Song of the Day 31: Ilingsworth

My classic excuses don’t wash in an online era; the dog ate my Song of the Day blogpost, I’m certain I put it in my bag when I left school, bull like that.

I know, right. It’s been a while since my last Song of the Day, a post I promised on a daily basis but failed, miserably. I got nothing, no excuse that’ll wash. But the moment you hear this tune from John Smith and Jolyon Dixon, the duo known as Illingworth, you’ll understand the need to bring it back.

They’re the Kenco of local music, instantly, each new song comes across as a rock classic, sounding as if it’s always been swimming around in your head.

But Man Made of Glass is emotionally topical and contemporary. Just, go on, have a listen, and I might be persuaded to realign my promise to bring you a song of the day each day, else I’ll have to change the title to song of the month, which is a bit lack lusture of me.

Pulling my finger out, if you’re looking for someone to blame; Netflix. There, it’s out there. Why has every fair idea got to be flipping twelve season series of 200 episodes each, consisting of a drawn-out narrative a better writer could’ve concluded in a hour and half movie? For God’s sake, bring back live music!

Anyway, I’m waffling, feel free to stop me; that’s my song of the day. Very good, carry on….


The Ruzz Guitar Sessions; Going to the City

Driving home through Devizes last week, itโ€™s only 10pm but I contemplate, it could be three in the morning itโ€™s deathly silent. Our once lively little market town, like everywhere else, has lost a sparkle due to the pandemic; hope it can rekindle is all that is left. And now, the Facebook memories fires a bittersweet reminder at me, for even if you paint only a rose-tinted view of your life on the social media giant, a memory still pops up which is kind of sad on reflection.

Musically, blues is apt.

Thought was fairly stable that evening proved wrong. That memory was a wobbly video of the absolutely blinding night when Ruzz Guitar’s Blues Revue blew, or blue, perhaps, the roof off the Sports Club, aided by a supergroup of Innes Sibun, Jon Amor and Pete Gage. It was in a word, treasured. The sadness being, at the time it was only speculation it could be the final night of live music, and I didnโ€™t want or care to digest that notion at the time, but it was; way to go out with style, though!

Now weโ€™ve come around to the anniversary of that moment, with a prospective reopening light at the end of tunnel, primarily being only a possibility. Yet the world turns on its axis, and music has, like so many other arts, been forced to change methods of distribution. The live stream, the Zoom recording session, and, for an extremely short summer stint, an afternoon solo session in a socially distanced pub when we were disillusioned into believing the virus was on its way out, have become the norm.

As many others, Ruzz Guitar has adapted, and a Facebook group called the RG Sessions aims to launch a new style of assemblies, producing the exceptionally high-quality electric blues weโ€™ve come to expect from the Blues Revue. You can buy them a virtual pint, and you can grab this gorgeous name-your-price single, which features all the musicians as on that fateful night. And in a way, itโ€™s so good it near makes up for the depressing notion of this live music loss.

With the expert gritty vocals of keyboardist Pete Gage, โ€œIf You’re Going To The City,โ€ also features our homegrown guitarists Innes Sibun and Jon Amor, with Ruzzโ€™s proficient Blues Revue members, drummer Mike Hoddinott, bassist Richie Blake and Michael Gavaghan on sax. And with that said, I donโ€™t feel the need to review it, take it as red, theyโ€™re the ingredients for perfection.

After the previous spellbinding single with Peter, Ainโ€™t Nobodyโ€™s Business, we live in hope this faultless coupling will be retained for more of the same. But what surprises these Sessions will magically pull from their sleeves next will keep us guessing; Iโ€™d advise you follow the page for updates.


Harmony Asia Can Do This

Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture aโ€ฆ

How it Feels for a Bluebeard!

The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a bookโ€ฆ

Extended Lineup for CrownFest

It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentionedโ€ฆ

The Lost Trades Live Stream in Advance of Album Launch

April 1st is All Fools Day, the day after youโ€™d be a fool to miss this. Much I hark on about local folk harmony trio, The Lost Trades, even before they were united as such, but only for good reason. It was always a win-win when the three singer-songwriters officially formed, Phil Cooper, Jamie R Hawkins and Tamsin Quin all excelled on the local circuit as solo artists and regularly appeared together for gigs.

