It’s not every day we hear a quintessentially hip-hop track with the magnitude of enriching classic rock riffs, say, as Gerry Rafferty’s Baker Street or Pink Floyd’s The Great Gig in the Sky.
Agreeably the nineties downbeat and trip hop era unleashed some masterful acts, particularly of the Bristol scene. And there’s shards of precisely this too, of Massive Attack and Portishead, in Can’t Come Home, a new Wise Monkey single from Stockwell featuring Storm Jae and Nory.
If I retain through rose-tinted specs, a passion for those naughty nineties it’s fuelled by nostalgia; I was young, once! Can even recall some bits of it. But rather than the drifting layers sluggishly building of aforementioned trip hop, the wailing guitar here hits you full in the face, more akin to said enriching classic rock tracks.
Even all this said and done, there’s nothing content to rest in a time of yore here, as the alignment of beats, astute male rap and uplifting female vocals of Can’t Come Home is fundamentally fresh and contemporary. Enough, I feel, to cross the barrier from myself to my teenage daughter’s musical taste, and that rarely occurs! This combination makes the song especially unique and substantially epic.
With the attitude and gumption of Stevie Nicks, and the mezzo-soprano range of Joni Mitchell, Storm Jae is a jolt in the right direction for an enveloping new era of singer-songwriters. Nory seems more elusive, I can’t find any information on! But teaming up with the trailblazing hip-hop-come-rock crossover musician and producer Stockwell is a match made in heaven, a heaven you can hear for yourself.
It’s agelessly sharp, emotionally elevating and an impactful grower, which will tease the palate of rock and urban adherents alike. If I make you wince to note Run DMC walked this way with Aerosmith some thirty-five years ago, or if you have to ask Siri what I mean by that, neither matters, this tune will appease either.
Wednesday, racing down to the newsagent on the corner on my Rayleigh Tomahawk, fifteen pee in sweaty palm. Pick up my Beano, six pence left for halfpenny sweets. The lady stood irritated behind the counter holding a small paper bag, as the kid front of the queue rubbed his chin pondering the crucial quandary. “You’ve got four pee left,” she’d calculate, while the boy finally opted for another flying saucer rather than a fruit salad chew.
If there’s something delightfully everyday about the subjects on Trowbridge’s Sitting Tenants lockdown album, A Kitchen Sink Drama, none more retrospectively thought-provoking than the fifth tune, the Newsagent, which encouraged the placement of this archived memory to my frontal cortex.
Unlike many a lockdown inspired project, this lives on the sunny side of the street, no matter how working-class notion of destitution. A semi-acoustic concept album, all from a shed in Trowbridge, as folk, as best pigeonholed, it’s acutely observational and mostly sentimentally mellow, perfect lazy Sunday afternoon music. Yet it never escorts you down a dark alley. Of people-watching in a back street pub, of a welcomed arrival of a letter from an old friend; subjects are ordinary, with an optimistic air of market town affairs. Even the album sleeve is a line drawing of Trowbridge town centre.
Released on 208 Records, usually reserved for garage mod-revival, still it retains something of that period in sound and particularly subject. Rob himself polished his skill fronting Swindon mod band Roundabout, some twenty-five years past. A band I do recall fondly. But even if you don’t, here is something indie-folky, with a taste of local excellence.
Revived since lockdown this garage-folk band’s fifth album was recorded in Rob’s garden shed, with only bassist Geoff Allwright, and using Ian Hunter’s lyrics. It’s beautifully peculiar, a mite psychedelic in as much as McCartney vaudeville moments on Sgt Pepper, engrossing as Nick Drake, quirky as Pentangle or The Pretty Things. It’s the Kinks jamming carefree on a Sunday, especially on the most upbeat Lincoln Green. It nods to Lionel Bart on the Austerity Street, John Martyn on The Tin Man, and incredibly on the captivating eleven-minute finale, Falling Backwards, where things do get acute, Ralph McTell.
Like a Ralph of Trowbridge, it’s like, why is this down the road but new to me? Why didn’t it post a leaflet through my letterbox instead of a pleading politician?
And it is precisely that. Cornish psych-punkers The Brainiac 5 release this mind-blowing album of both reflective new tunes and lost archived tracks, today. Another Time Another Dimension bursts the cliché term genre-breaking to compose scattered influences, with this kind of low-fi garage style, which while loans to punk, even reggae, has the nod to acid rock of a previous psychedelia era. Most befitting a title, this is a tricky nugget to nail down, but it’s grower.
The band stress this is not a lockdown album, the impetus came from two other sources, namely a digging through the archives for unreleased material, and secondly, the passing of a long-time friend of the band, Martin Griffin. A supportive engineering assistant to the band in its earliest days, allowing them extensive use of his Roach Recording studio. Both reasons sparked the writing of some new songs, in this fifteen-track bundle of era-spanning and mind-expanding goodness.
I confess I was dubious at first, it’s as if The Beatles came after punk, but still recorded in a garage. It made me ponder the Clash singing “phoney Beatlemania has bitten the dust,” and in turn the target audience, presumably a fairly eclectic bunch. As I said, it’s a grower, and I suspect I’ll be digging bits of “oh yeah, I get it now,” for many listens to come. But time has got the best of me, got to get this review out tonight.
“The four albums released during our second coming have all garnered many reviews noting our continuing desire to experiment and expand while still maintaining the basic psych/punk ethos,” they say, “Indeed, the three new tracks here do continue this tradition of experimentation. However, although it is clear that the band has grown and developed over the years it is remarkable just how much we were experimenting right from the band’s inception.”
The bulk of Another Time Another Dimension, then, are memoirs, lost archives from 1976-1980, in what the band name “our initial Cornwall period.” Taking John D. Loudermilk’s Tobacco Road to Hendrix proportions, yep, sure is blues to be found here, and the rough and ready cover of Move’s Do Ya revels in low-fi garage rock.
But it’s loud, proud and sonic trialling, denoting a path through dubby seventies roots reggae, with a few tracks which offbeat, such as I Call Your Name and though Our Devils is another, it reeks of avant-garde, a Bonzo Dog Doo-Dah Band-come post-punk Talking Heads. Then I return to thinking, definitely punk, I Feel Good a prime example. And then, wham, there’s freaky drunken Jim Morrison weirdness in tracks like Khazi Persona.
Though the ground here is bumpy at the best of times, your head doesn’t smash on the top; it may be raw, but blends with a flowing refinement of proficiency. “There is a lot of ground covered here,” they rightly explain, “hang on and enjoy the ride.” And there’s the very thing; once you’ve found your footing, it’s a fantastic, adventurous ride, just lacks suspension!
But, with the third eye being squeegeed so succulently as this, suspension is for losers, anyway. Another Time Another Dimension encompasses a past with a present, as if neither really happened, and that’s refreshingly effective against pigeonholing.
To celebrate the release of his new single “the Gathering,” featuring Jason Isbell and Muse’s Dom Howard, multi-award-winning Frank Turner, one of the UK’s most successful solo artists of the past decade, selling over one million records worldwide and playing to over two million people from small venues to a sold-out show at London’s famous Wembley Arena, announces a UK tour. The good news for Turner fans is, Sheer Music nabbed the man himself for two dates at the Cheese & Grain.
Out via Xtra Mile Recordings of Polydor Records, The Gathering is his first new solo music in nearly two years. That said, we did review his Buddies sequel album with Jon Snodgrass not so long ago.
Launching today, The Gathering is available to stream now across all platforms, alongside are the exciting details for a series of nine live show ‘Gatherings’, headed by Frank and Xtra Mile Recordings and running over summer 2021. Tickets for all shows on sale from 10am BST on Friday May 7th.
