprise many to note, this is the first time, I believe, I’ve typed the word “comrade,” and I’ve only done it to mock myself before you do; that’s me though, proactive. That’s them though, the baby boomer who call me, and anyone with a differing opinion, “comrade;” referencing a forty-year-old situation comedy; traditionalist to the end, even Dave doesn’t rerun Citizen Smith, leading me to ponder if their sense of humour hasn’t changed since 1980, neither has their ideology.
I’m indifferent, might even pop an aging comedy reference your way, though mine will be apt. My theory; laughter is the best medicine, and I’ll try find the humorous side to everything, even the handling of a global pandemic. Which is, if you don’t cry, laughable. Pity me though, subject matter such as this, an era like this, being funny is implausible with sanity, so if I do, consider I’m senseless, but if you laugh, so are you.
Twenty years ago, a bad year for British comedy, we lost both Frankie Howerd and Benny Hill. Yet in this patriotic flag-waving era, does anyone else feel we’ve not lost Benny’s spirit; Ernie’s ghostly gold-tops? That we are, in many ways, perpetually living an episode of his show? We have a rotund, bumbling idiot, aching to speed up the finale of lockdown, for economic sake alone. The only thing missing is the yakety sax, otherwise it’s plausible to imagine Boris in a mac, waddling around an English suburban park, chased by a raging mob of socially distancing scantily-clad women; best guess, ex-Spectator journalists. You can slap the head of that disobedient bald man as many times as you like, but you know he’ll be back next week for more frolicking fun.
For many, the Cummings scandal is the tipping point; a blatant show of negligence exposing the charade to all. It is fact, he did break his own rules and potentially endanger others with the spread of the virus. To defend him is to defend the indefensible, still they try; not buying it Danny. Our MP said without Cummings they wouldn’t have won the election; I wager it was big fat fibs which won you the election, buddy.
Aside the uncanny resemblance to blind cartoon character, Mr Magoo, it’s not Cumming’s eyes which need testing, it’s his obligation and sense of superiority. If you disagree, say, “like any father, he did what he did for little Timmy,” consider an administration which makes allowances for refugee families and children ripped apart by famine or conflict in a manner we couldn’t contemplate on our plush green lawns, then look at our government’s zealous drive to close our borders and divert immigration.
Daggers momentarily fly at the PM’s chief advisor, shadowing a former week where Home Secretary Priti Patel had the guns aimed at her; all she did was motion migrant frontline NHS workers should pay extra for their own treatment, and when they do snuff it of Covid19, it’s time for their families to be deported. Kind of like additional charges when Sajid Javid uses paperclips in his office, then extraditing him if he takes a smoke break. Another sick career-bitch so blind not to look beyond towing the line and into a mirror; she wouldn’t be here by her own unstable immigration values. If there’s logic there tell me, I’m not Mr Spock.
But news flies so fast we’re onto another separate incident in a blink. We don’t get time to rewind and calculate these outrages, for U-turns doesn’t make it alright when malevolent concepts remain in a seat of power. For the sum of them all equals an underlying conclusion something is very wrong in our government.
Disagree? That is your right, stupid, in my opinion, but that’s my right. Consider, we have the highest death rate in Europe. Forage me a substitute reason, worthy plaintiff scavenger; bound to have been something a political party who never came to power did, eh? Or bias media reporting their findings? Or the fact some teenagers were playing on the Green last weekend? Dog them in Facebook police, but leave Cummings be? Riddle me that.
To argue another party would do things no different is hearsay, we will never be fully sure. Lockdown was too late; simples as a meerkat on watch. The Liverpool-Atletico match, the Cheltenham Racing Festival, why? Why were people coming and going from the UK freely? They knew the virus was hanging out, loitering at our gates chewing gum and high-fiving everyone; the science ignored, crucial meetings unattended. Big Ben bonging for Brexit was the bulletin, bullshit.
If you, sir, have the preconception the self-proclaimed leftie snowflake is akin to Channel 4’s wonky depiction of Corbyn as a Russian socialist, or Wolfie, you’ve officially been brainwashed. Nought defecting about them, if they aren’t dedicated to what’s best for Britain, they wouldn’t be moaning. They are not traitors; they are very British. Hey you, funny cos, like, I thought we were supposed to be uniting for the common good, clapping together, why won’t you then allow them independent thought? Why will you continually witch-hunt anyone who dare criticise, when undoubtedly there’s something amiss?
Want unification? Compromise. United in one thing, at least, their dedication to the country, the reason they’re upset. Clap the NHS, but as staff tell you, it’s not putting food on their tables. You’re not a hypocrite for clapping and voting right-wing with a decade of negligence towards NHS funding, that’s reformist misinformation gone too far; you’re just thoroughly misguided. No one will hold you accountable, it is okay to admit you made a mistake. The average leftie doesn’t want Britain to be an episode of Citizen Smith, but you seem to crave Love Thy Neighbour, or The Benny Hill Show. You see, Benny had a bad side, behind the scenes of the titillating comedy there was an underlying perversity, skeletons locked in cupboards. My metaphor takes shape now.
If there’s a reason Boris Johnson defends Cummings and allows his popularity to faulter, it is not because of some intricate totalitarianism agenda, but because of the foolhardiness of saucy playground behaviour inherent of prep-school pomposity. The only good to come of this lockdown is the sense of celebrity reality; look at our luminaries on a live Facebook stream, desperate for attention but attired in sweatshirt and joggers. They leave themselves exposed, they’re just like us. Now you see contemporary politics crystal, it’s a teenage school disco rather than a fascist regime. The very idea Boris compares to Hitler is laughable, I’m not Winston Smith, I agree with you, when a leftie compares our era with that of the war, they lose the argument. In return then, neither should you assume Boris is Churchill, here to save the day.
Hold me up as a leftie if you like, but I’m not. I’m my own person, scrabbling in the dark like you, trying to make sense of it, but if we differ it’s not my political standpoint at fault, it’s your barriers; “Labour MPs broke lockdown rules too,” oh yeah, I agree, stab them with the same sword. Something about politics makes the most motivated corrupt, but I’m not one to be satisfied conforming to the status-quo, if there’s an alternative I’m considering it, if there’s a lesser of two evils, I believe that’s the path to take. I’m so sorry to quiver at your support of a government denying all, failing to produce PPE and testing for frontline workers, the buck stops with them, blood pours from their hands and onto the useless phone app they spent the funds on.
I know you’ll chastise me for it anyway. Shut it and pick fruit, dissident. Complain Devizine is supposed to be about local issues and not cast national opinion. Shush rebel, Devizine is about whatever the hell I want to be about! Did you complain when The Gazette run an article speculating the name of Boris and Carrie’s baby? Hardly local affair, after all. Take my unending waffling as reason for this piece to be so negligent of that factor, for it is only part one in a two-part series, the local issue precedes, after the break.
You see, it’s an advantage living where we do, an affluent Tory freehold, a heaven for traditionalists and conservative ethos. I believe there’s nothing wrong in holding these values dear, but cannot help feeling that political current trends break the code, the Cummings scandal black and white. By comparison folk here have been outstanding, not perfect, but brilliant nonetheless, and we should all be proud of that. Part two then, I will explain why I think this. Meanwhile chew on this; Benny Hill really was a milkman. That’s more honesty than you’ll get from Boris.
Who watched our Carmela and family on the telebox on Wednesday? Surely the most heart-breaking section of a documentary about life in lockdown and those taking the highest risks or making the worst sacrifices.
As her Dad, Darren said while driving his van around, delivery samples to hospitals, and unable to hug his daughter, the funding for muscular dystrophy research has dried up. But here’s a way you can help from home, and even win yourself a grand. The blind card advert can be found on Carmela’s Facebook page. You can help fill this lottery up. Pick a number from 1-150, pay £10 per number, so can have more than one if you so wish. Pay via PayPal.me/carmelasfund
Once all the numbers are taken the winning number will be revealed and the winner receives £1000, Carmela gets £500 towards a safe garden access area to play. Yep, it is play, Carmela’s family say, but only in a form of. It is, in fact, crucial exercise for her at a time when swimming, and other activities have been restricted. It helps build her muscles, and rather than most of us, being for a healthier life and perhaps some abs for the opposite sex to swoon at, muscle building is essential for someone with a muscle-wasting disease. The lockdown is already taking its tow on Carmela’s health and wellbeing.
So, please, if you can, support this sweepstake and be in with a chance of winning. Thank you. x
Discovering a thriving ska scene in South America is like England in 1979……
Studio 1’s architect, composer and guitarist, Ernest Ranglin proclaimed while the US R&B’s shuffle offbeat being replicated by Jamaicans in their early recording studios went “chink-ka,” their own crafted pop, ska, went “ka-chink.” Theorised this simple flip of shuffle took place during Duke Reid’s Prince Buster recording session mid-1959, added with Buster’s desire to include traditional Jamaican drumming, created the defining ska sound.
Prince Buster’s block party on Orange Street
Coinciding with the island’s celebration of independence in 1962, the explosion of ska was eminent and two years later the sound found its way out of Jamaica, when Byron Lee & the Dragonaires, Prince Buster, Eric “Monty” Morris, and Jimmy Cliff played the New York World’s Fair. But if Jamaica’s government revelled in the glory of the creation of a homegrown pop, behind the scenes, Kingston’s downtown was using it as signature to a culture of hooliganism, known as The Rude Boys, and thwarted it. Through curfew and a particularly sweltering summer of 67, horns were lessened, tempo was mellowed and reggae’s blueprint, rock steady, had formed.
World’s Fair, New York 1964
Forward wind fifty-five years and Jamaican ska pioneer, Stranger Cole launched album “More Life,” yet it’s released by Liquidator Music, a label dedicated to the classic Jamaican rhythms, but based in Madrid. Perhaps in similar light to Buster’s innovation, Jamaica doesn’t revel in retrospection and strives to progress; the last place in the world you’re likely to hear ska these days, is in Jamaica itself. Modern dancehall trends can be attributed closer to the folk music of mento.
But the design was set, and to satisfy the musical taste of Windrush immigrants in England, Bluebeat, and later, Trojan Records set to cheaply import the sounds of home. It was a combination of their offspring taking their records to parties, and the affordable price tag which appealed to the white kids in Britain. Thus, the second wave of ska spawned in the UK. By the late seventies the formation of Two-Tone records in Coventry saw English youths mimicking the sound.
Similarly, though, this has become today somewhat of a cult. Given the task of producing a radio show last year, for ska-based internet station, Boot Boy Radio, while aware of American dominated “third gen ska,” that there were few contemporary bands here, such as the Dualers, and Madness and The Specials still appeased the diehard fans, I never fathomed the spread of ska worldwide. The fact Liquidator Music is Spanish, it is clear, ska has a profound effect internationally, and in no place more than Latin America. Yet while England’s second wave is largely attributed to the worldwide distribution of ska, and waves the Union Jack patriotically at it, the sound of ska music spread to Jamaica’s neighbours significantly prior.
Caribbean islands created their own pop music. Barbados had spouge, cited as “Bajan ska,” despite a completely different rhythm section more attributed to calypso. Columbia likewise saw a surge in cumbia during the early sixties, a genre derived from cumbé; “a dance of African origin.”
In South America though, ska was fused with their own sounds of samba, and particularly upcoming rock ‘n’ roll inspired genres such as “iê-iê-iê,” via Brazilian musical television show, Jovem Guarda. Os Aaalucinantes’ 1964 album Festa Do Bolinha predates England’s embrace of ska, the same year, in fact, as Byron Lee & the Dragonaires, et all playing the New York World’s Fair. At this point in time, through Bluebeat, English youth were only just discovering a love for Jamaican music, and Lee Gopthal wouldn’t found Trojan Records for another four years. This mesh of fusions gave birth to a creative period in Brazil, vocal harmony groups like Renato E Seus Blue Caps, and The Fevers followed suit, blending US bubble-gum pop with jazzy offbeat rhythms. It did not borrow from England’s mods; it followed a similar pattern.
Las Cuatro Monedas
Similarly, in Venezuela, Las Cuatro Monedas introduced ska and reggae as early as 1963, with their debut album, “Las Cuatro Monedas a Go Go.” Through maestro arranger and composer, Hugo Blanco they won the 1969 Song Festival in Barcelona, and continued until 1981, when over here The Specials were only just releasing “Ghost Town.” Desorden Público is Venezuela’s most renowned ska band, formed in the eighties. When frontman Horacio Blanco was still at school, he wrote “Paralytic Politicians,” an angry, anti-Hugo Chavez anthem which his fans still yell for. Although Chavez died in 2013, his protégé Nicolas Maduro has descended the country into political and economic crisis; one example where South American ska is equally, if not more, dogmatically defending justice as Two-Tone here in the UK.
Desorden Público
Chile trended towards cumbia through tropical orchestra Sonora Palacios in the sixties, therefore ska didn’t fully surface until the third-gen bands of the nineties. Even today though, Latin enthused bands such as Cholomandinga and reggae is favoured through bands like Gondwana. The modern melting pot is universal and extensive though, I’ve got a lovely cover of Ghost Town by Argentine cumbia band Fantasma, who cite themselves as being the first to develop a cumbia rap. And when upcoming, all-female Mexican ska band, Girls Go Ska sent me some tunes to play, a cover of the Jam’s David Watts was one of them.