Together this force to be reckoned with has formed a definite style akin to a corporate identity, and uniformed they move towards a debut album with all new, original songs. Based on their EP, which we fondly reviewed, the album launch is rightfully highly anticipated.

ย The albumโ€™s name has been revealed by the trio, “The Bird, The Book & The Barrel,” and will be released on 4th June. Though the band want to make the most of the Bandcamp Friday before that, where the platform-based music site kindly site waivers their fees, giving the artists full royalties. Therefore, The Lost Trades will be taking pre-orders on 2nd April and 7th May. There will be a live stream, something the Trades have always been on the top of their game with, on 2nd April, to celebrate.

The trio promise the full sound system, concert-style at live stream, scheduled at 7.30pm, will present everything from the album, including brand new, never before heard songs. The live stream will be broadcast from their Bandcamp page, and is ticketed at a very reasonable ยฃ2.50, with Bandcamp also waiving their fees on all live stream tickets sold until the end of March.

Best of luck, Tammy, Jamie and Phil; sounds like a virtual cake kind of occasion to me, but then, any occasion sounds like a cake one to me! Get your tickets HERE. Follow the event on Facebook.


Trending…..

Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoidโ€ฆ

Only The Brave Burn The Midnight Oil

Hurrah, at last! Only The Brave is the debut song from Burn The Midnight Oilโ€™s revised lineup; something Iโ€™ve been anticipating since watching them rehearseโ€ฆ

Haunted House Party; Chatting with Ill Literate of The Scribes

I caught up with Ill Literate, one third of Bristol hip hop trio, The Scribes, to chat about their new single, how they, and in general, writing a rap is composed, a bit of their backstory, on diversity and where theyโ€™re headingโ€ฆโ€ฆ.

After the unnerving atmosphere of their mind-blowing previous single, Stir Crazy, Bristol hip hop ground-breakers The Scribes release Haunted House Party today, featuring Mr Teatime and DJ Steadi, which will act as a double-A-side with Stir Crazy. Somewhat slighter in neurotic ambience than its flipside, still it maintains a lingering disturbed undertone, an eerie mood weaved by the intensely hypnotic lyrical style which weโ€™ve come to expect from the Scribes.

Despite the haunting opening piano solo, thereโ€™s nothing tongue-in-cheek with this haunted house, as might be wrongly perceived by clichรฉ pop songs with similar themed titles. The Scribes arenโ€™t doing the Monster Mash, donโ€™t even go into this expecting something similar!

But you know me, I showed my age with the trio, jokingly citing a lampooning track, The Haunted House of Rock from the debut EP of eighties hip hop trio Whodini. Why one third of the trio, Shaun Amos, aka Ill Literate agreed to chat is beyond me, but he did, and hereโ€™s the awkward questions I threw at him, and his answers!

Hopeful heโ€™d humour me, I went wrangling on a technicality with the groupโ€™s name. I reckoned it should be โ€œScribes,โ€ and not โ€œTHE Scribes,โ€ as the first denotes a copyist, i.e., anyone who writes, prior to the printing press and can be traced back to ancient Egypt, whereas the latter usually relates to a particular group from biblical times who were largely critical of Jesus, probably contributed to his crucifixion. โ€œWhatโ€™s in a name,โ€ I asked!

โ€œWow man, I’ve got to say I don’t think we’ve ever thought about it to that extent!โ€ Shaun acknowledged, โ€œwhen we first came up with the name, we did have a list of possibilities, including some genuinely terrible ideas like “Guttersnipes”. When we settled on “The Scribes” we did quite like the vaguely iconoclastic undertones going with the main thrust of writing. We already knew we wanted to write music by our own rules rather than by going with trends or scenes.โ€

Iโ€™m glad he didnโ€™t bite at my absurd logic, as likely it matters not one iota, rather there was reason. Being scribes are writers, it leads us into my intrigue at how they, and rappers in general go about writing and composing a track, if they have a set formula?