It’s said Frank Turner didn’t want to write a lockdown song. Over the past year he’s written and rewritten songs, trying to steer himself away from the subject that will no doubt dominate the charts for years to come. But for a man whose life and career are so intrinsically linked to live music, not referencing the dearth of festivals and gigs started to prove impossible. Not least since Turner himself has spent much of lockdown playing virtual shows from his living room, raising over £250,000 to support endangered grassroots venues up and down the UK, many of which might not have otherwise survived the pandemic.
So, it’s fitting that Frank’s new single ‘The Gathering’ is an upbeat, Glam-esque stomp. It puts a positive spin on things, anticipating a return to normality. “It’s about that moment when you come together in a room full of people, and you lean on a stranger and sing along with the chorus and get the words wrong,” explained Frank.
Produced by Rich Costey (Biffy Clyro, Foo Fighters), who Frank worked with on 2013’s Tape Deck Heart, ‘The Gathering’ features pile driving drums courtesy of Muse’s Dom Howard and a triumphant guitar solo from Jason Isbell, who recorded remotely from Los Angeles and Nashville. The new track follows a number of huge life changes for the star, who left his beloved London for the Essex coast, also getting married after the release of 2019’s No Man’s Land. “The biggest thing for me about the lockdown experience was about identity,” he says. “I am the guy who tours, this is who I’ve been since I was sixteen. This is the longest period of time I’ve slept in the same bed continuously since I was seven.”
Set to change this summer, when, in celebration of the ethos behind ‘The Gathering’ Frank and label Xtra Mile Recordings will present a run of outdoor shows, helping to kick start the return of live music. It’s been a catastrophic year for the Industry as a whole, with the Covid pandemic dealing blow after blow for everyone in the sector. In true punk rock style, Xtra Mile and Turner want to take matters into their own hands with a set of versatile events that can either be socially distanced or full capacity depending on the maximum safety of the audience, performers and crews and in accordance with any national restrictions in place at the time of the event. Frank says; “At a time when the pandemic has wreaked havoc all across the live music industry, I feel like it’s important to get back to the basics – playing live music to entertain a crowd. This summer, with Xtra Mile and friends, I’m taking the punk approach – do it yourself, find a way. I can’t wait.”
2021 UK ‘Gathering’ Live Shows include Bideford in June, and Frome’s Cheese & Grain on both Saturday 26th and Sunday 27th June. The tour continues through July with dates in Liverpool and Gloucester, August at Manchester and Hull will need to wait until September.
The Guv’ of Sheer, Kieran Moore is keen to point out the Sunday is his birthday, so if you are going, take him a cake. I dunno, good question; add about 50ish candles I reckon!
There’s something indefinitely old school punk about Salem, with nods to pop-punk, goth and rockabilly, hoisting them to the absolute top of their scene. No one in the UK are delivering this genre better right now.
This side project of Will Gould from Creepers and Matt Reynolds of Howards Alias is loud, proud and spitting; dripping with Siouxsie and the Banshees, laddered fishnet stockings and Robert Smith influences. Quite honestly, Kieran’s right, again; it’s knocking deafeningly at my front door!
They described their self-titled debut 2020 EP as “spooky, silly, romantic punk rock songs.” Yeah, figures.
Today they announce their October UK tour, with Oxford’s Bullingdon, Frome’s Cheese & Grain, and Bristol’s Exchange included, and nestled between them, on October 16th, Sheer Music & Bandit present them at Swindon’s grandstand music venue, The Victoria.
Support for the Salem’s tour comes from a new solo project from Welsh former Holding Absence bassist, James Joseph; James and the Cold Gun. A playful twist on his name, James and the Cold Gun is named after a Kath Bush song. They promise to be something of a rock n’ roll blues revue, akin to former British rock n’ roll heroes The Computers. They signed to Gallows label Venn Records for the release of their debut album.
After fondly reviewing the single Falling from ReTone’s homegrown drum n bass label SubRat last May, the Pewsey-based vocalist featured, Cutsmith, who also runs the … Continue reading “Osorio With Cutsmith”
Particularly crucial at this point, in the midst of this “roadmap” out of lockdown, for me to consider writing a monthly post outlining where we’re at, what we’ve been doing, and looking forward to the next month. A two-part article then, the second half on what’s happening locally during May particularly important.
But first, I have to say, despite the lack of events causing the lowering of hits annually, stats for April hit a record-breaking high, a staggering 132% higher than March. This is fantastic and I thank our readers for their support. Generally, April is a good month, All Fools Day being our bread and butter. This year’s was exceptionally accommodating, when I convinced thousands, Devizes was to get a McDonalds! This prank was in the pipeline long before April, and I suspected it would spread like wildfire, but only issue now, is how to top it next year.
Other popular articles this month have been political, when Tory Wiltshire Councillors were instructed by head councillor, Philip Whitehead to block correspondence with the Stop the Closure of Furlong Close campaigners, particularly prevalent. So too has been the interest of the Police Crime Commissioner election, with our interviews of Mike Rees and Liz Webster. And we’ve played impartial, allowing all council candidates an untainted paragraph in which to pitch the reason while we should vote for them.
Such is lockdown, when another seemingly popular doing, was my satirical fictional story serial, The Adventures of Councillor Yellowhead; honestly, I don’t know where these ideas come from! I think serials might be good addition to Devizine, and I’ve a new, wholly different approach to the next one, a personal account celebrating thirty years since the blossoming of the rave scene. So, wave your hands in the air for that one, if I find the time to write it!
Yet, proving our stomachs are more important than our politics, the best hitting articles, second only to the April Fools, have been when the Naan Guru opened, and my visit to the Feisty Fish. Proof of what I say, time and time again, but few owners of eateries listen; throwing me a luncheon voucher will boast your sales! We published our Feisty Fish review Wednesday, by Friday they sold out at their pitch in Littleton Pannell!
And I thought our mainstay was music and arts. But without live music reviews, it’s been no walk in the park. The live streams continue, but I cannot justify reviewing them in the same manner, only drawing your attention to them, and all other online events. This is why, and I can’t stress this enough, because I spend eons adding to it, our event guide is crucial, the coming months doubly so.
Not forgoing, before I get onto this, my efforts this month will be focussed on our forthcoming compilation album, For Julia’s House, which I hope to be released later in the month or early June. The list of contributors now looks like this, all of them I’d like to thank eternally: Pete Lamb & Cliff Hall, King Dukes, Erin Bardwell, Timid Deer, Duck n Cuvver, Strange Folk, Strange Tales, Paul Lappin, Billy Green 3, Jon Veale, Will Lawton, Jamie Williams & The Roots Collective, Kirsty Clinch, Richard Wileman, Kier Cronin, Sam Bishop, Mr Love & Justice, The Truzzy Boys, Daydream Runaways, Talk in Code, Longcoats, Atari Pilot, Andy J Williams, The Dirty Smooth, SexJazz, Ruzz Guitar Blues Revue, The Boot Hill All Stars, Mr Tea & The Minions, The Oyster, Nigel G. Lowndes, The Birth of Bonoyster, Revival, Room 101, The Two Man Travelling Medicine Show, Julie Meikle and Mel Reeves, Cutsmith, Big Ship Alliance and Knati P. What a line up!
And I’ve more promised in the pipeline, possible tracks from Clock Radio, the Horse of Gods, Cutfish, The Lost Trades, and so many more; how utterly fantastic is that? I just have to pull my finger out and get on the case!
So, to what’s happening in May!
Events, remember them, that’s the kiddy, that’s what we’re looking forward to. And with positive feedback from the Liverpool clubbing experiment, stuff is being arranged and events organised, and everyone is undoubtedly as excited as a kid at Christmas.