Girls Go Ska
All’s fair in love and war; undoubtedly the Two-Tone era of England has had a profound effect on the worldwide contemporary ska scene, so did their revolutionary principles. Peru commonly cites its scene commenced in the mid-eighties, when punk and second-gen underground rock bands emerged in Lima. Edwin Zcuela’s band, Zcuela Crrada differed by having a saxophonist, and adopted a sound which bordered ska. Azincope and Refugio were quick to follow, not to the taste of the rock-based crowd who classed it commercialised pop. Psicosis came about in 88, the band to initiate the term “ska band” in Peru, taking steps to eradicate the preconception. They won a recording contract through a radio contest, the jury expressed concern; the band were radicals within a pseudo-movement with libertarian ideas, and so the band refused to record.
Zcuela Crrada
With influences from the Basque ska-punk band, Kortatu, Breakfast continued the rebellious nature with ska in Peru, but discarded their discography. It will take us into the nineties to start to find orchestral flairs, when Carnaval Patetico and Barrio Pamara emerged, bringing with them the country’s belated by comparison, second wave. Odd to see how punk gave ska a leg-up in this legacy, but the melting pot is bottomless.
Where some bands, such as Swiss Sir Jay & The Skatanauts, favour pouring jazz into their style, akin to how the Skatalites formed the backbone of Studio 1 through attending Kingston’s Alpha Cottage School, others, such as the States bands like The Dance Hall Crashers prefer to fuse punk influences, Big Reel Fish takes Americana to ska, and one has to agree the tension of teenage anguish felt by eighties skinheads equalled that of latter punk-rock.
The Dance Hall Crashers
The rulebook is borderless and limitless, to the point there is no longer a rulebook, through an online generation one can teeter on the edge of this rabbit hole, or go diving deeper. If I said previously, Two-Tone is a cult in England, in South America ska is thriving. Some subgenres bear little relevance to the sounds and ethos of original Jamaican ska. Other than the usage of horns to sperate them from punk or rockabilly, off-shoots of skacore and skabilly tangent along their own path. Oi bands prime example, where a largely neo-Nazi tenet cannot possibly relate to an afro-Caribbean origin.
Again, the folk of a nation mergers with the sound, and there can create an interesting blend, such as the Balkan states, where the Antwerp Gipsy Ska Orchestra and Dubioza Kolekiv carve their own influences into ska. Which, in turn, has spurred a folk-ska scene in Bristol and the Southwest, bands like The Carny Villains, Mr Tea & The Minions and Mad Apple Circus, who add swing to the combination, and folk-rock bands such as The Boot Hill Allstars, confident to meld ska into the dynamic festival circuit. South America typifies this too.
Mr Tea & The Minions
Modern murga, a widespread musical theatre performed in Montevideo, Uruguay and Argentina hugs ska through carnival. Argentina’s scene is as widespread and varied as the UK or USA, in fact it was former Boot Boy presenter, Mariano Goldenstein, frontman of The Sombrero Club who led me to the rabbit hole. If the name of this Argentinean band signifies Mexican, one should note, The Sombrero Club was a Jamaican nightclub on the famous ‘Four Roads’ intersection of Molynes and Waltham Park Roads in St. Andrew.
Byron Lee @ The Sombrero Club
Journalist Mel Cooke recalls in a 2005 article for the Jamaica Gleaner, “although it carried a Mexican name, the senors and senoritas who stepped inside the Sombrero nightclub did it in true Jamaican style. It was an audience that demanded a certain quality of entertainment and, in the height of the band era the cream of the cream played there. “It was one of the premier dance halls for bands, live music,” says Jasper Adams, a regular at The Sombrero. “If you capture the image of the dance hall in London at the time, you get an idea of what it was like.”
Note the Wailers, bottom of the billing!
After the demise of the Bournmouthe in East Kingston, in a bygone era, The Sombrero was the place to catch ska legends, Toots and the Maytals, Tommy McCook and the Supersonics and Byron Lee and the Dragonaires. There could be no name more apt for Argentina’s Sombrero Club, for within a thriving scene which mimics England in the grip of Two-Tone, their proficient and authentic sound is akin to our Specials or Madness.
The Sombrero Club
It is, however, through Marcos Mossi of the Buena Onda Reggae Club from Sao Paulo, perhaps a lesser known band outside Brazil, who have really spurred my interest in South American ska, through their sublime blend of mellowed jazz-ska and reggae, and through it I realise I’m still teetering on the edge of the rabbit hole. Aside the aforementioned bands, I’m only just discovering Brazil’s Firebug, Argentina’s Los Fabulosos Cadillacs, Los Calzones Rotos, Los Auténticos Decadentes, Karamelo Santo, Cienfuegos, Satellite Kingston, Dancing Mood, Staya Staya, Los Intocables, and Ska Beat City, Cultura Profética from Puerto Rico and Peru’s Vieja Skina. Pondering if the list will ever end.
Bunena Onda Reggae Club
One thing this highlights, while ska is international now, with vibrant scenes from Montreal to Melbourne, Latin America holds the key to a spirit akin to how it was when I opened my Christmas present in 1980 to find Madness long player, Absolutely.
Tune into my show on http://www.bootboyradio.co.uk – Friday nights from 10pm till Midnight GMT, where we play an international selection of ska, reggae, rock steady, soul and funk, RnB, shuffle and jazz, anything related which takes my fancy, actually!
On our promise, via The Indie Network Facebook group, and generally a growing cognisant inside me, for Devizine to musically venture outside our local area, geographically, here we go with a starter for ten. Though it’s no new thing, in the past we’ve mentioned many, from Cosmic Rays in Shropshire, to Mayyadda from Minnesota; I invite this pandemic to officially crash our borders….
One request recently came from one Vince Henry, who’s digitally-adapted Facebook profile pic makes Doug Bradley in his Pinhead guise from the Hellraiser films look like a bedtime Care Bear, and led me to assume the band he manages, Mr B & The Wolf was about to unleash some thrash death metal or psychobilly peculiarity unwillingly into my aging eardrums. I prepped myself accordingly, one ear in the headphone, paracetamol within reach, but I was pleasantly surprised.
As a function band based in my motherland, Essex, Mr B, and his wolf too, are lively, true, but present a flowing range from blues-based rock and Americana to “throwback” pop and soul, and do it with the finesse of a contemporary Fleetwood Mac. It’s a zephyr blowing your locks, the single I’ve been sent, Out of the Mist archetypal of the band’s bravura. I liked it and now have the album, LazyDay to give a fuller appraisal.
With echoes of driving rock Mr B and the Wolf keep a balance, there’s no tearing off metal as I preconceived, no angry underscores, rather a commercially viable equilibrium of uplifting rock radio stations cannot excuse for not spinning. Second tune, Rise Up, a great example of this breezy and enriching chic. Yet in the acceptance lies an aching sensation eighties power ballad bands, like Huey Lewis and the News should’ve been striving for a sound more like Mr B & The Wolf.
Three tunes in then, and Crazy Town strips the style back to a deeper blues riff, vocally gritty, vocalist Dean Baker handles it very well indeed. Out of the Mist combines the two and stands out, for both catchiness and composition. Chestnut subject matter, yeah, but it doesn’t sway me when it’s performed so well.
What we find here is a bonded, proficient band with stains of all rock has produced before but boy, do they know how to wear it well. They being, Ben Pellicci on lead and backing vocals, Jason Bird on bass and backing vocals, George Wallis on rhythm, and Jason Chown on Drums; unconfirmed which one is the wolf!
Phoenix ballads us to the finale, harmoniously and mellowly. I couldn’t go as far to compare it with the way Morrison would direct the Doors through an audience-mesmerising voyage, but it does equate the great soft metal bands of yore’s more magically rousing moments. I nod to Heart and of course, Bon Jovi, but they’d be knocking on the doors of Floyd or Cream, see if they’re coming out to play.
The finale though, belts back the blues riff and takes us full circle. In conclusion then, Mr B & The Wolf certainly don’t drift from blues-rock formulae, though it’s a damn fine established blueprint anyway, and this Chelmsford band do it with style. LazyDay would refrain you from road rage in traffic and compel you to turn it up when you hit the open road, Mr B & The Wolf would be a gig you’d return from with fond memories.
To celebrate the launch this week of Joe Edwards’ wonderful album, “Keep on Running,” which we handsomely but rightfully reviewed here, we’re delighted to give away this shiny vinyl copy to one lucky, like, very lucky entrant. Face it, you’ve a good chance of winning, being no one actually reads Devizine other than you! So, to make it slightly competitive, and fun too, I’ve created some quiz questions to test your knowledge of our local music scene; check it out, brains-of-Britain!
Question 1:
Question 2:
Question 3:
Question 4:
Question 5:
Get your answers in by, I dunno, erm, I’m making it up as I go along anyway, let’s say Monday 1st June, that gives you a week to search the site for reference and get me some much-needed hits. No, wait, no cheating! Anyone found cheating will have their name carved onto the Market Cross, alongside Ruth Pierce. No entry to anyone too far for me to drive to deliver it, no entry to anyone with the surname Sausage, no entry to me, everyone else get submitting your answers and I’ll write your name on a slip of paper, chuck them in the bin and keep it for myself. No, I won’t, really; we’ll pull one lucky bugger’s name out the hat, if I can find a hat, a bowl or something if not on Tuesday 2nd June 2020. Best of luck!
I apologise for my total incompetence; dammit Jim, I’m a milkman not a game show host. As it turns out, I cannot access the names of the entries so….
Please enter by messaging our Facebook page with your answers; sorry about that! What a sham!
And please like the Facebook page of Joe Edwards too, and shared our post, it’s the little things in life…
Okay I confess, in my last article I did, didn’t I, state there was a trend of indie music taming to mass appeal? And yeah, I suggested this is no bad thing. There will, however be exceptions to the rule, and rock will, and should always retain its hard edge; we have room for all here. Swindon’s Ryan Webb, for instance, who’s just dropped a new single, “Don’t,” takes no prisoners.
This is militantly metal, with spikes. It rocks with edge, it doesn’t hang around with an ambient intro, stop for a melodic break, the bridge is reached in seconds, the rolling guitar riff perpetually quivering your bones. A one-man red-hot chilli pepper, Ryan wrote, produced, sang, wailed his guitar, recorded and mixed the track in his studio. The only collaborator being Dave Collins, the mastering engineer for Metallica’s last album, who mastered this too.
It must be said, this not the template of Ryan Webb, who quotes influences ranging from Pink Floyd, Joe Satriani, and Zeppellin, to Coldplay, Muse, and Kings of Leon. He has the range encompassing any rock avenue, and projects all with comfort and competence.
“Don’t” though, whoa there Ryan, I’m inclined to put my frayed denim jacket over my AC-DC t-shirt and head-bang my way to the highway from hell, and I’m not usually one for all that; haven’t even got an army surplus bag with badly grafted pictures of Eddie the Head and Megadeath logos!
So yeah, if I like it, you iron maidens will love it! What is more, the track is “a plea to anyone contemplating suicide to take a step back and see that they have a lot going on for them in the world. Even when times are really bad, it’s important to talk to those around you.”
Ryan has chosen All Call Signs as the beneficiary for any sales from the single. All Call Signs is a UK organisation set up by two veteran soldiers, Dan Arnold and SJ James, in order to help other vets/serving military personnel who may be finding life difficult. They have also created an app which helps locate those reported missing and in need of urgent support.
If social media is the rearguard in music’s battle against the Coronavirus lockdown, there’s plenty of battalions networking at this last stand, and physical location is no issue. A virtual realm is borderless, and for this reason, while Devizine is concentrated on content local to Wiltshire, there are many avenues worthy to waiver the rule for. So, expect us to cover some bands and artists without borders, ones I’ll connect with through social media, such as the Facebook group I’m here to mention, as is the group’s tenet.
That said, Ollie Sharp is a young performer from within our geographical catchment, Bath, who recently set up said Facebook group for indie music, called, aptly, The Indie Network. Its welcoming and dynamic attitude is gaining attention. I joined, they cast a thread of introductions; made me feel old! Funny cos it’s true, pipsqueaks by comparison. Young enough to have to Google my antiquated phraseology, like cassette tapes and Danny Kendal. Some poor guy confessed he was older, at 43, at which he faced compassionate reassurances such as, “it’s only a number.” I knew then to keep my gob shtum, so I stated I was “old enough to know better, too old to care.” Least it’d do no good for our Kieran from Sheer Music, who also joined, to grass me up as an old skool raver, historical to those barely an itch!
Though we’ve jested before about the era of yore where never the twain would indie kids and ravers mingle, Mr Moore and I, and come to the conclusion I’m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollie’s recently formed band The Longcoats, and it’s just the sort of thing which allows Kieran to win the genre argument! It’s breezy, placid indie, acceptable on a larger scale than predecessors, much least my aging preconceptions, bit like what our Daydream Runaways and Talk in Code are putting out; and I like them. I even refer to them as “our,” see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, I’m an indie kid! (kid used here in its most unlikely definition.)