โ€œIt really does vary hugely, we work with a lot of producers and the process of getting a track completed is different every time,โ€ he replied. โ€œWhen I’ve composed the music, myself I tend to bring it to the rest of the group with an idea of what I want the song to be about, maybe even with a hook already written and recorded. Sometimes we’ve got a topic we want to write about and we’ll seek out music that will fit with it. Quite often producers will make a selection of pieces for us to listen to and mess around with and we’ll get a vibe off a particular track, sometimes by jamming it out in the studio, sometimes on the road between gigs listening to bits on the car stereo.โ€

I see the writing process for a solo, say acoustic musician, usually being a lone affair. Whereas scripting an episode of the Simpsons, for instance, is a group affair, the best writers gather around a table and knock the jokes and narrative about, which is more how Iโ€™d envision they work a song, because thereโ€™s three of them and the subject has to harmonise, as they bounce lyrics off each other. Unless, one contributes an idea and the others adlib their parts?

โ€œWe do bounce our lyrics off each other a lot,โ€ he confirmed, โ€œchecking they make sense mostly!

Shaun Amos.

โ€œWe do bounce our lyrics off each other a lot,โ€ he confirmed, โ€œchecking they make sense mostly! Whichever one of the aforementioned routes we’ve taken to write the track, it’ll almost always end up with us all agreeing a hook together, that then tends to set the topic of the track in stone. We then go off and write our verses separately before coming back together to record. So, while the hooks/theming is generally a group effort, the verses are much more of a lone affair!โ€

But what of adlibbing rappers freestyling, Iโ€™m guessing theyโ€™ve set templates to fuse with a running theme, but usually this consists of a simple premise; boastfully bigging themselves, or criticising the opposing rapper. Yet tracks from the Scribes meld like crochet, tackling tricky subject matter, they weave in and out of notions, rather than repeating words or thoughts. How does this process start, with a subject, or with a set of words which flow?

โ€œIt pretty much always starts with a subject,โ€ Shaun elucidated. โ€œMaybe not even something as specific as a subject, sometimes it might just be a feeling or an emotion or a general statement. Either way it’s enough for us to aim our verses at, and I think doing the actual verses as individuals does mean we end up with maybe a couple of different takes on each topic, or at least a couple of different ways of expressing it. Having said that, in hip hop there’s always room for a bit of bragging wordplay and head nodding crowd pleasing!โ€

That said, I guarantee The Scribes could freestyle the ass off most!

โ€œThat’s not really for me to say!โ€ he laughed. โ€œI think our freestyle game is pretty tight, we crack it out at most performances!โ€

Does Ill Literate find a trio is, as De La Soul say, the magic number, when it comes to composing a rap? โ€œWhere,โ€ I asked, โ€œand when did it all start? I mean, were you all separate artists who assembled, or have you always been a trio?โ€

โ€œI don’t know if it’s the number of people involved that’s important, more that the people involved are on the same wavelength and get along well. Both for the writing process and for the amount of time you end up spending together on the road! Me and Jonny have been best mates since we were five, and have basically always rapped together, we met Lacey during the early days of gigging and he got onboard straight away!โ€

While on the backstory, I asked Shaun for his first musical memory, particularly his introduction to hip hop, feeling it was time to remind him when I cited buying Whodiniโ€™s โ€œHaunted House of Rock,โ€ in, shit, 1983, though this was not my first hip hop record!

Ah, there it is! I remember it well; and owe it all to Mr Magic’s wand!