May is the month which will, hopefully, keep on giving. I’ve a mega-task trying to keep up with changes and added events, updating our new look event calendar. You can help, by letting me know about your event, rather than expecting me to go digging. Thanks. Oh, and people, this preview is not exhausted, take heed, the calendar is going to explode with updates, so keep on top of it. Plus, the notion events will often be under usual capacity due to social distancing, and ticketed, so keeping ahead of the game is vital, if you want to head on out with a destination in mind!
Later today, I’d recommend you check out the Kyla Brox Band stream, or for banging clubland, the Midlife Krisis has it’s Sunday Session. Tomorrow, Monday 3rd, head down to Hillworth Park in Devizes, where there’s a fundraising books and toys stand in Hillworth Park, for Wiltshire Air Ambulance. 10am till 2pm.
But on Saturday 8th the Prestbury Sports Bar in Warminster is the first I’ve noted to open their doors to a live gig, and the fantaboulouso People Like Us will kick it off. Good luck to Nicky, Pip and the Scooby gang!
The first to brave the water on mass, though, is our brilliant Big Yellow Bus co-ordinator, Gerry Watkins with a Gloucestershire VW Bus Meet and Chill, a free event on 15th May at Cirencester Town Football Club. “It’s just that,” Gerry explains, “meet up with old and new friends that share the same passion for the VW bus, it doesn’t matter if it’s a rusty old shed or a sparking bran new one it’s your pride and joy and we are here to enjoy and have fun, it’s also to help raise funds for The Big Yellow Bus Project a homeless shelter.” Bands playing include: Six O Clock Circus, Loaded Dice, The Daybreakers, and The Roughcut Rebels. Sounds super, but like I said, all events this early need booking, and once all 85 spaces have been filled that’s it; which it might already be. Just leaves me to say, have a great time, guys, and I hope you raise some serious funds for the Big Yellow Bus project.
But it’s the following weekend when shit really hits the fan. Swindon’s Victoria kicks off the return of live music with Awakening Savannah on Friday 21st, and Thin Lizzy tribute, The Lizzy Legacy on the Saturday, I wish you all the best for these gigs, Darren Simons and the team at the Vic.
Both Pewsey and Devizes kick off live music too, on the Saturday. As for a fiver a pop, the Barge at Honeystreet offer Paul Ruck paying his tribute to legendary guitarist Eric Clapton, and at our trusty Southgate in Devizes, the long awaited return of live music will be supplied by the band who finished off at the last live music session prior to the lockdown, I believe, Swindon’s fantastic Sound Affects, who will double-up as the Daybreakers; something I’ve been looking forward to since I dunno when, and hope to see many faces I haven’t seen for ages, perhaps lockdown hair!
The Daybreakers pop up again the following Friday at Swindon’s Vic, while Honeystreet’s Barge offers you their favourites Jassy and Ted, aka SwingleTree, a wonderous folky duo with songs of the sea, lost loves, the ol’ canal, heart-warming harmonies, luscious squeeze boxes, and toe tapping tunes.
Saturday 29th The Barge has the Dryadic collective, The Southgate have Leon Daye, and there’s few tickets left for an Attitude Is Everything fundraiser with Longcoats and Tangled Oaks at Bath’s Moles. But in general, the fantastic news is, slow and few in between, live music is returning to Wiltshire this month, and if everyone bonds, taking care and adhering to the restrictions set out, by June, we could have ourselves a mini summer of love!
Apologises if I’ve missed your event here, it’s most likely because you didn’t tell me about it! But it’s never too late to let me know. For fun-seekers crawling out of the woodwork, as I said, this list is not exhaustive, and over the coming weeks you must take a peek at our calendar, as it will continuously blossom with stuff to do. I mean, take a look at June, when festivals begin; oh, my lord, remember them?!
I could scrutinise my archives, like a minister’s accountant, but without doing so I highly suspect Lady Nade has had a song featured on our Song of the Day feature once before.
Futile to check, as if I’ve implimented a ruling of one song per artist on our feature, which I haven’t. And even if I had, I’m my own boss here, and have every right to override it. And for what? What purpose?
I’ll tell you, shall I? If only to share and spread the word, this is a gorgeous tune, with a video nodding to her home city, Bristol, and its hint of topical affairs, despite the conotations of the song not revealing a similar notion, rather a classic theme of romance.
But the soulful expertise of Lady Nade makes it look so easy, and in this beautifully executed breezy ballad, one can only gasp at her skill and wallow in its splendour.
And that’s my song of the day!! Very good, carry on…..
A star-studded celebration of John Lennon’s music will be released this Summer in aid of War Child UK.
Originally recorded live in concert last year ‘DEAR JOHN – CONCERT FOR WAR CHILD UK’ will receive official digital release on 11th June 2021, with all proceeds going to the charity.
The record features a number of legendary artists from across the globe who came together virtually to celebrate what would have been the 80th birthday of The Beatles icon: John Lennon. Pledging their support for the renowned charity and hoping to inspire change, the recording features stunning renditions of Lennon classics as performed by Sepp Osley and his band Blurred Vision, alongside a glittering array of guest stars including MAXI JAZZ (Faithless), KT TUNSTALL, JOHN ILLSLEY (Dire Straits), NICK VAN EEDE (Cutting Crew), GOWAN (Styx), GRAHAM GOULDMAN (10CC), P.P. ARNOLD and many more.
The full track listing for the record is as follows:
‘DEAR JOHN – CONCERT FOR WAR CHILD UK’
1. STRAWBERRY FIELDS FOREVER – BLURRED VISION 2. REAL LOVE – BLURRED VISION feat LAURA JEAN ANDERSON 3. DON’T LET ME DOWN – BLURRED VISION feat MOLLIE MARRIOTT 4. ACROSS THE UNIVERSE – GRAHAM GOULDMAN of 10CC 5. NORWEGIAN WOOD – NICK VAN EEDE of CUTTING CREW 6. POWER TO THE PEOPLE – MAXI JAZZ of FAITHLESS 7. TOMORROW NEVER KNOWS – GOWAN of STYX 8. DEAR JOHN – BLURRED VISION feat NICK VAN EEDE 9. A DAY IN THE LIFE – BLURRED VISION 10. GIMME SOME TRUTH – KT TUNSTALL 11. I’M ONLY SLEEPING – JOHN ILLSLEY of DIRE STRAITS 12. IMAGINE – P.P. ARNOLD & SEPP OSLEY
In 2019, a career-long dream to bring together a variety of artists to celebrate the music, the legacy, and the birthday of Beatle legend John Lennon came true for Sepp Osley and his up-and-coming band Blurred Vision. Hosted virtually mid-lockdown, the event would not only be a celebration of the iconic cultural figure, but also a fundraiser for the charity War Child, an organisation personally and deeply close to Osley’s heart.
Born in war torn Iran in the mid 80’s, Sepp escaped the war gripped country of his birth with his family, beginning a tumultuous journey through the ancient lands, onto Europe and finally settling in Canada. With this clarity and artistic spark, the band Blurred Vision was formed with his brother and former bandmate. After a string of successes with his band, Sepp hosted the first ‘Dear John concert in 2019, in which musicians came together for a charity night celebrating Lennon, his musical impact, and the message of love he advocated. Fast forward to 2020, when the world was in lockdown. With no possibility of live music in sight, tours Sepp turned attention to the 2nd Annual ‘Dear John’ Concert and the situation created by the Covid19 pandemic brought about the idea to take the show to an online platform in the year where virtual concerts became the norm.