Anyway, I digress. We’ve reached the part of the show where the artist mumbles “is this codger going to actually review my single?” Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. There’s no telling some, he’s a bastard. However, we’ll never get going if I branch into politics.
“Used to Being Used” is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, there’s a trudging guitar riff, a theme of dejected ardour, yet it’s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude; there is no need to be angry in an era which accepts the genre, so ever with edge but only enough, The Longcoats create a beguiling and entertaining sound to appeal wide.
Last year guitarist Arthur Foulstone and drummer Kane Pollastrone added to frontman Sharp’s lone act, which bridged the gap between band and solo artist. The final piece of the puzzle came upon recruiting permanent bassist Norton Robey. With the assistance of producer Jack Daffin, The Longcoats have created a defining sound which is appealing and instantly recognisable.
There is nothing about this Bath four-piece indie-pop-rock band here, I’ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Here’s one to watch, with their debut EP ‘October’ in the pipeline, here’s hoping it’ll reach us before the month of its namesake.
But it’s not so much about the individual band here which maketh this article, rather the conscious efforts to unite and network, thus creating a scene. Even through this era of wishing for a live gig, the networks thrive, perhaps even more so. Ollie also created Wise Monkey Music, a multi-media music and events promotion company based in the Southwest, of which we look forward to hearing more of; attention, the like Facebook group The Indie Network is likely to bring. They even let this aging raver in, dammit; though my white gloves and whistle must be in a box in the loft somewhere, it’s a deceased stereotype, of which I’m glad.
I do find though, as someone who glued and photocopied zine after zine, aside the mass media driven pop tripe, the underground thrives as it ever did, the internet only creates an easy route in. Just like the bands of the now, such as The Longcoats and others rapidly joining the group, what’s not to like about it?
I’ve been invited to watch some horror! After the success of their debut film, Follow the Crows, Swindon filmmakers Alex Secker and Marc Starr have been busy with Onus; I know now what’s behind my sofa…..
Finding it hard to accept it’s been the best part of four years since I received my first “real” journalistic assignment for local news site Index:Wiltshire.
The editor, Craig couldn’t make the press screening for Swindon-made film, Follow the Crows, so with no experience I bumbled my way in with little expectations to find a birthday party-fashioned welcoming to view a compelling dystopian thriller.
Comparing the team’s new film, Onus, with the latter is inevitable, though through Follow The Crows’ simplicity, this is visually better and more engaging. I’m glad to have been invited to review it and I’m free to assume this time, not just it’s quality, but eerie and divergent conception.
Writer and director, Alex Secker doesn’t settle with convention. For this it receives full marks. Where it differs is in setting and angle. If Follow the Crows goes for a survivalist circumstance within an imaginary post-apocalyptic realm, Onus follows the template of traditional Hammer House horrors of yore, in a sense. If you crave modern Hollywood’s hurtling imagery and non-stop action, this is not for you. Onus creeps up on you, increasingly setting a troubling notion in your psyche. It’s suspense reason for me not to reveal spoilers.
It certainly achieves what I believe it set out to do; my fingernails are somewhat shorter. This is an unnerving masterpiece which abounds by twisting the cliché of classic horror. Starter for ten, the music, by Graeme Osbourne, assures you an uneasy sitting; I’m shivering before any visual. Yet when it does, despite unsettling sensations, we’re shown a female couple on a car journey through our acceptable local landscape. The driver, haughty Izzy (Erin Leighton) poses somewhat relaxed, taking her subordinate and shy dungaree-wearing girlfriend, Anna, (Daniella Faircloth) to meet her upper-class family. You may know yourself, meeting a lover’s parents can be unnerving at the best of times, with a class difference, doubly so. Izzy asserts her superiority, bantering the nervous Anna by joking her family are “not vampires;” a notion she drives a little too much.
“Onus creeps up on you, increasingly setting a troubling notion in your psyche.”
In true horror fashion the setting is solely the house, the protagonist’s suspicion they’re being deceived builds, and for such, Onus borrows extensively from the chestnut. Secker though is keen to raise social indifferences between classes, the notion of wealth meaning superiority; this only increases the gut-wrenching feeling Anna is out of her depth.
Suspense drives you to want something to unveil, but it plods on its tension-building ambience for over the hour. Anna’s snowballing anxiety is portrayed perfectly by Daniella with some haunting expressions of despair. You? You’re looking for an escape clause, a knight in shining armour. But if the plot has strands of Little Red Riding Hood, there appears no character who will be Anna’s woodcutter. Izzy’s obnoxiously snobby brother (Alex Pitcher) is clearly in on it, pompously he sniggers at her misfortune; both sibling rivalry and homophonic attitudes abound in his arrogance. The Victorian mother (Karen Payne) is as stiff and a brush, and the ill father (Tony Manders) is shadily the reasoning for her presence at the house. This only leaves the clue-providing maid, (Shaniece Williams) who, treated as a slave of yore, is doubtfully going to heroically strive in. Here within lies the twist, dispelling the cliché horror ending.
So, what begins as a classic horror, ends unexpectedly; like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.
“Like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.”
Again, the production of Marcus Starr, the writing, directing and editing of Alex Secker and the acting is sublime. The temperament is undeniably spooky, the setting is dripping with realism, especially being based in the South West. The characters are vivid, Anna is somewhat free-willed rather than helpless, just trapped. The family are genuinely as snooty as you’d expect, and unnervingly mysterious; I feel driven to Facebook message my worries to Daniella, pleading she takes more time in choosing a partner next time, that’s how realistic it is!
And what is more, I think it’s easy to pass my review as flattery, that no locally-based film crew could hope to attain that of the mainstream movie industry, but Follow the Crows is award-winning, Onus deserves to follow suit. I don’t usually do star ratings, as I feel it’s restrictive, but if I did it’d get a four out five at least! You. Need. To. See. It.
The movie has a distributor, High Octane Pictures from LA. “We’re finalising the paperwork,” producer Marc informs me, “they’ll distribute direct in the US and Canada, then sell to the rest of the world.” So, it should be on DVD and blue ray in a couple of months. I’ll keep you in the loop.
While I’m sure sporadic and social distanced celebrations, picnics and perhaps the odd full-scale rave occurred everywhere on Friday in celebration of VE Day, lockdown isn’t it? I was confined to wandering my village and assigned to take a few photos for the village magazine. I bow my head, they weren’t to know, photography isn’t my forte, but with television shows now being created via wobbly phone camera, I figure what the heck, I’ll publish them here!
The highlight was meeting local legend Wayne Cherry, the gent who stood at the top of the Brittox for 100 hours during last Remembrance, has raised £1,272 standing outside his home for NHS charities. Well done, Wayne. You can donate here.
The nineties, the Skanxters set the bar high for ska bands in Swindon. In a similar fashion their keyboardist Erin Bardwell, and those who’ve worked with him, have carved a unique watermark for the multiple branches of the reggae genre and given the town a certain original sound. Nestled somewhere between his ska band epoch, his rocksteady revival crew the Erin Bardwell Collective and Subject A, his dub project with Dean Sartain, comes a new solo release, Interval.
If Erin states this is a “side-step” and a “pause from the usual,” this lockdown-driven release least retains that trademark style in all manner and sense. But it is unusual, in a good way. If this lacks the vocals of Sandra Bell, and other layers which make the current sound of the Collective, it makes up for it in alternative ways; I’m going to attempt to sum them up and do it some justice.
Firstly, Erin’s voice defines the aforementioned watermark of Swindon’s reggae scene, and, secondly, the subject matter of Interval is dripping with reminisces of its previous incarnations. Now, when I say reggae it’s an all-encompassing term taking in ska, rocksteady, boss, roots and dub reggae in one swoop, makes it easier that way. And one thing which unites all these offshoots is the orchestral configuration, the importance of binding all the instruments, where the keyboard is vital. In this, Interval is concentrated on piano, as it’s Erin baby, and there’s some impressively crafted segments of ivories, more Chopin than Jackie Mittoo.
From the starting block, it is apparent reggae is not the only influence intertwined in this great album. The opening track, “Four Walls Surround” bursts out with an upbeat Two-Tone riff but is rinsed with something Paul Weller about it too. The subject seems to relate to the lockdown, but could also connote the isolation of teenage anguish felt by the youth of the Two-Tone era. From here I think it’s fair to assume Erin is contemplating his younger years whilst staring at those walls, and trying to convince himself it’s no bad thing.
The cover appears as if it’s a classic soul album of yore, and we’re already setting the concept. There is a running nostalgic theme here, but the album is diverse in its approach; the second is a ballad. “When you Smile,” fashions akin to the melodic plod of the pedigrees of dub. But if that nods to King Tubby, “Bridge of Tunes” does equally for boss reggae’s chugging beat and wouldn’t look out of place on a Trojan’s sixties Tighten Up compilation.
Time for the summit of Interval, “(Like the Reflection on) The Liffey” is a wistful masterpiece of haunting sentiment, a resonant dub with delicate with horns, thoughtful prose and dreamy composition; Pink Floyd does dub. To follow, we’re chugging back with something retrospectively reflective reggae, as Erin comments on the Windrush scandal, as it is, after all, the motive the UK embraces reggae. As evocative as The Liffey though, it finishes with a chilling spoken quotation.
“Name on a Page,” uses the melodic dubplate of previous track “When you Smile,” and the album plays out on a similar key, “That London Winter” enforces the notion Erin is writing memoirs, and “Injured Arm,” casts back further with an expert of a what sounds like a children’s show.
In conclusion this is a skeleton in the closet project, shady and thought-provoking. Coupled with that unique trademark sound makes it stimulating, different and totally original. While most contemporary reggae is either instrumental dub, songs of conscious Rasta judgements, or plain dancehall rap with over-inflated egos, Interval exerts Erin’s refreshing exclusivity to the maximum and will appease not only die-hard skins and punks, but those seeking something alternative.
Joe Edwards has his debut solo album, Keep on Running released this week, here’s my tuppence on it…..
Under the “write what you know,” philosophy, if I’ve been critical in the past regarding local Country-fashioned artists using cultural references alien to their natural environment, i.e. a band from Wotton Bassett crooning about boxcars and wranglers, I have to waive the argument in the case of Keep on Running, the debut solo album by Joe Edwards, of Devizes. Not because Joe is well-travelled to apt locations and it was recorded and produced at Henhouse Studios in Nashville, though he is and it was, or it’s so authentic it’s more authentic than the authentic stuff, but because, in a word, it’s so absolutely gorgeous.
I’m going to be hard-pressed to find a different album of the year, as if this was a new Bob Dylan release the headline would be “Dylan Back on Form.” But it isn’t, and if one can rebuke Dylan as eaten by wealth and the machine he once repelled against, here, with freshness, is Highway 61 really revisited. The characters here can be akin to Dylan’s, questioning romance, bittersweet with humanity’s cruelty. Keep on Running never faulters nor diverts from its mellow method, if the tempo raises it’s only slight, and if it slips a toe under the door of rock, shards of both folk and blues roots are methodically preserved with finesse.
“…if this was a new Bob Dylan release the headline would be “Dylan Back on Form.”
When preacher Casey picks up hitchhiking Tom Joad, recently paroled from the McAlester pen in the Grapes of Wrath, Steinbeck paints a picture with his words so immaculately precise you’re in that pickup with them, sensing the raw sting of the dustbowl and the smell of the dying cornfields of Oklahoma. With every banjo riff, or twangy guitar, Joe paints a similarly genuine image of the Southern American states.
The writing is sublime, acute blues. Characters are often despondent, impecunious and dejected. Yet this is not Springsteen’s Nebraska, somewhere they’re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible. You may be riding their train of pessimism, yet it’s not discouraging on the ear, rather selfless muse executed with such passion there’s an air uplifting, best compared with Tom Petty’s “Free Falling.”
You sense a running theme; yes, life is shit but I’m dammed if I’m going to let it piss on my chips. A feeling Joe nurtures as the album continues, reaching an apex with a track called “Don’t Let the Bastards Get you Down,” and continuing to the title track. Hereafter you understand the metaphor to “Keep on Running.” If not, the cover is a meek lino-cut akin to labelling of a Jack Daniels bottle, with a road heading off to the mountains, just to make sure.
“Yet this is not Springsteen’s Nebraska, somewhere they’re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible.”
After the title track, there’s a road ballad in true Americana style, the venerable symbolism for changing your life, which is never a negative notion. If the finale then spells the most adroit blues tune, “Mine oh Mine,” the beginnings, “Beth’s Song” and “Cross the Line” herald the better country-inspired ones, but between them, an insolvent blues tune, “Capital Blues,” as a beguiling teaser for what’s to come. In contrast the achingly poignant, “Gambler” is perhaps the most accomplished bluegrass, filled by a tormented soul pouring his heart out for want of an extra six dollars.
It flows so incredibly well, George Harrison well, though, like a concept album of the 1970s it’s a single unit to be heard complete. This doesn’t prove a problem; you’re engaged throughout and wouldn’t dare press pause.