โ€œWe do have some pretty old school influences,โ€ he chuckled, โ€œthough Whodini may be a bit old school even for us! I think my first introduction to conscious hip hop, as opposed to mainstream hip hop which was very gangster back in the day, was through friends at school. We used to listen to records at each otherโ€™s houses, a lot of the early Rawkus Records compilations like Lyricist’s Lounge and Soundbombing. Bristol has a pretty big scene for hip hop so there were also a few local records shops with a good selection of underground releases that we could dig through, though a lot of the time we’d just look for instrumentals we could rap to! I think that late 90’s boom bap hip hop sound is pretty much the backbone of all The Scribes’ tracks!โ€

I confess; had to Google the subgenre boom bap, certain it wasnโ€™t an explosive breast, as I originally fathomed! I discovered while unfamiliar with the term, many of my personal hip hop likes relate, pioneers like Marley Marl, and acts such as LL Cool J and A Tribe Called Quest. But Iโ€™m going to throw Shaun off subject, ask him if he liked English Lit at school, if teachers accepted anything he mightโ€™ve have wrote as credible by their formal standards, and if he sees his writing as poetry.

โ€œI never really liked it as a subject, but I have always read a lot, I love books! It’s probably the main thing I do outside of music. That and watching pro-wrestling. It’s a heady mix! I don’t think I ever showed any verses to teachers in school, not sure what the reaction would have been to be honest. I’ve never really found it important to label anything we do but I would personally say it is a form of poetry, just a very rhythmic and flexible one that’s written to be performed rather than read.โ€

The Scribes

Iโ€™ve likened, in previous reviews, The Scribeโ€™s sound, the way they intertwine lyrics and alter voices with accents and intonations to create a certain mood, be it fearful or humorous, to the Fu-Schnickens, but the way its composed, like the magic of Tribe Called Quest, as I reckon, they mastered this best. โ€œThat a fair evaluation?!โ€

โ€œWe will always happily take ANY comparison to Fu-Schnickens or Tribe!โ€

Shaun Amos.

โ€œWe will always happily take ANY comparison to Fu-Schnickens or Tribe!โ€ Ill Literate contently responded, โ€œthat’s good company to be in!โ€

 Yet nothing Iโ€™ve heard from their album, Quill Equipped Villainy, or the Totem Trilogy and singles, unless Iโ€™m mistaken, use recognisable samples. Itโ€™s an easy gimmick to include beats or a riff which people will recognise, whereas everything they seem to do is original. I asked him if I was right, and if so, if thatโ€™s something important to them.

โ€œI guess this is something that varies from producer to producer. I personally don’t use any samples in my production, I just play/compose everything myself in the studio on guitar/bass/keys. I know a lot of producers who pride themselves on using only incredibly unknown and niche samples, spending a huge amount of time digging through obscure vinyl to find tiny little elements. I also know a lot who don’t really mind how “known” a sample is, as long as they switch it up so much it ends up as something unrecognisable from the original. I guess including a sample that is well known, so that the song becomes essentially a hip hop version of the original track, almost like a cover, is an easy way to get a bit of traction. Same as if you sample a movie theme song and do a song about the movie. But having said that I’ve heard some great tracks that do just that, so who knows?!โ€

On multiplicity, the album sees a number of collaborations; Akil from Jurassic 5, and Leon Rhymes. How far would they take diversity; โ€œwould it be acceptable to you for a producer to create a drum n bass, or house track from your lyrics? What about a mainstream artist asking you to fuse a rap into some cheesy pop? Because itโ€™s a tricky balance isnโ€™t it, not being seen as selling out to the ethos and genre, but creating publicity and notice?โ€

โ€œWe’re always up for anything,โ€ Shaun replied, โ€œI love hearing remixes people do of our tracks, be it Drum and Bass, Funky House or anything else. Even if someone did want to take our work and turn it into cheesy pop, I think I’d be cool with that. More just so I can hear what they do with it, rather than for any publicity or fame! I’m always interested in seeing what other musicians do and how they work and the different techniques used by different genres.โ€

Haunted House Party is released today, and yeah, it rocks, but whatโ€™s next for the Scribes?      