“I began reaching out to artists around the world who I respected and admired,” says Sepp. “Before I knew it, an unbelievable roster of artists had signed up and were going to be a part of the 80th birthday celebrations for our mutual hero and help us raise money for the charity so close to my heart.”
What started as a hopeful, yet incredibly daunting endeavour turned into one of the most exciting concert productions of the year. Now in 2021, the 2nd Annual concert event is being turned into a digital charity album release. Featuring artists such as Laura Jean Anderson, John Illsley of Dire Straits, Maxi Jazz, and Sepp’s own band Blurred Vision, the album serves an addictive amalgamation of talent, in which fans can listen to discover musicians worldwide, relive the unforgettable performances of the classic Beatles and Lennon tracks, and raise funds for War Child UK in the process. ‘Dear John – Concert For War Child UK’ is a snippet of history now in audio form, that will live on for years to come.
‘DEAR JOHN – CONCERT FOR WAR CHILD UK’- RELEASED: 11TH JUNE 2021 ITUNES PRE ORDERS BEGIN: 5 MAY PRE-ORDER HERE
It’s those guys again. Yes, we’ve reviewed the song before, but this our quick song of day feature, which usually requires a video, and it’s the vid which is new…. and marvelous.
“Something Anerican Pie about it,” Ollie of the Longcoats suggests on Instagram, and I tend to agree. Due to lockdown the Daydreamers haven’t managed to produce a video for it, so photographer Vansessa Paiton made it using stock footage. And what a grand job, it looks fantastic and apt for the tune. Makes feel young again, but I’ll say no more!
And that’s my song of the day!! Very good, carry on…..
“We’ve been waiting patiently to get back to playing again,” says our town band here in good old Devizes, “but now we are getting excited!”
The reason, with regulations permitting, they’ll be at Chippenham’s John Coles Park, off Malmesbury Road, on Sunday 23rd May, 3pm-5pm, for some free live music, promising to be a “musical extravaganza!” Bring a picnic, “we’ll be using our marquee, so you won’t miss us!”
Devizes Town Band formed in April 1999 as the Alpha Wind Ensemble. Mike Ward of Bratton Silver Band joined as Musical Director a year later, and by 2001 they became the Devizes Town Band and gained permission from the Town Council to use the town crest.
Since then, the band has gone from strength to strength, with various concerts including Proms at Hillworth Park. They’ve raised funds for many local charities, including Alzheimer’s Support, Julia’s House Hospice. They’ve played at Royal Victoria Park in Bath and the bandstand at Bournemouth, via their association with Bournemouth Symphony Orchestra, but recently reduced to making monthly Zoom videos during the lockdown to keep in practise.
For my best memory will always be the Christmas Light Switch-On and Lantern Parade, when, with cold fingers warming around a cup of mulled wine, the Town Band played a brilliant classical version of Jona Lewie’s Stop The Cavalry; and it’s not yule until I hear that song!
And now, showtime is nearing! Devizine wishes Devizes Town Band the very best of luck for a refreshed season. Until then, thanks to Bill Huntly’s now disbanded Devizes TV, enjoy a memory from the 2014 Proms at Hilworth Park.
Scrub the headline as ‘news,’ here at Devizine Towers, as we look forward to any update The Lost Trades trio throw at us, especially a nice pint in a pub with those guys playing. Which is what we’re building to, fingers crossed, as they pencil in HoneyFest at the Honeystreet Barge on their growing confirmed gig list.
Among them, Frome’s Cheese & Grain, Salisbury’s Winchester Gate, the Couch in Bracknell, Schtum in Box and WeyFest. Proof their exceptional and convivial brand of folk is resounding far and wide. Another validation for the Lost Trade’s reputation is news today the second single from the highly anticipated debut album, out on 7th May, features the violin mastery of the incredible Peter Knight.
A legend of folk, Peter learned his trade at Royal Academy of Music, and not only was a founding member of Steeleye Span, undoubtedly the most renowned group of the British folk revival alongside Fairport Convention, but secretly was Uncle Bulgaria of the Wombles band too! He’s worked with blues legend Alexis Korner and Mary Hopkin to namedrop out of many, and today his occasional big band, Peter Knight’s Gigspanner Band are a unique force in British folk music with high-energy, virtuosic performances appealing equally to traditionalists and to those looking for something experimental.
See, I love a mean fiddler garnish on my folk, and as the Trades say, “as collaborations go, it doesn’t get much more mouth-watering than this.”
Road of Solid Gold – The Lost Trades (featuring Peter Knight) will be released on 7th May, another appetiser for the foresaid album. “When we were recording the song, we knew we had the seeds of something a bit special, but we felt it needed some extra magic. We were thrilled when Peter agreed to add that magic and we can’t wait for you to hear it.” Umm, yes indeedy, and we can’t wait to hear it!
On 6th February 1989 an unidentified lone gunman in Kingston, Jamaica killed Osbourne Ruddock. He made off with his gold chain and licensed gun, the music industry lost a pioneer often under-represented in history. The likely reason for this obscurity, he was not a musician, rather a producer and sound engineer who begun his career fixing disgraced radios.
Better known to the world as King Tubby, during his sound system dances of the mid-sixties he noted the crowd favoured the instrumental sections of the song. This rock steady era was dominated by vocal harmony groups, but with a handful of others, including Lee Scratch Perry and Bunny Striker Lee, Tubby set about extending the instrumental sections, cutting the mid-range, dropping the basslines and limiting the vocals with echo delays.
He had created “dub,” more technique than genre, it revolutionised music way beyond reggae and is the mainstay formula of all pop since hip hop; today, we take the remix for granted.
But aside the pioneering techniques we owe Tubby for, dub has too developed into a reconised genre and given us subgenres, from drum and bass to dubstep and dembow.
Still the origins were remixes of rock steady and reggae songs, and from the most unsuspecting area to find dub thriving that ethos, Nashville, Tennessee, Nate Bridges uses the techniques rather to reimagine pop, rock, even film or TV soundtracks, or anything which takes his fancy, under the guise Black Market.
The magic of Black Market is they retain the offbeat formula of reggae, while being versions of four-beat tunes. The strapline goes “what would happen if The Beach Boys had The Wailers as their backing band instead of The Wrecking Crew? What if David Bowie spent the summer of 1975 in Kingston, Jamaica with King Tubby instead of Philidelphia? Michael Jackson meets Scratch Perry? These questions are the basic thesis of Black Market.”
While few of these mainstream sources could easily be converted, such as the Clash, the magic is when Nate and friends takes something wholly non-reggae and breathes an air of dub to it. The Beach Boys album first attracted me to this, but with every new release he never fails to take it to the next step.
The latest release from this prolthic genius is Elton John classics, and I felt it’s long overdue to mention him. This is, without doubt, utterly sublimely executed and would appeal to reggae lovers and fans of the subjects being reimagined alike; hearing is believing.
While we’ve had the astounding recordings of the Easy Star Allstars, when they dubbed classic albums, Dark Side of the Moon, Sgt Peppers and “Radiodread,” they pride themselves in originally recreating the music without samples, Black Market are the purveyors of sampling, the kingpin is the lifting of the original and placing it in a reggae setting.
Find the Michael Jackson Thriller album dubbed, Bowie, Tempations, Talking Heads and Twin Peaks, Batman and Ghostbusters soundtracks among others, and all name your price on Bandcamp.
Astounded by pinning a ska riff to Michael Jackson’s Billie Jean, Nate told me it was the only way to accomplish the track to such standard he requires, the predominantly downtempo of dub simply didn’t fit the bill. This made me contemplate the complexities of what he’s dealing with, when opposed to simply remixing a tune. And it’s this which makes Black Market such a fascinating project which leaves you wondering what’s next on his agenda, and if there’s anything which he wouldn’t rise to the challenge of dubbing. I’d like to throw Mozart at him!