Nothing is tentative about Keep on Running; you get the sense Joe is deliberate in where he wants to take you. Despite remaining faithful to the formulae set by Guthrie and continued by Dylan, Segar and Lynyrd Skynyrd, where nothing is experimental, nothing is cliché either. One listen and you’ve entered a grimy western saloon, biker citizens pause shooting pool to glare, and a cowgirl in daisy dukes and a red chequered shirt tied at the waist welcomes you, piercingly.
“It flows so incredibly well, George Harrison well.”
There is no in-your-face blast of sound, it traipses mellowly, and Joe executes his vocals with a whisper, as though he’s pouring a heartfelt secret to you alone, and for that you’re honoured; you should be. This is sweltering Sunday morning music, preferably slouching in a rocking chair on the veranda of a log cabin, sipping whiskey and rye, plucking a banjo. Though the least I can do right now is watch Oh Brother Where Art Thou!
Wondering where the time goes, it’s been near on a couple of years since we featured Devizes artist Bryony Cox, when she exhibited her paintings in Upstairs at Jacks. At the time Bryony had not long graduated from Falmouth Uni. Since completing her studies, she has travelled extensively throughout Asia.
“I’m now doing an MA in actor musicianship at Rose Bruford College of Speech and Drama,” she informed me to minor surprise, aware Bryony has performed and sung in local dramatics such as the White Horse Opera and Devizes Musical Theatre in the past. “But I’ve kept my studio in Trowbridge and still produce artwork alongside. Sometimes I have been able to use my visual skills exploring theatre making and performance.”
Personally, I’ve always been taken by her dramatic landscapes and fascination with mountains, yet I’ve always been a fan of Turner, and there’s something equally as expressive and unified in Bryony’s. There is, however, a variety in her enlarged portfolio since we last spoke, some figure and settings work inspired from her travels, sketched miniatures, and she has been using mixed-media, charcoal and pastel for example, and experimentation with college, even animation. And there’s no better time to browse Bryony’s website, as she offers 20% off and 50% on some of her older works, with 20% donated to the NHS. See for yourself on her website, here.
These connections between art and performing arts captivates me, aside the name arts, and primary school drama class where I had to pretend to be a tree! So, I asked Bryony if she thinks there are similar work practices in theatre to art, and in what ways.
“I’m quite interested in the crossover between theatre and performance art,” she explained. “I have started bringing film back into my work and my research on my MA has been about performing alongside film projections of drawings, animations and audio overlays. But I have always kept drawing and painting Wiltshire alongside because of the beautiful countryside and still keep drawing portraits from any travels that I have been on as I love to document different people and cultures.”
We are lucky to live in an area where artists feel their home is an equally inspiring subject as their travels. In this much I see a likeness to Clifton Powell’s work, another well-travelled local artist who documents his journeys through his art, yet returning to Wiltshire often produces some equally outstanding pieces.
It’s worthwhile bookmarking Bryony’s site as she frequently updates it with new work. “More recently I have been to Vietnam and Indonesia,” she told me, “so some of my more recent portraits that I am going to put up today are from that trip.” We look forward to seeing them!
Rowde artist Alan Watters has finished a portrait in the ‘Free Portraits for NHS Heroes’ initiative as featured on BBC news recently. The subject is Christina Whicker, an IAC nurse at Boston Pilgrim Hospital. Alan says he’s about to start another, “as I find it difficult to say no!”
Alan is also a part time support worker confined to 12 weeks self-isolation and wishing to still do something to help the fight against the Coronavirus. “I thought I could produce limited edition pencil signed and numbered prints from some of my recently created original artworks and sell them at a modest price but with 100% of the profit going to causes fighting the virus, the major benefactor being ‘NHS Charities Together.”
So, he’s knocked up a website where you can view the prints, here. “I have a little way to go to reach my target of £1000,” Alan explained, “so please have a look and help if you can.” There’s a wide-range of fine art on show here, some life sketches, celebrity portraits, cute animals and also some thought-provoking imagery. Most prints are £25, for a limited period it’ll also include a pencil signed greetings card featuring the image of your choice.
How professional of me to create a to-do-list of outstanding subjects for articles, but then spoil said professionalism by dithering to the Daydream Runaways boys about the nineties rave-indie divide and becoming a grandad. The sensible members of the band promptly left the group chat, save guitarist Cameron Bianchi who stayed to endure my inane waffling up as far as the Madchester scene.
Prior to this though we had a great heart-to-heart early in the week, but if the title of this article is misleading, I should add the subject of Sir Isaac Newton never came up, rather Gravity is their latest single, hot off the streaming sites yesterday. It’s quality, as expected, going on their three previous releases, blinding reviews and an appearance on BBC Wiltshire.
It does indeed, as the press release states, “deliver on their brand of retro-modern indie rock,” but while maintaining an emerging signature panache, it pushes firmer towards a heavy rock division. A hasty grinding atmospheric intro with a pause, then the spiralling sonic guitar takes no prisoners. If the last tune, Closing the Line bore topical sentiment with a theme of the town’s Honda Plant closing, Gravity is perhaps more general, but even more powerful. This imminent Swindon-Devizes four-piece really have dug into an emotional slant with Gravity.
The combination of Ben Heathcote’s idiosyncratic vocals, said sonic guitars and class production value, this belts across as a rock anthem to not only scare The Darkness but fight a Foo. They say it comes from “a time of turbulence and explores the burden of life’s toughest decisions.” If I predicted the air of gloom surrounding the era would produce some intensely expressive songs, here is the all the proof you need, if indeed it’s a product of the pandemic. I’m going to find out.
So, I’m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, “it was done in February, in Swindon, with an engineer from Westbury.”
I explained my reasoning, “it sounds heavy, rather darker than usual. So, I wondered if it was a result of the lockdown. Is there a drive to take it that route, I mean slightly darker and heavier, or is just the mood of this particular track?”
Cameron replied “I think it was just the mood of the track. Everything kind of centres around the experience Ben’s lyrics are speaking about. In fact, Ben’s probably the best person to about the story behind the song. But we definitely made a conscious effort to push ourselves on this on to do the song justice.”
It certainly does. “It doesn’t hang around,” I pointed out, “and the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that I’m calling you immature, you understand?!”
Bradley responded, “nah, I get that. I think we gained confidence and are more unified about this sound.”
Cameron interjected, “I think it’s important to all of us to keep pushing ourselves with each release and not churn out the same number. I’m not saying we’re the Beatles or anything, but you know give it some time. We’re still young!”
Bradley bantered, “are you, Cam?!”
Cameron added, “well, some of us are still young…” Laughing emojis are added, but I’m getting paranoid.
“Okay,” I opposed, “spring chickens; don’t rub it in!” But even with any such change, such as the edgier component of Gravity, there’s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. “Is that important,” I questioned, “to be instantly recognisable?”
Cameron said, “I think it helps that Ben has got a very distinctive and powerful voice. I suppose we’re starting to find our sound as well. Ben & Nath wanted to go a bit heavier with this track but I’m not a massive fan of heavy guitar. So, I opted for a more chimney yet overdriven guitar style that suits me, but also packs a punch. Plus, I got to flex my inner Graham Coxon/Jonny Greenwood with the effects heavy solo part!”
Brad covered this shot too, “I would say so, yeah. It’s good to build a sonic trademark, all the greats have that! It’s a good thing when people can still recognise you, even when you change things. Shows that you’re using that style but without losing the integrity of what you are.”
At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. “There’s always going to be differing opinions,” I pondered, “Bit like marriage!”
Cameron replied, “no relationship comes without some disagreements, a band included. But we’re all good at finding a compromise, which is good!”
Throughout the interview I’m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, it’s now or never! “I wasn’t sure, though wanting to ask, if I should bring it up again!”
Cameron delegated, “Bradley…over to you on the album talk!”
I interjected with the proposal before he did, “I think you should, but accept I’m not thinking about current climate in the music industry, rather an old fashioned ideal.”
Bradley answered, “there was a plan. However, the coronavirus has impacted that. Not going to say it’s completely gone but we’ll wait and see what happens. You can’t really make any plans at the moment.”
Cameron expressed, “it’s not a matter of if but a matter of when is probably all we’ll say for now!”
Brad added, “I’d say doing an album is all dependent on what genre you’re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound we’ll go down that route.”
It did bring us onto these strange times, and my deliberations on what’s the best approach for artists on how to continue, continues. “What’s best for musicians,” I asked them for their tuppence, “the live stream is simply not the same as a gig, and while charging for it is a bit cheeky, it’s difficult to know where to go to get some revenue for the work you put it. In short, must be a bitch. Let’s not say the word again!”
I couldn’t argue with Brad’s comment, “some bands I follow have rejected the idea and directed people to supporting more pressing causes.”
Meanwhile, Cam elucidated his feelings about the lockdown. “Whilst you really miss that immediate response from a crowd, and the fact you’re in a room where you can play loud and really get into it, they’re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still haven’t forgiven him for that!”
“Springsteen did one! But not before you!” I supplemented.
Bradley was proud to say, “we were the first UK band to do a self-isolation livestream. There, I said it; Let the feud with Chris Martin begin!”
The topic continued for a while, this dilemma between fan etiquette and revenue for artists. But I wanted to notify how much I enjoyed theirs, “yeah, good it was too. Saw that! Right now, I guess, it’s all we have. That’s the point I cleared with Kieran at Sheer. It’s never going to be the best plan. I think it’s time to get down and write some killer songs, agree?”
Cameron agreed with a feel-good quote, “definitely, but now is also the time to look out for each other, even though we’re all apart. If we can reach out to people with our music or it helps them get through their day, then that’s amazing.”
Bradley approved too, “yeah, and there’s never been a better time to write. Technology’s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.”
It always amazed a younger me, that Paul Simon could collaborate with the South African musicians on Graceland, back in the late eighties, and it sounded like they were playing in harmony in the same studio. It is possible to edit parts and stitch together. Must bugger up the flow of it though, make it sound mechanical or manufactured.”
Bradley replied, “well, if the band records the parts individually themselves and lays off the editing it’s possible to get that organic feel. I wouldn’t be surprise if we start seeing artists jump on this idea and release original tracks.”
It was at this point Ben Heathcote joined us. “It seems like the boys have covered the questions quite well! As Cam said, Gravity comes from a place of uncertainty and pain from circumstances and the decisions triggered from them. A crossroad of the mind. And yeah, lockdown wise we’re hoping it makes people see the value in their freedom before and hopefully will bring out further support when pubs, clubs and entertainment reopen.”
I see Ben’s clarification reflected in the cover art too. With a kind of “stairway to heaven concept,” an impressionist character is looking lost, pondering which road to take. It’s apt for the song.”
Ben welcomed this, “you got it. And again, the artwork is something were really proud of. Provided by ezra.mae.art. We also enjoyed working with Reloopaudio on the production, a friend who we will be working with again. We love this song and we’ve loved the whole creation, writing and everything about it. It’s nice to have developed it from the live sound too.”
For Ben’s benefit, we found ourselves back on the subject of Gravity’s edgier side, “I think it will please the hardcore indie fans, and those which come from a heavy rock side, which is good, there’s a majority of them locally.”
Ben replied, “as you mentioned earlier, with the style sounding fresh, but still us. This is something I’ve always been hot on since the band formed. I’ve never wanted us to be doing the same thing every time. The aim was, and continues to be; to write and produce fresh sounds with hints of varying styles that is still recognisable as us, allowing it to not be boring or repetitive; kind of inspired by many of our favourite artists who keep developing their sound.”
I take off my hat to this, “I might come across pop or soul-ish but I had my day, and do still listen to bands like Zeppelin and Floyd etc. I think Gravity will be boss with that crowd.” With which I asked for their influences, and if they mutual.
Ben reacted, “I’d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.”
Cam agreed, “yeah, I don’t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.”
Laughing emojis made a reappearance, when I teased, “Ed Sheeran it is then!”
Keen to take it back, Brad nods at my sixties psychedelic citations, “Floyd and Zeppelin are timeless though. Prefect example of bands that pushed themselves overtime.” And the Daydream Runaways can relate to that with this progressive new release.
Ben said, “I think before we produced the track, we all knew in our head how it should sound.” It’s definitely a belter. I thank them for their time, with one last question before we headed into our tangent about the rave-indie divide of the nineties! Where do the Daydreamers see themselves in five years?
Ben suggested in five years’ time he would like them to have a steady schedule, “playing to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.”
Cameron felt they’d have “an album or two under our belt, playing to crowds in our favourite venues. Having a slot on The John Peel Stage at Glastonbury is a bit of a dream of mine!” Ah, there’s the source of my waffling, started with seeing Oasis at Glasto but, unbeknown to me at the time, I paid them little attention.
Daydream Runaways though, worthy of your attention, here’s the Spotify link to Gravity, like them up on the book of face, and cross your fingers and toes we’ll be seeing them live soon, if not the John Peel Stage at Glastonbury!