If it’s been a quiet week here at Devizine Towers, it’s not because we remain in the perpetual Groundhog Day of lockdown, things are beginning to open up and folk are gathering to take advantage. Time will tell if we’ve made the right move, and fingers are crossed, but we surely have to attempt to emerge from his global hibernation. Rather, I’ve been away for the week, playing the grandad role on the single most tranquil UK holiday camp getaway ever!
Don’t get me wrong, even with restrictions, it’s been lovely nonetheless. Now, I’m back, back like a bad smell on your shoe rack, and if you think I’ve been lazing around watching paint dry, you’re not totally wrong. But I do have an exciting announcement, which has kept me out of trouble for the last fortnight.
The announcement might be something more suitable for lockdown, but despite, I’m feeling this blossoming project is definitely heading in the right direction. We’ve 24 tracks kindly contributed already for a compilation album of local or music related to Devizine, however tenacious, subjects we’ve reviewed or covered in the past, or we simply love! Binding them together and hopefully presenting them as soon as feasible on one chunky download album via the most brilliant website, Bandcamp.
It’ll be a cross-genre extravaganza of music, and you’ve not even heard the best bit about it. To explain that bit I need to first stress my eternal gratitude and thanks to the wonderful artists already freely contributed a song for this, and those planning to. Now, where was I? Oh yeah, the really, really good bit; get this, all proceeds, 100% of them will go to Julia’s House.
Julia’s House is not a typical children’s hospice. They provide practical and emotional support for families caring for a child with a life-limiting or life-threatening condition, providing frequent and regular support in their own homes, in the community or at our hospices across Dorset and Wiltshire.
Devizine asks musicians and bands, be they locally based or otherwise, to send us an original song for us to add the already bulging track list, if you’ve one to spare. I’m fully aware the pressure is already on artists at this time, but I’m not asking you to create a tune especially, or give away something which is currently selling well. It could be pre-released from an album or an older single you have; just something in your archives, you wouldn’t mind allowing us to use.
I’m being harassed about a deadline, we should set one, although I firmly detest the word deadline! Let’s pencil in 15th May, so if you’ve a song you’d like to throw at us, please do send a WAV file if possible, mp3 if not, by then. Send via We Transfer or Google Drive to: firstname.lastname@example.org
But don’t despair if you cannot make the gig. With the popularity of this project to date, I’m looking in my crystal ball and predicting a volume two on the cards.
Only thing I will ask you to bear in mind, if thinking of contributing, is that this is for a children’s charity, and while I’m not expecting The Wheels on the Bus, please avoid swearing like sailor. No NWA tribute acts, please!
It gives me great delight to tell you we have many fantastic songs already sent to us, a mahoosive thanks to everyone who’s bunged us a tune, and so many others who have promised to, shortly. A full track listing with details and links will follow nearer to launchpad day, but for now, I’m excited to let you know local legend Pete Lamb provides an apt title track, Julia, (actually it’s Julie, but who’s splitting hairs, I’m renaming it!) for which he’s teamed up Cliff Hall, pianist for The Shadows; a glorious benchmark to open with.
Other artists featuring, to date are The King Dukes, Erin Bardwell, Mr Tea & The Minions, Talk in Code, Timid Deer, Kirsty Clinch, Duck n Cuvver, Strange Tales, Paul Lappin, Billy Green 3, Jon Veale, Will Lawton, Jamie Williams & The Roots Collective, Sam Bishop, Mr Love & Justice, The Truzzy Boys, Longcoats, Atari Pilot, Andy J Williams, Cutsmith, The Oyster, The Birth of Bonoyster, The Two Man Travelling Medicine Show and Richard Wileman.
Wow, as of Monday 19th May, we now have a staggering 37 tracks contributed. The list now looks like this: Pete Lamb & Cliff Hall, King Dukes, Erin Bardwell, Timid Deer, Duck n Cuvver, Strange Folk, Strange Tales, Paul Lappin, Billy Green 3, Jon Veale, Will Lawton, Jamie Williams & The Roots Collective, Kirsty Clinch, Richard Wileman, Kier Cronin, Sam Bishop, Mr Love & Justice, The Truzzy Boys, Daydream Runaways, Talk in Code, Longcoats, Atari Pilot, Andy J Williams, The Dirty Smooth, SexJazz, Ruzz Guitar Blues Revue, The Boot Hill All Stars, Mr Tea & The Minions, The Oyster, Nigel G. Lowndes, The Birth of Bonoyster, Revival, The Two Man Travelling Medicine Show, Julie Meikle and Mel Reeves, Cutsmith, Big Ship Alliance and Knati P.
And there’s more in the pipeline, hopefully creating a hefty genre-busting mega-box set!! So, please be part of it if you can, and bung us your song! More the merrier. Thank you! Oh, I love it when a plan comes together.
The future of Devizes’ carnival and Outdoor Celebratory Arts is looking great, as DOCA announce today some exciting news; they are delighted to have received funding from the government’s #CultureRecoveryFund.
The much-needed funding will cover their overheads in the coming months. Allowing investments in developing their Board of Trustees, employ a Volunteer Coordinator and begin reconnecting with the existing “family” of volunteers. They also seek new recruits to help deliver the fantastic program of events. Such as new volunteer coordinator, Holly Solo-Hawthorn, who joined the team in last November. If volunteering with DOCA is something you are interested in please email: email@example.com
Chair of the Trustees, Kelvin Nash said, “we know people can’t wait to get out and meet up with others and enjoy all the things we might have taken for granted before COVID. We also know we are very privileged to receive this funding that will help us continue bringing great events to Devizes. We hope everyone will continue to support us this year to make these events happen safely, plans are still tentative of course, but it does feel like there is now a light at the end of the tunnel.”
Artistic Director, Loz Samuels expressed although DOCA are able to start planning Summer events, not all of the usual events will be back this year. “This year will have a different feel but we know that it will be just as amazing as ever. There will be no Confetti Battle this year we hope to combine the Colour Rush with the Street Festival which will add an explosion of colour to the day and we hope to attract some new people along to the event.”
As we look forward to future events in Devizes, DOCA will be touching base with market traders and coordinating a hopeful new season of celebrations. Here’s the plan to date:
Sunday 22nd August 2021 – Picnic in the Park
Monday 30th August 2021 – Devizes International Street Festival
Monday 30th August 2021 – Colour Rush
Friday 26th November 2021 – Winter Parade
Saturday 27th November 2021 – 31 Trees and Counting
Saturday 26th & Sunday 27th Feb 2022 – Festival of Winter Ales
Bath’s young indie-pop favourites, Longcoats has a forthcoming belter of a single, with a generous slice of retrospection; you may admire them again today.
As one who usually supports the underdog, I favoured the originally intended ending of the John Hughes cult, Pretty in Pink. Although it’s all in the past, Duckie deserved his promqueen for the overtime he put in. I mean, don’t get me wrong, boyishly I wouldn’t have chucked Kirsty Swanson out of bed, but by the final cut, the Duckster failed at the goal he set. And I liked him, rooted for him against the dweeby snob Blane. Though it was never about the guys fighting, Molly got what she wanted, I suppose, and Duckie learned not to cross the friends barrier; c’est la vie.
But I’m not here to rap eighties coming-of-age romcoms, less you’ll never hear the end of it. Windows down driving music we are here for. Out this Friday (16th April) I’m backing this will be an instant indie-pop anthem, with the same name as that movie.
Frontman Ollie Sharp confesses, “John Huges is a big inspo for us, always loved Breakfast Club and Pretty in Pink.”