Since the jazz era, musical genres start covert and underground, and with popularity they’re refined to mainstream acceptability, packaged into a new pop wave, and eventually fall into a retrospective or cult hall of fame. I first stood aghast at the selling-off of our adolescent anthems when I heard Leftfield’s Release the Pressure in an advert for Cheese Strings. When this happens to you, you’re officially past your sell by date!
When my daughter is in the car it’s paramount, she controls the stereo, at least it is to her. I’m indifferent, the bulk of contemporary pop irritates my senior ears, but occasionally there’s a something interesting hidden. There was one, once, don’t expect me to root through her playlist to tell you what one, pop, but with the backbeat undeniably inspired from drum n bass.
My attention was drawn to a tune this week, Falling, from Devizes’ drum n bass outfit SubRat Records via Gail Foster, who shot the video for it. Listening took me to the aforementioned moment; how drum n bass was now part of the “norm” rather than primarily an underground genre. If it has come of age and entered the realm of acceptable pop, though, there’s still room for experimentation and the fusing of styles, which is no bad thing, and precisely what Falling is. Chris, hereafter known as Tone, has set up SubRat, and Pewsey’s Cutsmith is the vocalist on this particular track.
Cutsmith is current, using hip hop to inspire his acoustic compositions, so it melds effectively. In the way David Grey produced Babylon, Suzanne Vega did with Tom’s Diner or the entire catalogue of Portishead, fusing up-to-date dance styles with acoustically driven tunes is a winner, if done correctly. If not, it’s a howler, but I’m glad to say, this one really works wonders. Falling has a sublime ambient texture and glides causally through a mass-acceptable drum n bass riff. Cutsmith’s smooth vocals complements it perfectly, breathes mood into it and gifts it with meaning; the combination, a match made in heaven.
Though this may not be an entirely ground-breaking formula, I’d like to train spotter a nod towards a lesser-known tune on A Guy Called Gerald’s revolutionary album Black Secret Technology, where through splinters of drum n bass, an unknown Finely Quaye covers Marley’s Sun is Shining. But if you’d rather me example recognised tunes of singers who launched a career from featuring on a dance tune, from Seal to Sophie Ellis-Bextor, and renowned artists who regenerated theirs, like the day William Orbit got a call from the queen of pop, here’s two local artists collaborating for each other’s good, rather than one tossed a rope to the other.
I wanted to probe the mind of producer Tone, about this concept, as what he’s got here is something very marketable, as opposed to something which would only appease the drum n bass fans. I asked him if this was the intention with this tune, yet I didn’t want him getting the wrong idea; I meant this in the best possible way. Even if, Bohemian Rhapsody, for example, is timeworn and cliché, it’s popular because it’s a bloody amazing song. Pop doesn’t necessarily have to be a sell-out, cast yourself away from Stock, Aitken Waterman.
“You’re definitely right about this particular track sounding more marketable and commercial than your everyday underground D&B piece,” he expressed. “I had no intention of making it sound acceptable to the masses but I’m glad it is like that. I think more people should be able to enjoy drum and bass for all different backgrounds. I’m not really trying to make what everyone wants; I just make what I like the sound of, and quite often or not it’s easy on the ear for everyone.”
I wanted gage the story behind this belter. “When we worked on this piece,” Tone replied, “I started out making the entire track without having any intention of putting vocals on to it. I sent it over to Josh (Cutsmith) and he said he’d love to do something over it, which is when we started recording. It turned out really well even though throughout the production I didn’t think I’d be making anything that sounds like this. My roots are actually firmly with the rave scene and I absolutely love sub-heavy underground vibes.”
Is this a debut single from Sub Rat, I asked him. “This is the first free release off of our label, SubRat Records, by myself, Tone. In a hope to bring people in and start a fan-base.” So, does Tone consider himself a DJ and producer? “I’m based in Devizes and solely a producer right now. I haven’t DJ’d for a long while. I produce a lot of drum and bass, but often step into other genres like Hip-hop, dubstep, grime, modern rap and more commercial stuff etc.”
If our local music scene is blossoming, it can be limiting regarding genres, so I welcome this with open arms. To assume such genres are generally confined to a municipal environment you’d be mistaken. Prior to our chat delving into rave memories, as the typecast urban raver always excluded the rural counterparts since day dot, I tried to keep current and ask Tone if future releases will follow a similar pattern, and where he saw SubRat heading.
“Aside from my solo journey I take pride being in the background for vocalists/rappers and providing the music/instrumentals for them,” he explained, “I want to see people succeed off of my tunes!” I hope so, this is promising and like to see other local singers benefit from an electronic dance music makeover, and if so, judging by this excellent tune, through SubRat, drum n bass is the key component.
As the nation embraces the 100th birthday of Captain Thomas Moore, who famously raised over £30 million of NHS Charities Together, I too tip my hat to this war hero, but I also wanted to highlight and thank two very much younger local heroes this week.
Firstly, a huge congratulations goes to 13-year-old Will Foulstone. Yes, the pianist prodigy from Bishops Cannings/Chirton who kindly played the first slot at our Waiblingen Way Fire Fundraiser at the Cellar Bar, and set that bar high for our following acts, Daydream Runaways, Chloe Jordan, The Celtic Roots Collective and Ben Borrill. Oh yeah, and who played with the Script and London’s O2 arena too, mind!
Will
Father, Stuart, live streamed this grand effort last Monday, which, as part of a Facebook virtual festival, the International online music festival for PPE fundraiser, managed to raise over £1,500 for this worthy cause. Well done Will, a brilliant job!
Our second local hero slightly younger than Captain Tom is our wonderful, six-year-old heroine Carmela Chillery-Watson, who, since her dad Darren couldn’t run the London marathon this year, replaced the 26.2 miles of a marathon with 26 laps of her therapy assault course. This gruelling challenge was also streamed live on 26th April, where Carmela was in high spirits and played to camera while completing this mini marathon. Carmela raised a staggering £1953.00 for Muscular Dystrophy UK. You can still donate to Carmela here for her amazing achievement if you missed it.
Carmela
“Carmela is sore and tired as expected,” Carmela’s mum said, “and will probably be wiped out tomorrow too, but she certainly did us proud and more today.”
Well done to both our heroes this week, if you know of anyone else we should add please let us know!
As predicted, the void where live music reviews used to sit will be filled with an abundance of releases from our local music circuit. I’ve a backlog building at Devizine Tower; here’s the first this week, from Swindon’s indie-pop four-piece Talk in Code, and much as we’ve enjoyed watching streams of Chris in his car, yeah, this is more like it, cool.
Some pensive prose swathed in the upbeat eighties-fashioned synth-pop we know Talk in Code have mastered. Courage (Leave it Behind) offers a “wake-up call,” as the press release defines, yet does so with all the hallmarks of another catchy anthem. This lockdown-themed leitmotif hails what you’re probably questioning yourself, “it’s that feeling of realising something is not right and has to be changed. But, knowing what needs to happen and taking action are two very different things…”
The world will undoubtedly be the different after this pandemic, the unity binding us could potentially tear us apart; did Joy Division predict this?! If not, there’s a ghost, least an inspiration from those early eighties new romantics fused into this contemporary tune, and again, just like the previous singles, while Talk in Code songs sound as if they’d slot into the background of a John Hughes coming-of-age movie, listen again, they also ring modernism in both production and subject.
From its inaugural piano, through its beguiling beat to this cliff-hanging finale which leaves the question open to interpretation, this is an uplifting song; I expected no less though. “Finding the strength to make a change and every bit relevant to these challenging times,” as the blurb continues, is surely up to us, pop doesn’t preach as it once did, rather stages the dilemma for you to solve, and that, in a way makes it that bit up-to-date, rather than a retrospective eighties tribute.
For that reason, Talk in Code are pushing boundaries rather than dwelling, and the reason which found them on BBC Introducing In The West, on The OFI Monday Show, The Premium Blend Radio Show, Swindon 105.5 and Frome FM. It is the reason why the Ocelot, Dave Franklyn of Dancing About Architecture, The Big Takeover, and oh yeah, us, are singing their praises.
Providing optimism as a theme to this single is a biting reality, and Talk In Code still hope to play some of the fifteen festivals that were booked into this year, including M for, Daxtonbury, Concert at the Kings and Newbury Beer Festival along with a showcase for Fierce Panda/Club Fandango, to be rescheduled for later in 2020; hygienically rinsed fingers crossed, and toes.
COURAGE (Leave It Behind) will be released tomorrow, 30th April, on digital download at www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms.
Had a nice chat with Sheer Music’s Kieran about acts, live streaming, future plans, and gardening this week… what am I on about? It’s always nice to chat with Mr Moore….
If the beginnings of Devizine was a learning curve in which I realised I’d bitten off more than I could chew, one might be mistaken to think now we must’ve covered every musical talent in Devizes, if not Wiltshire. Not so, as a post from Kieran J Moore of Sheer Music incited me to shudder. Why have I not heard the name Joe Edwards before?
Joe Edwards
Name does ring a bell, must have posted about the cancelled album launch at the Wharf which would’ve happened this week. Well-travelled, Joe has been touring through Europe as a drummer for Australian band The Wishing Well, plus his debut solo album Keep on Running was mixed in Nashville and mastered in New Jersey with Grammy nominee Kim Rosen; might explain it, and if I have encountered the name I had no idea how renowned and awesome he is.
Hoisted in the help of Kieran for this then, to insure I’m bought up to date; there is a new cool in Devizes, and I’m going to prompt him about it. The initial message on any chat window these days is enquiring of wellbeing, understandably. Mr Moore is positively beaming, “[I’m] getting so much done and achieved,” he explained.
I replied with a question, “Like the gardening?!”
A boundless list of household chores followed which included, “how to programme moving head lights, learned how to live stream, learned how to record and edit videos.” Bless, that’s our Kieran, dedicated to fetching us the best live music and promoting local artists, no matter what the era brings us; you have to tip your hat to the man. Seeking permissions to release sets Sheer recorded from 2012-14 and bootleg them onto Bandcamp being the latest venture.
What of the live stream though? My Virtual Festival started with good intentions, but there’s been so much of it it’s hard to keep up, some may not be appreciative my sharing of their stream; it’s a close call. In these frustrating times, I asked Mr M if he felt “people are going to get bored with the live stream.” I often feel it doesn’t make up for the real thing and enforces my sadness that we’re missing out on live music. Yeah, I know, right; then I apologised for my despondent attitude.
It’s a close call because artists earning from a live stream is problematic. Some have found methods of a pay-per-view stream, but many rely on a PayPal donation option. While I sympathise with the artists, also I ponder if charging for a live stream is justified when Wi-Fi can drop out, be overloaded, etc. “So,” Kieran added, “live streams have become a necessary evil, in the sense that everyone is doing them, and it’s really difficult to earn from them. Let’s be clear, live streams will never replace the real thing. No need to go into detail, we all know why, it just won’t.”
He believes they have a place in the future, though, after lockdown has ended. “You’d be a dolt not to recognise it! Whilst it may be difficult and lacking for most of us, these streams have enabled many people who wouldn’t usually be present, be it social anxiety, disability, or a myriad of other reasons, be able to take part and fell part of something.”
I gave mention to a stream-festival by Swindon Shuffle, it doesn’t have to be geographically grounded, organisers said people attended as far away as Mexico, and this increases the fandom of the performers to international levels.
In these few short weeks, we’ve seen musicians getting more creative with the concept, nice to see Benji & Hibbs sitting around a fire rather than indoors,Jon Amor climbed onto his roof last night, and Phil Cooper is getting tech with green screens for a Lost Trades stream on 1st May. “A lot of people have invested in the technology,” Kieran expressed, “so why would it stop after? It’s just daft, of course it won’t. Also, the reality is that venues won’t be back and open before 2021. The possibilities are currently being peddled by MVT,” He continued, “and it’s being taken seriously.”
I felt the need to apologise for my grumpiness, it had been a long day at the diary. I would, however, like to see artists getting some releases out rather than live stream, but accept that’s not easy either, for a band, with social distancing. Talking blues though, surely some the most poignant music, particularly blues, comes from feelings of isolation, depression and disappointment; from teenage anguish or working on the chain gang! The lockdown should deliver some interesting content.
“Be prepared for an avalanche of Coronavirus and lockdown blues songs,” Kieran suggested, and yep, seen a few emerging myself and played the “Corona Blues” by The Ragamuffin All-stars on my radio show last week.
Little Geneva
Talking local blues, though, on top of Joe Edwards, who after a listen to I’m liking to a raw George Harrison or Clapton, what else has Kieran got for me? “Jon Amor likens Joe to JJ Cale, which is nice,” he compliments. “Then we have Little Geneva, who actually do covers, but they’re so obscure, people don’t know them. I actually like that slant.” Ticked that box some time ago, Little Geneva playing the Cellar Bar was knockout, and I’ve nothing but praise for their authentic blues sound.
This said, Little Geneva have since recruited female singer Mariam Maz to add to their already talented gang, and this I have to witness.
Will Blake
“Then we have Will Blake in Bromham, a honky-tonk 12-bar type of guy,” but I’ve recently bookmarked Will too, sharing this soul cover multi-instrumentalist’s Isolation Sessions, which see him on piano in the middle of a Bromham field giving us a marvellous rendition of Man in the Mirror et all.
And finally, Kieran aims one I don’t know at me, a “swampy and dirty” contemporary Trowbridge four-piece, Sober Son. This is hard-hitting rock and one to watch. Looking to the future, where I predict an aching aftermath for concerts and gigs, many might frivolously suggest we have the party of parties, but Kieran is a doer. Can I spill the beans on his “overall idea?” “Say it’s currently Sheer’s intention to host an event!” he informs, yeah, will do.
Hosting a “Devizes Music Festival” is said idea, when the lock down is over, and to do a multi-stage bill, across the whole venue. Kieran’s dream team would consist of Jon Amor, Sober Son, Little Geneva, Joe Edwards, Will Blake and The Lost Trades, “etc.” I’m saying no more, not to get over-excited too soon, we’ve a long way to go with the lockdown; I could be a pensioner by then and only wishing to listen to Pat Boone!
Ah bugger, back to the now; do like the Sheer Music Facebook page, currently dedicated to bringing you the best local live streams, “the necessary evil.” But most importantly is the notion I’ve said before and will no doubt say again, unless you want to pop the bubbles of musician’s aspirations and see them pushing supermarket trollies, it’s vital you check out local artists and buy their music, be it from Bandcamp, streaming sites, their sites or send Vinyl Realm a message, as they stock a selection of local music too.
When you live in a market town such as Devizes it’s inevitable when driving through any city to become overwhelmed and perhaps a smidgen envious at the variety of cuisine on offer; look, Nepalese dal-bhat-tarkari street food, outside a lacto-vegetarian Mongolian bistro, next door to a vegan Venezuelan arepas snack bar! You name it, a metropolitan milieu will probably have it. Here, while it’s hailed as some of the best; Italian, Chinese and Indian are about our limitations, unless you chance a kebab.
So nice then, that Sujay’s Jerk Pan Kitchen has gifted us an addition, if variety is the spice of life, it’s high time we had a taste of the Caribbean. Sporadically shacked up in the Shambles prior to the lockdown, Pauline and the team has never been busier since introducing a drop box delivery service; perhaps she doesn’t need me to hype it up as word travels fast; this is an authentically tasty treat.
Through my love of reggae, I’m rivetted by all things Caribbean, the easy-going culture, the colours and sweetness of those exotic islands in the sun, the sounds, linguistics, the art, and of course the food. And that’s before I even went there! The only member of my family lucky enough to have taken the once-in-a-lifetime trip, I wondered if Sujay could return my taste-buds to the West Indies in the same way as a jouvert jam would for my ears, but I was unsure if the family would take to the idea. Surprised then I was when the better-half suggested we ordered, arm twisted, and before I could recite a verse of Three Little Birds our drop box was ordered for Saturday afternoon.
Caribbean food is not customarily a Michelin star a-la-carte affair, rather the traditional roots rest in amazing street food and home cooking, therefore styles and recipes can vary, and this is precisely what you get. You should note I’m no Jay Rayner, I’ll hoof the loot without coming up for air, and if it’s tasty I’m going to tell you, and if it’s not I believe honest criticism is virtuous; it’s all unpretentious evaluation rather than vernacular condemnation. This though, arrived at our door on time with a smile, and was everything it’s been rated as being.
So good I didn’t contemplate taking a photo for use here, sorry, but I simply didn’t have the will power to resist getting stuck straight in!
Me, I went for the goat curry as I’ve never tried it. Sticking to custom it is as it should be, a quite humble green paste curry, spices, with chunks of goat. But served with traditional rice and peas (peas being a black bean rather than European green peas) the simpler formula is often the preferred and I loved every bite, as did the wife. I added a side dish of plantains, imagine a fried banana that thinks it’s a potato and you’re somewhere near the mark.
For the daughter, and of course with portions so generous some of it naturally found its way onto my plate, the classic jerk chicken with a side of chicken wings, and another colossal portion of rice and peas. Perhaps no other dish so popular varies from handed down home recipe as much as this one in Caribbean food, but I’ve tasted a variety. If Levi Roots has marketed a certain blistering style and tailored his own methods, Sujay’s is closer to what I’ve tried in Barbados. Much more subtle with the hotness, but nice on the spice. I also reserve at Caribbean street chicken disguising cheap meat with a high dosage of hot paste but this is not the case here, the untainted wings would’ve revealed, but these too were exceptionally scrumptious and clear that the quality of the ingredients were not skipped on.
If Sujay’s Jerk Pan Kitchen doesn’t deserve enough kudos with you for providing fifty meals earlier this week for the NHS staff with the organisation of Tailor-Made Events, or serving brown stew chicken and stew pork with rice and peas to the homeless and vulnerable on the streets of Swindon this evening, maybe its time you sampled some of their sensational soul food yourself?
Tams off to Sujay’s then, the perfect meal with a difference for our rurally repressed palate. Irie, as they say in the JA, gurt lush as we might say here! I’m not ganderflanking yer mucker, this is the soul food of Wiltshire and will whisk your taste buds to a tropical paradise faster than Beenie Man can wax lyrical a monostich; pass the rum punch!
If I’ve been rather quiet on Devizine recently I apologise. I’ve been enjoying some family time while the kids are home, and mores to the point, bestowed one of these “keyworker” badges, the real job has never been busier. Yet despite the lack of usual content regarding events and gigs, there’s still subjects to write about, perhaps none so much as the way the community has bonded during these trying times.
To watch those Americans causing havoc, protesting in the streets and then ironically catching Covid19 themselves is miles apart from how we’re reacting. There are so many to thank, from the key workers and NHS staff, to the masses who have flocked to volunteer for their local Covid19 support groups, such as Devizes Covid19 Support, and even to the simpler kind offerings, such as the wonderful Sujay’s Jerk Pan Kitchen who, with Sally of Tailor Made Events, supplied fifty meals for NHS staff this week.
There are groups and charities springing up everywhere, and people providing spontaneous acts of kindness, we have to tip our hats to them. One I’d like to draw your attention to in particular, is the locally setup Operation Teddy Bear by Helen Bray, a team of volunteers and even a jogging Spiderman!
The operation is a specialist donator system, contacting intensive care units across the county. The hospitals send them requests for food, drinks and toiletries, which are donated at various non-physical points, collected and distributed direct to both the wards and staff. Helen explains, “most of the volunteers are care workers, nurses, ex-medical or NHS staff. We’re specialist donators supporting intensive care nurses, other nurses, doctors, NHS staff, care-workers, health professionals, and other special people who support others in hardship and need.”
“The constructive donation list is designed by the very people that need the donation,” Helen continues, “which means minimum surplus, and any surplus can benefit the elderly, homeless, or a family who has no income. Donations which are given freely by the public is sending a powerful message to the very people who might save our lives, whilst risking their own.”
Helen maintains her volunteers are family in our chat, I confess, I’m unsure if they’re direct family, or in her motivation for this great cause, she refers to them as such. “My family of volunteers want no praise,” she told us, “just to shine a light into endless cave of people suffering from Coronavirus, which I hope and pray, as many people as possible do, with our support, donations, and acts of kindness with all the donation, anyone wishes to give. As a little boy who came to donate a big carrier bag full of stuff said; I just want to help mend people.”
Donation points are nonphysical contact donation boxes at Devizes Town Hall, Brickley Lane near the playpark with billboard outside, Fruitfields, Lavington, a new one at Urchfont, and ones in Pewsey, Burbage and Calne. Swindon also has two donation points.
“Operation Teddy Bear donates to Swindon Great Western, Salisbury District Hospital, Bath RUH, Bristol Southmead, Southampton and Bournemouth intensive care units,” Helen says, “St Johns Livingston in Scotland, any SOS from any London hospitals for PPE and links with many more support networks, especially for the elderly in the community, and the homeless if we receive specific lists for donations that are most use for them.”
I’m impressed with the scale of this operation in the short time it has had to form, and thoroughly wish Helen and the team all our thanks and best wishes for their hard work. The news is spreading over social media, but I fail to see any online information websites in which to direct you to. However, if you would like to donate or volunteer, after all, even Spiderman is, feel free to contact us and we’ll put you in touch. This article wasn’t really intended to ask for donations or help primarily though, as the scheme has already gathered pace and support, it is mostly here to thank all in involved at such passion and dedication to this cause.
If, like most, you need something to look forward to, The Devizes Outdoor Celebratory Arts, or DOCA as we love to know them as, having made some hard decisions, have come up with a new list of dates for their usual events; here’s to 2021! So, we are looking at an early date in the month of May, which coincidently rhymes with “hooray,” sort of, or at least enough to shout it!
Street Festival – Sunday 2nd May 2021 – 16:00 – 22:00
Last time I had the opportunity to chat with director Loz, she mentioned the plan this year was to move Sunday’s Street Festival from the Green to the Market Place, in case of bad weather and in hope to attract more. I am unsure if this will be carried out, but I’m certain it’s a bonza idea.
Street Festival -Monday 3rd May 2021 – 11:30 – 18:30
Best Monday, like ever. Dubbed by many, especially The British Lion as Black Rat Monday, it’s our most favoured annual date in Devizes and mere announcement of it leaves me tingling with excitement. Here’s hoping Vinyl Realm will continue as they planned this year, to hold a second stage of local music, and I’ve heard on the grapevine we might get even more than this. That’s all I can tell, anymore and I will be shot!
Colour Rush – Saturday 8th of May 2021 18:00 19:00
Confetti Battle – Saturday 8th of May 2021- 19:30 – 21:30
Again, we see these moved to a Saturday for practicality and the ease of attendance. There’s hope from DOCA that the bizarre custom of Confetti Battle will attract people from afar and place Devizes on the map of bizarre rituals and festivals, as it deserves to be, but would never happen on a weeknight.
Carnival Camp Saturday 3rd July
Location of the camp and times are to be confirmed.
Picnic in the Park – Sunday 4th July 2021 – times 12:00 – 17:00
Usually the event to kick off the festival fortnight, Hillworth Park will again be filled with activities, fun and music, just towards the end of the festivities this time.
Carnival – Saturday 10th July 2021- 17:30
So, the grand day itself, we are unsure if they will carry over what would have been this year’s theme, ‘Go Wild,’ but here’s hoping they will as it’s a cracker!
That’s all folks, I’m dusting off my festival jester’s hat in preparation, but Christmas first, OMG, I said it! Keep up to date with DOCA’s events on their website, here.
With all the hallmarks of Sam’s current releases,One of a Kind slips perfectly into the direction he’s heading; it’s smooth, echoes of slight melancholy but uplifts just enough to wet the taste buds. Proving Sam Bishop is one of a kind, carving a distinctive style with every new track.
But this one has one significant difference, all profits from it are going straight to Trussell Trust. Sam explains “a truly amazing charity that works to provide emergency food and help for those in need.”
There’s also a topical theme, reflecting the mood of the lockdown for young lovers, “this song is about missing loved ones whilst apart,” he continues, “and feels extremely poignant right now.”
He added how “terrified” he is as it’s the first track he’s produced solely, but it doesn’t fail to impress. It also gives much anticipation for a better day when his newly formed band while at college in Winchester, Midnight Running will re-join and I hope he can bring them back to his hometown for a gig. Until then, check out the single we campaigned to get crowd-funded a month back, as every penny goes to a great cause.
It was a sunny afternoon when we arranged a photoshoot for our Spider-milk-man fundraiser last spring, so the playpark outside my house was an ideal location. Carmela played on the climbing frame while I got to know her mum, Lucy. It was sadly evident then how restricted her muscular dystrophy limited her ability to do what so many other children love to do, run and jump and play.
The lovable part to this six-year-old is her optimism and endearing personality, but the inspirational is her zest for life and determination to overcome. For Carmela’s family life is a constant fundraising campaign and together they strive to find new ways to promote it. If Muscular Dystrophy UK, like many other charities is feeling the effects of Covid-19, for the family personally it hasn’t been easy either. In a heart-melting film for Points West last month, we saw Carmela’s Dad Darren unable to see his daughter as he’s a key worker and communicating with sign-language with her through the garden’s patio doors.
Alongside the many fundraisers for ‘Carmela’s Stand Up To Muscular Dystrophy,’ and for MDUK in general, Darren was due to run the London Marathon on the 26th April for MDUK, but this event has now been rescheduled for October. MDUK needs our help now though, for those with a progressive muscle wasting disease, at high-risk from the pandemic and the usual systems for coping vastly restricted.
Save the UK’s Charities General fundraising has been hit very hard by COVID-19. Thousands of fundraising events have been cancelled and many charities, particularly smaller ones, are struggling to maintain services because of this huge reduction of income. This impacts all sectors of society from children to the elderly as well as the vital work in areas such as palliative care, serious diseases, mental health, housing support, food supplies and countless others that charities support.
Step in our six-year-old heroine, to replace the 26.2 miles of a Marathon, Carmela is going to attempt to do 26 laps of her therapy assault course LIVE via her Facebook page on 26th April at 2pm. Carmela would normally only do two to three laps. “This is going to be a very tough challenge,” Carmela’s mum Lucy explains, “we may have to take out certain high equipment during the challenge as she is not meant to over exert her exercises as damaging her muscles is permanent and won’t repair.”