Bath’s Longcoats rocking the summertime vibe with a beguiling riff, and feel good factor. Pretty in Pink has to be the best we’ve heard of this promising indie three-piece, to date.
Akin to recent tunes we’ve reviewed from the likes of Talk in Code, Daydream Runaways and Atari Pilot, here’s a fresh indie track, retaining the contemporary yet with that sublime nod to eighties pop-rock, which, as precisely as the title suggests, wouldn’t look out of place on a John Hughes soundtrack any more than the Psychedelic Furs’ title theme.
It’s an upbeat wah-wah scorcher, fading to emotively driven verses, powerful as anything you might hear on such a film score, with a popping an earing in and punching the sky ending.
Since last October’s awesome EP, named conveniently after the month, things have progressed in a direction I’m liking for the Longcoats, being a Thatcher’s child and all!
Again, we find ourselves in the most unsuspecting part of the world to find the perfect reggae sound, Switzerland. Fruits Records release Winds of Matterhorn at the end of this month, 30th April.
Rather than the unanimous Rastafarian camp, Jamacia’s hills of Wareika, Swiss-Italian trombonist Mattbrass and producer Jackayouth have taken inspiration from the eminent mountain in the Alps for this four-track instrumental EP. Unlike the progressive nature of the Jamaican music industry, Fruits Records, as ever, find their penchant in a more classic sound. The tried-and-tested formula of roots reggae may be deemed old hat on the island of reggae’s origin, but no one can refute the global influence of Bob Marley and the Wailers, and the consequential epoch which followed.
The mechanics of the profound effect reggae’s golden era has had on music as a whole is inconsequential here, because there is no fusion or experimental divergence. You will not hear rock or soul’s pastiches of the formula, there’s no preaching vocals, you will only hear a crisp and refined approach to the true sound. This is reggae at its finest, a driving riddim, occasional wail of an electric guitar, heavy bassline and saturated in sublime horns.
To emphasise these classic elements of reggae are evidently profound, each tune is singularly named after the four classic elements; earth, air, fire and water.
Earth is marching one-drop reggae, the kind you’ll identify with the later works Bob Marley & The Wailers, such as the 1979 album Survival. But Air is no lighter, there’s a real deep, roots feel to it, a plodding bassline fills said air, but throughout there’s this continuation of a tight horn section, managed to perfection. Fire has more upbeat jollity about it, so much so it near-verges on the classic ska of the unrivalled Skatalites. Water brings it back around, with that proud one-drop march.
This is the traditions of reggae, elsewhere at its very best, the only thing it lacks is the vocal affirmation to Rastafari, or anything else uniquely indigenous to JA, rather a structured salute to the sound, as if it was performed by Mozart or Beethoven. There’s the nutshell, if Beethoven went to sister Mary Ignatius Davies’ class at Kingston’s Alpha Cottage School, with Don Drummond, Rico Rodriguez, Roland Alphonso et all, his symphonies might end up sounding something like this; it is that accomplished.
Top marks, as if they not done it before on Devizine, and I’ve still not gotten fully over how awesome Wonderland of Green was!
Here’s a thing, did you know the Michael and Janet Jackson duet “Scream,” is cited as the world’s most expensive music video, totaling a cost of $7 million? And Wacko dished the cash out of his own pocket?
Despite critical acclaim at the time, reaching number 3 in the UK pop charts, and the retaliatory nature of the song against the tabloid assault on Michael after sexual abuse accusations, I thought, and always will think, it was a bit shit, to be perfectly frank!
Look, I mean, okay, bit harsh were the allegations, so MJ thinks, I know, I’ll bag myself a B-movie spaceship, take my sister off the planet, buy us both matching knobbly jumpers, dance about in zero g, and cough up seven million dollars for someone to film it, that’ll convince the fans I’m not a complete fruitcake.
They didn’t even save enough pennies to get it filmed in technicolor. Input sad face emoji.
Compare and contrast to Devizes-own Jon Amor, who, with just the creativity of Lucianne Worthy, a big chunk of inspiration from Jim Henson and some snazzy blue loafers, pulls off this absolute beauty for the track Rider from the latest album Remote Control.
Smashed it, guys, and it’s in colour too. Proof you don’t gotta do a Wacko Jacko and push the boat out as far as Mars to accomplish something all together entertaining.
And that’s my song of the day!! Very good, carry on….
I once reviewed a cassette with a photocopied punk-paste zine style picture of Mr Blobby as the cover, where a distraught male voice screeched, “take an overdose, ginseng!” continuously over some white noise. Thank heavens that’s in a long-lost past!
Fortunately, I’ve never had anything quite so bizarre to review since, not even this week when, Erin Bardwell messaged; “one of the drummers I do things with, Matty Bane, has a side duo project and wanted to let you know about their latest album.”
Sure, I’ve heard of Matty, seen him listed as one of Erin’s collective, trekking with them to Jamaica in 2003 to record with Recoldo Fleming at Dynamic Sounds. Further research shows he’s drummed in Bad Manners for over ten years, and is now part of Neville Staple’s From the Specials setup, headhunted from days as part of the Special Beat tour with the original rude boy.
Given this, I was naturally expecting said side-project to be reggae, stands to reason. What might’ve eased the surprise was to have pre-known of Matty’s own band The Transpersonals, a minimalistic, psych-rock outfit lounging somewhere between Pink Floyd and Spaceman 3. Still, nothing was going to prep me for what I got; We Wish you Health by Horses of the Gods.
There’s only one reason for facetiously mentioning the eccentric Mr Blobby cassette, because this is unusual too. The likeness ends there, though. “Bizarre” can connote excruciating, as with the cassette, but, as with We Wish you Health, can also imply uniquely stimulating and inimitably disparate. So much so, it’s astonishingly good. For those seeking the peculiar, those at their happiest dancing barefoot in Avebury’s morning dew, or for whom reaching the summit of Glastonbury Tor before sunrise is priority, will adore this, with jester’s bells on.
Matty teams up Mike Ballard, a media and games lecturer with a penchant for folk. And essentially this is what we ought to pigeonhole Horses of the Gods as; Somerset folk, is as near in modern terminology you’re going to get. But for comparisons I’m going to have to max my flux capacitor way beyond my usual backtracking.
If I relish in music history without the technical knowledge, I understand one has to either accept four-time pop, or untrain their ear to acknowledge other musical metres, in order to appreciate folk, classical, even jazz, but particularly the kind of sounds We Wish you Health is embracing. There’s something medieval, least pagan mysticism about the influences here, of shawms and hand-cranked hurdy-gurdies, miracle plays, and Gallican chants of plainsong. And it’s swathed with chants and poetry as if in variant West Country Brittonic tongue.
We have to trek beyond futurist Francesco Balilla Pratella’s Art of Noises theory, to an olden ambience of nature, of birdsong, storms and waterfalls. The opening track starts as a spoken-word toast and ends akin to medieval court jester entertainment, over a haunting chant. Equally passe but equally amicable is a sea shanty called Down in the Bay. Then a clocktower chime follows; left wondering if this was Dark Side of the Moon recorded in 1648. Sow In uses mellowed hurdy-gurdy to mimic what the untrained ear might deem an Eastern ambience. With a solstice theme, it’s so earthy it makes the Afro-Celt Sound System sound like Ace of Base! (Joke; I love the Afro-Celt Sound System!)
In many ways the next tune Ostara follows suit, more eastern promise yet slightly more upbeat. Consider George Harrison’s collaborations with Ravi Shanker. As the album continues, experimentation with traditional abound, obscure instruments are thrown into the melting pot; the Victorian circus sound of The Thing and I, the rural west country ditty of Digger’s Songs, in which you can almost smell spilt scrumpy as folk rise from haystacks to jig.