Clair Figes ponders celebrations after the lock down….
In France, around the midsummer Solstice, every town throws itself open to La Fete de la Musique. Throughout the country, bars and restaurants and village squares fill the pavements with tables, chairs, hay bales, trailers; and they book local musicians or bring amps & speakers out into the street and a night of music, dancing and general merriment ensues.
Most of us will eventually emerge from the current viral crisis. We’ll come stumbling back to normality, grateful to be released into the wild – but very aware that life has to go on and very, very many businesses will need to be restored in order to make that possible. That will probably include our own businesses – or those which employ us – or employ or care for our loved-ones.
There will also be an army of heroes who we want to thank: all NHS and care-home workers and all the people who’ve kept shops open, kept postal deliveries and bin collections going, kept our kids sane on-line, kept the surgeries & pharmacies going – the list goes on and on.
Can we combine all these needs?
When the lockdown ends, could we just crack open all the local hostelries and get musicians into all of them and onto the pavements outside and rope in all the street-food vendors still operating and just Play & Eat & Drink & Dance, putting money into the tills of all our pubs and cafes and the pockets of every food-stall and the hats of every busker and street entertainer?
In an ideal world it would just happen spontaneously, like it did on VE-day after WW2. But we may have a staggered release: some areas before others, the least vulnerable before the most vulnerable, etc… Also, the kitchens need to be stocked, the staff need to be recalled, the pumps need to be primed and the musicians need to be on hand, so a little advance planning would help.
And, crucially, if it happens on just one night, the wonderful key workers can’t all join in – because our hospitals and care-homes will still need to be staffed even through the celebrations. So we’ll need at least 2 days of celebration. I suggest that we ask the pubs, cafés, musicians, street performers, local Councils, etc. to be ready to take part in some way on the evening of the Summer Solstice: Saturday 20 June and again on Friday 26 June. And to organise some simple sort of voucher system so that wonderful people like NHS staff can get freebies all night.
If we’re still in lockdown a week before this celebration – just roll it all forward a week, then another …. And if we’re all released early, fine, we can have an earlier party as well. The more we celebrate, the faster we can get the small businesses back up and running. So tune your instruments and get your bunting out and aim for national street parties on 20 and 26 June.
Introducing Shrewsbury’s five-piece rock band, Cosmic Rays. With a new album proving they’re Hard to Destroy….
As my daughter shoves her phone to my ear with her home-made eighties’ music quiz playlist, memories she will never know of blissfully return. “If I could be like Doc Emmett Brown and whizz you back to my era,” I think aloud, but maybe not such a good idea, she’d never survive; no Wi-Fi. What is apparent with the classic pop from my time she has picked is that it spans genres unconditionally, because she hasn’t lived it to confine her to one viewpoint, to guide through that era, where the categorical conflict for top of the pops changed overnight; what side did you fight for?
Pigeonholing divided the early-to-mid-eighties into alienated youth cultures, unique from one another and only alike for being experimental and innovative. While there may be nothing particularly ground-breaking about Shrewsbury’s five-piece rock band Cosmic Rays, what they do have is a dexterous ability to weave these genres back together in an original and affable way. I have their March released album Hard to Destroy to snoop upon, and I like it; pass my black hair dye and metallic leather high boots.
Initial reaction was thus, partially gothic with nu-metal wailing guitar and archetypical dejected romance as a running theme, and while it’s not my cuppa, it’s produced lo-fi and agreeably subtle. So elusive indeed you don’t pre-empt the changes, though may yearn for it. Post-punk and new romantic are lobbed into the melting pot by the second tune, tickling my personal taste buds better.
With the sensation of jaggedly Velvet Underground, in parts, its retrospective nods soon confine to aforementioned eighties genres. I’m now left contemplating everything from The Cult to Depeche Mode, and The Dammed to Blancmange. For which they are, just nods, as the all-encompassing sound is something original and exclusive, in so much as the combination of influences fuse so unexpectedly well. Perhaps no more adroitly composed than a central track called Lost Paradise, as while it mirrors synth-pop electronica, it also explodes midway with a wailing guitar solo akin to Slash’s contribution to Jackson’s Beat It.
The Bandcamp blurb explains new guitarist Rob McFall is a major factor to this album being a whole new direction, though while I ponder what the old direction was being I’m new to the band, I have to tip my hat to the guitar sections, but like I say, it’s the placement of them too, unpredictably located. That, I think, makes it more exciting than a band simply replicating a particular sound from a bygone era.
Just when I’m expecting it to rest there, a tune called Me & Jimmy bursts out upbeat joyful vibes. Unquestionably the most pop-tastic track on the album, it smiles House Martins or even the Fine Young Cannibals at me. Though the last two tunes finish by reminding you this is indie, Seeing Green with a winding goth ease and Walk on Water, where a sombre electronica beat rises again. If you’ve heard such a fusion tried before, you’ll be forgiven for thinking this could be encumbered and muddled, yet I feel you need to listen, for the juxtaposition works on all levels, making Cosmic Rays interesting and defiantly one to watch. By the way, my daughter’s eighties pop quiz, I nail it every time!
Hard to Destroy by Cosmic Rays is available to sample and buy from BandCamp here.
Ah, seems like a year ago now…. eh? Oh yeah, it was, nearly. With the second Devizes Scooter Rally teetering on the edge of cancelation, The Devizes Scooter Club still have their fingers crossed all will not be lost to the lockdown. After last summer’s amazing effort by the club to host the unforgettable first Devizes Scooter Rally, this highly anticipated sequel is booked in Rowde for 31st July, and we live with all the hope of Princess Leia that’ll it’ll go off.
For me personally, it was a thrill to see the posters and in particular, the big banners around the area, and I was honoured to have designed it. But you know, I get this low a lot designing event posters, knowing once the event is over, my poster is lost in time. Delighted then to see the Scooter Club is auctioning the very last Rally banner from last year.
Club colonel Adam Ford said “we would like to put it up for auction to raise funds for the NHS Charities Fundraiser.” 100% of the winning bid will be donated to the charity. The auction will end at 9pm on Friday 17th April. If you’d like this piece of history, nip over the Devizes Scooter Club Facebook page, like it and put your bid in the comments.
Do let me know if you buy it, I’ll be thrilled to know it has gone to a good home, and even more for such a good cause!
How many Facebook groups can you get banned from in one day?! I have Norris McWhirter on stand by for a world record attempt. But as we’re locked down and online is the new going out, I thought it’d be a rather lovely idea to instruct on the confounds of local Facebook groups and pages. Maybe research a few new ones, as they vastly differ due to the ethos of the individual admin. So, here’s the lowdown, and I do mean low, of what group or page might be best for you, what content is best for posting on them, and what you will/won’t get away with on each.
I may well have bitten off more than I can chew with this pet project. Note this is not comprehensive and I will be adding further parts to it, covering more specific areas of interest. For the now, there’s enough general pages, debate pages and event pages to take us to kingdom come and back. Where Devizes once had more pubs than people, now, sadly, pubs close so quick you barely get time to finish your drink until antiques are wheeled in around you, and we now have more Facebook pages than people. The only real issue in Devizes is that there’s too many Facebook pages called the Devizes Issue, or similar; don’t cry for me Amanda Attwood the truth is, I never left you.
The Devizes Issue
The original and still most popular general Devizes group is strictly monitored. Spamming, repeat posts and adverts are very restricted. Yet content remains solely and proudly local and it never allows dabbling in politics. It also operates a tight censorship rule where bad language or offensive content will see you banned immediately, the main reason why so many potty-mouths have decided to start their own variation on the idea. In a word: reliably presentable.
The Devizes Issues
Never confuse this similar namesake with the original. Set up by those disgruntled at the rules of the uncompromising original, it stands as second most popular general Devizes Facebook group. Sadly, as it has progressed it has become just as strictly policed, if not more, but with an entirely different ethos. Content can be varied, sometimes not related to Devizes at all, rather prompting national headlines, but provided it follows an unembellished conservative agenda it’s fair game. It is extremely right-wing bias, though often denied by admin. As the page gets more popular it is more strictly regulated and items posted which do not meet either a local theme or appeases the admin’s own objective or conservative philosophy are deleted. In a word: Daily Mail of Devizes.
The Devizes Debate
If a page is the sum of its members, the Devizes Issues has become right-wing by default, naturally representative of our Tory top-heavy area, the Devizes Debate was a hundred times worse. With subject matter rarely on a local fashion, a barrage of intimidation hailed over anyone with a differing opinion, and if they snapped back with a single insult, as naturally one would upon such ganged responses, they were witch-hunted towards the door. I received messages from locals genuinely concerned for their safety after expressing a leftist ideology. So, I abandoned it too as I confess, even I couldn’t handle the hypocrisy. The liberal admin tried their best to keep the peace, but decided to close it, new admins have taken over, but to be honest, I dare not venture back for my own wellbeing. In a word: the former Devizes Mein Kampf.
Debating about Devizes
If you consider the Devizes Debate is hardly a debate at all, if every member has the same opinion and anyone with a differing one is despatched by via witch hunt, this page has the potential to be better. Sadly, though it only stands at 76 members and rarely posted on. Posts are as general as the Devizes Issue pages, events and campaigns, rather than notions to spur a debate as such, and as the member count is so low, rarely does an actual debate begin. In a word: nice tin, wrong label.
Marlborough Opinions
Our neighbours show us how to run a debate page. At just over 600 members there really is a fair and equal demographic here, and though it can get heated, comments rarely get personal. Here’s a debate which works, community spirited, which upholds the cross section of society without flying daggers, just a few cross words, but it is Marlborough. In a word: cliquey opinionated.
Devizes Issue
Take out the “The,” forget the plural, ironically this smaller of general Devizes groups is arguably the most effective and close to their original intent, though with only a handful of users its reach is like calling out of the window. It seldom does politics, hardly ever takes on a national issue, but it does either it’s usually satire and equally based. Generally, though, it is solely a noticeboard for the town, which is what the others are supposed to be. In a word: nice but inconsequential.
The Devizes Issue (but better)
Just as the above, its non-political bias, and fairness indeed makes it better, as the title suggests, unfortunately with just over 900 users, its reach is anything but better. These two factors balance each other out, making it far from better in reality. In a word: fibbing.
Spotted in Devizes
If you’re thinking hurrah, there is a local Facebook group which hasn’t plagiarised The Devizes Issue and figured its own name all by itself, you should note there are umpteen groups called Spotted in [enter town name.] Also, worth pointing out it’s a page rather than a group, the difference being you have to message the page and they will, hopefully publish your post. The upside is you can remain anonymous, the downside you never know if submissions will be published. As it is, the page seems to have dilapidated in its once popularity, with one person still persisting to post; namely Ronnie of the brilliant music promotions Marland. This is still a valid page then, if you want to know where Burbank will be playing next, but other than this and the odd missing dog, there’s little to write home about. I guess the move to groups rather than pages has seen its demise, but while it lasted it wasn’t so bad. In a word: spotty.
spotted in devizes
Low and behold, someone threw what little originality in Devizes Facebook Admins there is to the wind and without the skill to muster capitalisation took the name and made a group out of the idea. This group has lower reach then the page of the same name, but is more widely used. It’s very liberal provided your post is locally related, and takes adverts and notices. Few seem to debate, few seem to squabble, surprisingly nice around really. In a word: spotless, except for basic grammar.
Marlborough Notice Board
Again, our swanky neighbours show us up, like a Devizes Issue, but running pretty much solo in its town, so you need not browse two hundred local groups to get a comprehensive guide to what’s happening out there. Of course, occasionally the blindly ignorant wish to proclaim their love for Boris on it, but it does stick to its values well. In a word: oh, Marlborough.
The Issues of Fucking Devizes
A complete spoof of all above, hence the “swearing is big and clever” title, lambasting the Devizes Issue’s rightful bad language regulation. Subject, for want of a better word is never about Devizes at all, and it prides itself on this and the ability to be completely offensive and rude without shame. For this unique stance I approve, but the angle taken is assertively far-right-wing, and to make a joke about anything other than this will see you hounded. Nice idea, discriminating and disgraceful stance. In a word: Viz for fascists.
The Devizes Issue WTF
If I know my abbreviations, the What The Fuck in this group is what the fuck have you got to do to get in. Perhaps they know I’m plotting this article, perhaps it’s a redundant group and the admin are now living in the Seychelles, or maybe it’s a very exclusive club, as although I’ve applied for membership twice, I’ve still not gained entry. All I can say is that here is another clearly spoof page, and I have to ponder if The Issues of Fucking Devizes had a good idea but is used with nasty intent, perhaps there’s a fairer balance here, or is it just plain smut? If so, I’m up for that but fear I may never know, or care. in a word: my name’s not down.
The Devizes Labour Campaign Group
There is some relief from the constant assault of neurotic Nazis in local Facebookland and here’s a place for alleged leftie snowflakes to let off steam and preach to the converted. Come here with your hard-on for Boris and you’ll be the one put to rights, finally. In a word: Corbyn’s Vest.