Throughout you’re chopping randomly at influences, this medieval court running theme, blended with an oompah band styled sound on The Whole World Goes Around, will make you want bells on your shins like a drunken Morris dancer at the village fete. Else you’re haunted by the chill of evocative soundscapes, unable to pinpoint an era this falls into. I’ll tell you now, it was aptly released at Samhain last year.
We Wish you Healthmay be bespoke, and some wouldn’t give themselves adjustment time, yet Sgt Pepper and PetSounds were famed for pushing the boundaries of what is acceptable in contemporary pop. This is a fissure to the norm, a testimony of yore, for while there’s a demonstration of newfound passion within ancient realms, it is fundamentally timeless. Though I suspect there’s myth and history behind each track, which extends the album from a set of songs to a research project for the listener.
The finale, for example, has a reference in Wikipedia; John Barleycorn, a personification of the importance of sowing barley and of the alcoholic beverages made from it, beer and whisky. Though in the House of Gods, cider gets a mention. John Barleycorn is represented as suffering indignities, attacks and death that correspond to the various stages of barley cultivation. It goes onto reprint a Robert Burns version from 1782, though stating countless variations exist; Matty and Mike use an earlier version:
There was three men come out o’ the west their fortunes for to try, And these three men made a solemn vow, John Barleycorn must die, They ploughed, they sowed, they harrowed him in, throwed clods upon his head, Til these three men were satisfied John Barleycorn was dead.
I’ve rushed out this review to make you aware of it, and because I’m so utterly astounded by its uniqueness, but fear I’m only teetering on the edge of its fascinating historical references myself. Thus, is the general nature of folk music, to dig out lost fables which once would’ve entertained young and old, and bring them to new audiences, and The Horses of the Gods does this in such a way, the negative confines and stereotypes commonly associated with folk music just melt away.
It’s not just me, is it? Eighteen seconds into the Cult’s She Sells Sanctuary, you know, when it breaks, and you’re like, that’s it, right there. It matters not what youth culture you were into, at the time, or even now, it doesn’t give a hoot about your favoured genres, haircut, colour of anorak, age, gender or race, it just does it, and you, you’re like, as I said, that’s it, right there.
Something similar happens with this Cult Figures album Deritend, out last week; heck, if they haven’t even got a comparable name. Perhaps not so nostalgia-filled, as these are all originals, though the sound harks back to an era or yore, when cookies were in a biscuit barrel rather than your web browser, Tories were governed a demoness made from iron rather than a clown made of teddy bear stuffing, and a wet wipe was when your mum spat into a handkerchief and wiped it over your Space-Dust covered chops.
Mind, as happens when I’m sent files not numbered, it lists them alphabetically rather than in the running order, so the opening track is actually the penultimate Camping in the Rain, but it makes the perfect intro into the world of these London-based masters of retrospection. From its off, it’s, well, off, leaving me to reminisce about those classic post-punk new wave bands of the eighties. At times though, as it’s a mesh of this and reflective of the scooterist mod culture of same period, I’m thinking of the likes of the Jam and Merton Parkas too. Contemplate the musical differences are subtle, though worlds apart at the time, and this sits comfortably somewhere in-between.
To add to their perfection of authenticity, one must note this is the second album from Cult Figures, and is comprised of tracks written in their earlier incarnation between 1977 and 1980, just recorded more recently.
The real opening tune, Chicken Bones, has the same impact, something beguiling and anthemic, setting the way it’s going to go down. Donut Life, which follows, sounds like carefree pop, the Chords, for a comparison. In fact, as it progresses the guitar riffs of next tune, Lights Out, is sounding more pre-gothic, Joy Division, yet with a catchy whistle more akin to The Piranhas. Things get really poignant with Exile, almost dub Visage meets the Clash, and Omen extenuates the seriousness of a running theme.
“Deritend draws a line under the past,” they explain, “all eleven tracks composed and recorded since our 2016 comeback, simultaneously reflecting a maturity gained in 40 years of life experience, whilst still embracing the accessible three Ps of the early days; punk, pop and psychedelia.” The album’s title owes to a historic industrial area outside Birmingham’s centre, “a few miles from where Gary and I grew up.”
The mysterious iconic name was a bus route terminus and has a strong emotional connection to the band, “evoking the nervous excitement of those long rides into town on our way to Barbarellas. But it conveys so much more: Deritend is an album that reflects on the past, speculates on the future, but for the most part is fairly and squarely a comment on the lives we are living now.” They convey this well, for through its retrospection, subject matter, growing up with the dilapidation of a working-class industrial chip, could equally apply to then, or now.
A timeless piece of art within a captivating musical style which embraces the traditions of generation X, just curled up at an edge like an old poster on the congregated iron fence of a closed factory. I mean Silver Blades and White Noise crave you dive back into punk; there’s a definite Clash feel to the latter. As girl’s names for titles generally do, Julie-Anne is archetypical upbeat but themed of desire, and the sound of it is particularly challenging to pin down, there’s Weller there, but a drum roll you’d expect Annabella Lwin to surface from (of Bow Wow Wow if you need to, Google it, youngster!)
Most bizarre and experimental is the brilliantly executed talky sound of Concrete and Glass. Cast your mind back to 86, if poss, remember Jim’s tune, yeah? Driving Away From Home by It’s Immaterial, and you’re not far from the mark.
The aforementioned Camping in the Rain which could’ve been the opening track, is next, and it’s the epithet of all we’ve mentioned. This combination is not juxtaposed cumbersomely like a tribute act, rather the genuine article lost in time, and it, well, in a nutshell, absolutely rocks. The finale, Privilege is plentiful to summarise; Clash-styled punk rock, themed on the expectations of irritated propertyless youth, akin to Jimmy Cliff’s You Can Get It If You Really Want.
But, unless all you want is a zig-a-zig-ah and to spice up your life with commercialised bubble-gum pop, nothing here is oven-ready for criticism, just relish yourself in a bygone era, and rock.
Having a great album reviewed fairly recently on Devizine doesn’t exclude you from being in the spotlight of our Song of the Day posts. And if it ever does, call me out on it. Just ask me who hell I think I am, Vlad the Impaler, or something similar.
Check the review of Buy All That $tuff by Andy, here, or just enjoy today’s video, Night Terrors, exposing where the band practice, under the beds of children, obviously! Which kinda makes we wish I was a kid again, as there were no bands practicing under beds back then. Just once I’d like to have discovered, I dunno, the Bangles perhaps, practicing under my bed!
And that’s my song of the day!! Very good, carry on….
OMG, and coming from someone who refuses to use OMG on principle, rather than its blasphemous connotations, that old dogs, new tricks, I don’t usually conform to trending words or abbreviations. I just don’t get the irony. I mean, kids use the word sick to mean something that’s good. Why can’t they just use wicked like we used to do?
Anyway, it’s my third music review of the day, and while I may be knocking them out, tangents tend to creep in without apologies. But here’s my new favourite discovery while washing the dishes, Salisbury’s Timid Deer, a band I’ve seen listed here and there, supporting our Lost Trades, a track I loved on Screamlite’s New Hero Sounds NHS fundraising compilation, et all, but had yet to delve fully into. And the result is the reason I used OMG despite all I said about it.
All I will say is, if our mission is to seek out new local music, new bands and boldly go where no blog has blogged before, Captain Kirk needs a crew therefore so do I. Mind you, my own daughter suggests I look more like Suru on Discovery, which I beg to differ; the guy walks like the back end of a donkey while I’ve got the more Charlie Chaplin swagger, and I excuse another tangent. Why didn’t someone least hint, oi, Worrow, I reckon you’d like Timid Deer, reckon its right up your street?