Live Music Devizes
Did I start this off with edge and gradually cover the better ones as I went? Paul does a great job at hosting this Live music promotional page, which is exactly what happens on it, and only that. So, as we bludgeon through the list, note finding a page more specific you often find a nicer place to surf. Live music Devizes never gets narked off with Devizine, we’ve never seen bad blood, nor even needed to communicate very much to know we’re singing off the same song sheet. Join this page for further news and events, you never know I may have missed something on Devizine, but hardly likely! In a word: musical goodness.
Devizes Events
Again, here’s a specific one, lesser so as the above and events can include any events, as it says really. No harm here that’s for sure, feel free to post event news and happenings, or as it is presently, cancelations. There is little more to the group than this, but that is precisely what it is set out to do. In a word: Yeah, I’m going out.
Devizes Musicians and Performers
If live music Devizes takes on, generally, pop genres, this one will fill the theatrical, choirs and musicals and that type of thing. Maybe therefore less cool, but equally as popular for its broader horizons as it covers all which the latter does as well. In a word: doe a deer, a female deer.
Marlborough Music
If you thought I’d finish on a high note, with only praise for a Facebook page, that’s simply not my style. Facebook is like Vice City, dude, respect needs to be earned. I gave up with Marlborough Music, they got rather cliquey with me, like fagging a St Johns pleb with a ruling class college nose in the air. The trouble kicked off because I was posting my weekly roundup post, which informs everyone over the area we cover what is happening in their town. Seems like if it’s not about music in Marlborough it’s unwelcome. Their prerogative, and that is, after all what it says on the tin, but my notion it’d be too time consuming to create a post for each town, was met rather rancorously.
That’s enough for now, there are many other Facebook groups and pages I can slag off, or praise where praise is due, which I will. So, expect a further part to this, one at least; if you think you’ve got away with it, page admin of one I missed here, think again! Twitter though is a safe zone, and Instagram I need my daughter to be my social media manager on, hence it’s probably full of pictures of me acting like a twat. I’ll check it one day, but I’m a one social media site kinda guy.
Surprising title, Phil Cooper is not usually without a sound. Trowbridge’s prolific singer-songwriter subtlety reflects, I believe, on the silence of the lockdown in a new single born today. Subtlety is the key to many of his works, there’s a wonder in this one in particular if there’s undertones of a political statement, or if it’s a simple love and togetherness theme. I like it when it’s open to interpretation.
Yet if there’s something unsurprisingly catchy about Phil’s Easter egg single Without a Sound, I’m uncertain if he’d be flattered with my Elvis Costello comparison, but that’s what I picked it out of it, and you might be surprised by this.
Though comparing isn’t necessary now, Phil have stamped his own unique mark onto music and this one retains that personal fashion.
However you choose to look at it, it’s a gradual step in the right direction for Phil. With the Lost Trades obviously on hold for the time being, it’s a welcomed surprise and while we look forward to the vocal harmonies with Tamsin and Jamie, ah, this single will fill the gap perfectly.
As with Tamsin’s first rate live stream last night for the Swindon Shuffle virtual festival, it’s still good to see this trio working apart as well as together.
You know you’re a milkman when you wake up at 5:45am on a Sunday and consider it a lie-in. With the household in gentle slumber I thought I’d don my headphones and create a mixtape out of many of the great local music I’ve been sent through Devizine; jeepers, it went on for the best part of two hours!
An eclectic mixture, as is my taste, expect to be transferred between genres quite abruptly as we travel through acoustic, space-rock, indie-pop, to folk, reggae, ska, swing and end with blues. I’ve tried to keep it as local or locally connected as possible, furthest from here is Bristol and Oxford.
Think of this as a sampler, please click on the links and buy their music if you like the track, right now, they need all the support they can get. Artists if you’re featured here, I hope you don’t mind me being so cheeky, oh, and check your link make sure I used your favoured one, but do let me know if it’s an issue and you’d rather not feature. If you’re not here but would like to be, send me your tunes and when I’ve enough for a second compilation I will jump to it!
If you ever feel contemporary soul music has lost its way somewhat, do yourself a favour, check out Mayyadda from Minnesota and it’ll instantly change your mind.
Soothing soul that will make those little hairs on the back of a neck stand to attention. Singers who can do this are a rarity, I nod to Otis Redding, Toots Hibbert, Louis Armstrong, Aretha Franklin, Nina Simone and Marvin Gaye, yet I find few to take us to the modern day. Mayyadda is that equivalent.
She shares her music freely on Bandcamp, she deserves all the gold her voice personifies. Aware my ageing tastes cannot identify with modern RnB, and detest the notion it’s even labelled thus as it barely compares with the original sound of rhythm and blues, but from the very opening of Mayyadda’s short album, Holding Space, I was captivated, heart and soul.
It is the perfect nu-cool, the musical version of after sun on sunburnt skin, the whirl to uplift a sour Sunday morning start.
It’s grades above whatever soul pops on radio, or stylised in nineties trip hop, from Portishead to Morcheeba, Macy Grey to Heather Small, which while that era’s sound holds me in, Mayyadda breathes it out with a chill of freshness and hope for soul music in the now. It is, in a word; gorgeous.
Formerly of Larkin, Devizes singer-songwriter Sam Bishop has been making use of the isolation period by writing and producing a new song called ‘One of a Kind.’ Sam tells us this single “is about being away from loved ones during isolation. My aim to is release it everywhere, with all profits going to the Trussell Trust, a fantastic charity which provide emergency food and assistance for those in need.”
In order for Sam to release the song, and raise as much money as possible, he requires the necessary funds to cover distribution costs, so he’s started a Crowdfunder campaign. “The amount needed isn’t huge,” he continues, “so any small donation would be really appreciated. I’ve always wanted to release a song for charity, and this is my time to do my bit!”
Click on the image to donate, if you can, thanks!
Now residing in Winchester to study music, Sam’s solo career really kicked off at the end of last year, with the release of his debut EP ‘Cold Kingdom’ on all music streaming platforms. “It received such an overwhelming response and I was completely blown away but the support and positive feedback from it,” Sam explained. “This song is unlike anything I’ve ever written before, and I’ve never released a demo. I wrote and produced the song in just a day, and I feel like the lyrics really do convey my emotions and feelings perfectly. Being away from the people you love is never easy, and you just want to tell them how you feel. I feel like the demo version is the perfect version to release, as it was made only using software and tools I have, written by me, all during this hard time. It’s raw, it’s rough, but it will hopefully speak to you.”
You can you help Sam release “One of a Kind,” by donating just a small amount via the link here. Sam has a new band in the workings and we look forward to a time when he can introduce us to the members in what will be a highly anticipated homecoming gig. Until such a time, best of luck with the crowd funding, can’t wait to hear the One of a Kind, which is what you truly are, Sam and here’s to a brighter day.
If you rarely venture into Swindon, July is the month in which to make the journey. Swindon Shuffle celebrates and backs local music, since 2007 hosting a weeklong town music festival at its hottest venues; namely The Victoria, The Beehive, The Hop, The Tuppenny and Baila Coffee & Vinyl. In association with Swindon Link and the West Berkshire Brewery, last year they presented forty-four bands over the weekend, all free, and supported mental health charity MIND.
I was forgiven in thinking this year would be virtual, saving some petrol money at least, but the organisers inform me this weekend’s Virtual Shuffle is only to breeze over this gloomy, Groundhog Day isolation period, and they cross their fingers for the real thing on the 16th-19th July; crossing my toes too!
So, yeah, but yeah, whoop-whoop, Swindon Shuffle will indeed fill this gap with plentiful live streams this Saturday 11th April, kicking off at 3:15pm. Streamed direct from their Facebook page, expect to catch all local acts; Jim Blair of Hip Route, the bearer of Devizine’s heart Miss Tamsin Quin, Mr Love & Justice himself, Steve Cox, jazz pianist, singer-songwriter Will Lawton, Harry Leigh, frontman of indie-pop outfit Stay Lunar, experimental Karda Estra project runner Richard Wileman, Onze from Atari Pilot, Joe Rose and Nash.
Mr Love & Justice, Steve Cox
Our favourite Swindonian music journalist, the one and only Dave Franklin, if there’s another he’s a phoney, is all over helping organise this sofa bash. He states “obviously there’s more important things going on in the world right now than worrying about a local music festival, but it is also at times like these that music, art, creativity in general, helps get us through or at least offers an oasis of calm where we can retreat to and forget the day-to-day worries for a bit.”
Karda Estra
For me personally, I’m continuing to toil with the worth of the live stream against a real gig, ponder it’s currently all we have, worry either punter or musician are forced onto the ropes when it comes to how they should be arranged and financed and have even encountered and engaged in heated debates as we scramble in the dark trying to make this work best for everyone. This said, if anyone can I’m reckoning the Shuffle team will make an amazing job of it. If there is an upside to it, it is that one can check these artists out for when the gig scene does take off, and boy, I’m predicting it’ll go off like an atomic blast, and it will encourage many to take the journey to festivals such as Swindon Shuffle, in this example.
Will Lawton
In the meantime, enjoy the streams and not let it miff us too much at missing the real thing. I tell myself the scene is dormant; it will erupt again. It should go without saying, but I’m going to spell it out; B, for BUY, U for Yourself (sort of,) Y for some local music, (okay, that didn’t work) Look, just support the artists and buy their music from their websites and Bandcamp sites!
This weekend I find myself toiling with the idea of this virtual festival, and essentially, the direction Devizine has to take as a whole. Its awkwardness at bestowing the mandatory features for online presentations, the quality and quantity of online events being released, and my time management in presenting it all sufficiently and fairly, while working extra hard in my real job. Seems every man and his dog are live streaming, and the ones the dogs do often more entertaining.
What begun as the creative doing what they can, and entertaining us with their talents seems to have been lost in a saturated Facebook feed of drunks bobbing around their kitchen; that’s not, I believe, what you ordered. At the beginning of this lockdown I reserved myself to the fact it’s currently all we have, now I fear, it’ll do worse than bore and advance the party longing to riotous levels.
I took to repudiating Facebook last night, tried to forget its very existence. I relied on the antiquated entertainment source, television. Ah, can’t say it was all bad; money-spinning predictable Hollywood bile that it was, the family sequel entertained me enough to keep my eyelids open. I confess I’m not a fan of gluing myself to the box. In an ever-changing era, I intend to press on with this regardless, pondering where to take the idea next.
I reflect, people warm to Devizine, yet the virtual festival is not the original ethos of it; damn I wanna go to the pub and return with a sore head to write a review of the band who played there! Apologises if this all sounds rather despondent, yet presenting this virtual festival as more than a live stream by added features, I think, is valid. I draw your attention to the artist’s contributing to our gallery pages, and the beer tent and food hall pages prompting local businesses still operating in the area to let me know their details so we can build a directory, of sorts.
All you need do is drop me a message if you’re a business still operating who wishes to take advantage of this virtual noticeboard; few bothers to, though. Making me doubt it’s worth and consider perhaps it’s my total ignorance and incapability at modern websites. I know, dammit Jim, I’m a writer not a web designer; just doing what I can.
On the other hand, I find the mass of guidance, information and entertainment online is wafting past us unnoticed not because there’s so much of it, but from people’s failure, or lack of desire, to want to integrate their ideas. Take the amount of local Facebook groups as symbolic of this, if you disagree with the regulations of one, you create your own. How many Devizes Issues pages do we need? You do realise not everyone bothers with Facebook?
So, here’s an idea developing, which was my original intention of writing today, I genuinely hope it gathers pace. A free, one-stop directory for local small businesses who don’t have the clout of the big guys has been set up. Presenting In-Devizes, not my pet project, so expect a website superior to this strung-together-with-virtual-string one!
The creator of In-Devizes, Ida McConnell “hopes it will evolve into a much bigger thing,” hence my notion to integrate. Could this be the ideal opportunity to highlight and promote your business through this hard time? I hope so, but it needs your attention, it needs all to contribute details in order to make it comprehensive and therefore a valid resource. The ethos goes along the lines of, “if you don’t have a website, don’t do Facebook or are otherwise suffering from competing with the big guys during the COVID lockdown, this is the place for you.”
I submitted details of Devizine on there, a simple and quick process, I urge you to do likewise. A building directory open to categories, prompt people towards your business. As I really feel it’s time to stop spamming Facebook individually and crossing your fingers that someone will browse past it. If this lockdown has presented us with anything positive it’s the notion that if we work together, we can provide a service, we can entertain and help each other out.
Stay safe, as the saying goes, but also, contemplate my thought for the day, let’s integrate our resources. Please support upcoming projects like In-Devizes, and of course, Devizine too. Use the resources set up, such as Devizes Covid19 Support. Please, do click on our links to Bandcamp or other and buy local music, phone a local business and grab a takeaway, brighten your walls with some art from our gallery, and most of all, inform us your ideas, businesses and projects. Let’s stay safe, yes, but let’s also keep our heads up and enjoy our days too; virtual hugs, for all they are worth.
Brogans Café
devizine.com 