Before I’d even put the fairy liquid in the sink, I’m warmed to these mellow electronic and soulful vibes. Akin to Portishead and Morcheeba, without the need to be locked in the nineties trip hop era, Timid Deer is a blessing in the indie-fuse of euphoric keys by Tim, with Tom on double bass, guitarist Matt, drummer Chris, and the mind-blowingly gifted vocals of Naomi, who has the vocal strength of Mayyadda, but with the childlike uniqueness of Bjork.
The name-your-price single Crossed Wires came out end of last month, unbeknown to me. An uplifting piano three-minute masterwork, engulfing your soul and building layers with smooth electronic beats. Evocative as Enya without the orchestrated strings, as expressive as Clannad without the folk roots, and closer to Yazoo via electronica, rather than the aforementioned influences of Portishead and Morcheeba. Ticks all my boxes.
There are two gorgeous previous albums, Mountains stretches back as far as 2012 and Melodies for Nocturnal from 2019, and there you go, see, I’m nocturnal, why didn’t someone nudge me further towards this great band? I dunno, if a jobs worth doing…..
After fondly reviewing the single Falling from ReTone’s homegrown drum n bass label SubRat last May, the Pewsey-based vocalist featured, Cutsmith, who also runs the label, has his debut single under the name out in a manner of days, and I’ll whisper to you now, it’s outstandingly good.
On a musical journey due to be released on SubRat, Osorio returns Cutsmith to his Canarian roots. Principally it’s hip hop, yet with a meshed element of west country acoustic guitar, but chiefly and precisely why it’s so mesmeric, is that Latino tinge. I’m damned if this, aside the missing wailing electric guitar, wouldn’t look out of place on Carlos Santana’s classic 1999 album Supernatural.
Yet that said, the practise of a Latino hip/trip hop blend influencing modern reggae should not be cited via the mainstream, but pioneered in the nineties by artists like Ky Mani, and what Jus Right is putting out now. Osorio would mould nicely with these, rather than reggaeton, which is something I admit still needs to find a place in my affections. Yet Cutsmith is not Wyclef Jean, hence there’s something definitely local when he slips neatly from song to rap, and it’s smoothly accomplished, brewing with confidence.
In theme, but, and this is a big but, not in style, there’s something like Totally Tropical about it too! When, you know, they sang “we’re going to Barbados,” in as much as there’s a homesick notion to Osorio, excepting of his love of the British festival and music scene, but partly wishes to soak up some exotic sunshine and ambience. Can’t say I blame him really!
The very reason I’m tipping this so much, is because the subject works so incredibly well with the sound. As well as it’s fresh and exciting, the prospect of Wiltshire-based hip hop is something we so desperately need more of.
If Cutsmith’s relationship with Devizine got off to a shaky start when playing a White Bear Sunday session, where our writer Andy was critical that while good, it wasn’t his cup of tea, it’s been fully mended now. I spoke personally to Cutsmith at the time, who took it in good stead, and I said it was a shame it wasn’t me at the Bear at that weekend. Opinion is all we can cast, and while trying to be fair I do ask for honesty, it’s not worth the effort if flattery is all the reader gets. Oh, woe is the subjective nature of casting a review, as for the areas Andy was critical of, are the precise same reasons why I’ve got lots of time for Cutsmith’s music.
A case of differing tastes and perhaps a generational thing. But whatever, this debut single proves it today; it’s a grand job, I love it, and I’d like to see Cutsmith working on an EP or album as the potential is overwhelming.
My teenage daughter’s banter knows no limits. Upon noting I was wearing a logoed T-shirt the Swindon sound system “Mid Life Krisis” kindly sent, she responded thus; “you can’t wear that, you’re too old for a midlife crisis!” There comes a time in life when you have to cut your losses, realise there’s no longer a point in assessing prospects and goals, and getting upset you failed to reach them. The anguish of youth is but a fleeting memory, and you’re numb to life, rather than wallowing in self-pity you’re neither here nor there on achievements and failures, simply plodding on worrying more about earwax or teeth issues.
It’s the reason I absorb indie-rock with a squint, but then I’ve never felt like barging through pedestrians like Richard Ashcroft, ignorant to the fact others have issues far outreaching my own. I cannot abide themes of despair and downright dark subject matter without reasonable motive; they do nothing to cheer me up. Music from my childhood spat rebellious notions that the world was shit, then electronica came and we went off into the fields and warehouses waving our arms in the air, throwing our troubles away. There was never despair on the rave scene, no woeful self-analysis and no political tirade, until they came for us.
Yet to expect a thoroughly negative review from me is rare, and for the debut album of Mike Clerk, The Space Between my Ears, I have to confess it does what it says on the tin, and does it very well. There’s thoughtful prose, if rather negatively, but it doesn’t trudge on as my niggling criticisms over much indie; at times there’s uplifting riffs, but the theme is unfortunately despondent. Has Mike never heard of the “every cloud” idiom?
Many, say younger people, will love this with bells on, though, and for that much this is a damn fine album, if not my cup of tea. See, I like it when our George Wilding does melancholy in a pub, because he does it so well. Heck, the guy even bought me to reconsidering the worth of Radiohead! And similarly, there’s a tinge of euphoria in the way this former frontman of The Lost Generation, plays this out, musically. Lyrically I was left waiting for the silver lining, which simply doesn’t arrive, and this does nothing for maintaining my interest.
The proficiency and skill on show here is top dollar, Clerk has a blinding pedigree of experience in the music industry; the band played exclusive gigs for the NME, Alan McGee’s Death Disco club nights, and Clerk had a close call with guitar duties for Primal Scream. A GoFundMe campaign put the ball in motion for his solo career, The Space Between My Ears was the result, released yesterday (26th March.)
Written and recorded almost-entirely by Clerk at his own home studio, additional drum sessions took place at the local YMCA in Kirkcaldy. With contributions from sound-engineer Alan Ramsey, the album was mastered by Pete Maher of whom has the likes of The Rolling Stones, U2, and Paul Weller on his résumé. This stamp of professionalism shows through in the rewarding sound.
I’m supposing lockdown has bought a natural movement towards misery. Clerk’s words inspired by isolation and the endless roll of apocalyptic news, flow aptly into these themes of redemption, mental health and addiction. If here’s alt-rock’s mainstay, the desolation of unhappiness, I’m going to criticise it. Yes, The Space Between My Ears delivers an acute and perfected mind-set of the human psyche, but like watching a perpetual boxset of EastEnders, it does nothing to turn that frown upside down. And for me, there’s a crucial element to life sorely missing here. Laughter is the best medicine, even if it’s insane giggling like The Joker.
Yet I confess, I like the blues, I like how every morning Muddy Waters wakes up his woman is gone and his dog has died, I crave his misfortune. There’s something beguiling in that authentic twangy guitar sound, which the electric drone of cantankerous indie or alt.rock doesn’t appeal in quite the same manner. Not for me at any rate, but if it does for you, I would ignore the bleating rant of a grouch who’s watching fifty rush over a mountain swiftly towards him, as this album divinely flows and clearly has perfected the art of it!
Song of the Day hoggers! Yes, they’ve had a song featured on our song of the day feature once before, and yes, they’ve had so many thumbs up on Devizine in general, thumbs are starting to ache, but The Lost Trades have a new song, getting another thumbs up, a sneak from the forthcoming album, and it simply, without question, has to be our song of the day… I’m the editor, what I sez goes, sue me if I’m wrong, I double dare you!
And that’s my song of the day!! Very good, carry on….