โ€œWell, hopefully we’ll be back gigging before too long, at least in time for the festival season this summer! Til then we’re working on keeping the releases and videos coming! Hoping to do a few more special one-offs on The Get Down Records, like transparent 7″ vinyl for “Stir Crazy”/”Haunted House Party.โ€ People can keep up to date by signing up to our mailing list at QuillEquipped.com and on all the usual social media bits, Facebook and Instagram. It also helps a lot if you follow us on Spotify so we can make sure you know when we drop new tracks!โ€


Trending…

Dulcet Tones Rock Back to Bassett!

You’re a teenage Tom Cruise, at least you wish you were, but stay with me on this! Your parents are away, you’re home alone withโ€ฆ

Eighties Mod Revival Lost Gem: The Direct Hits

If I waffle positively here, and yes, I do waffle, about retrospection and a trend in sounds trying to be authentically from a time of yore, this one doesnโ€™t need to try. The Broadway Recording Sessions thrusts you rearward into the eightyโ€™s mod revival scene, whether you want to go there or not.

Battersea trio, The Direct Hits may only be remembered by the connoisseur of mod, having one-shot at charting in โ€™82, when TV presenter Dan Treacy released their song, Modesty Blaise on his Whamm! imprint. The music press hailed this as not just another Jam, crash-bang-wallop mod revivalist tune, and their explosive live shows avowed them pioneers of a โ€œBattersea Beat.โ€

Whamm were financially struggling to fund an album, so the band pooled their limited resources and booked the cheapest studio time they could find, Tootingโ€™s Broadway Sounds. By the afternoon they had knocked out nine songs, the other three on this album were recorded a fortnight later. It would be two years later when they re-recorded some of these songs for their debut album โ€œBlow Up.โ€

Now remastered, these lost recordings have surfaced finally, and, with warts and all, show the uncooked spirit of a hopeful mod garage band. Iโ€™ve had this playing for a few weeks since itโ€™s late February release, and it heralds the hallmarks of a post-punk return to the basics, which sixties groups like The Kinks and The Small Faces mastered. To expect this yardstick is pushing it, but through all its rawness thereโ€™s some beguilingly adroit songs to make you wonder why they wasnโ€™t as their namesake suggests, direct hits!

Perhaps it was that bit too retrospective for the progressive eighties. Because, elements capture neo-psychedelia, rather than soulful eighties mod assigned via The Spencer Davis Group and into bands like The Merton Parkas. That era where the beatnik style was teetering on influencing the pop sound, but Merseybeat was still riding the high ground. Thereโ€™s a delicate balance here, avoiding things getting too clichรฉ Mamas & Papas, these upbeat three-minute-heroes never fails to kick ass.

Consistently high-spirted and energetic garage sound, yet psychedelically enhanced; think if Syd Barrettโ€™s days spent at Pink Floyd wouldโ€™ve been spent with The Who instead, and you get the idea. Thereโ€™s even a bike song, just like on Relics. Lyrically thereโ€™s unassuming stories with clear narratives and characters to challenge the Beatles.

A polished rerecording of a track from the album.

Overall, though, youโ€™ve got twelve mind-blowing rarities which perfectly capture a raw moment of youthful optimism for an inspiring band, in an era where everyone felt encouraged to pick up an instrument and give it bash; and theyโ€™re good, really good. In a funny kind of way, I see similarities to the now; the forgone passing of DJ culture in a rave new world and tasteless manufactured pop, to an imminent inclination of online DIY indie, I see hopefuls taking to a guitar and giving it a go. Perhaps then, thereโ€™s no time like the present for this to resurface.

Buy The Broadway Recording Sessions Here


Trending……

Whatever Happened to Pancake Races in Devizes?

It seems Shrove Tuesday celebrations in Devizes have fallen as flat as aโ€ฆ.well, you get the gagโ€ฆ Traditionally organised by Age Concern Wiltshire, and oftenโ€ฆ

Rowdefest 26 Lineup Reveal!

Drizzly Sundayโ€ฆagain. Iโ€™ve just finished designing the poster, so allow me to reveal the lineup for Rowdefest this coming May, might cheer us up aโ€ฆ

Hoping for a Summer of Local Music Festivals

Presented a punter-based cautionary piece on the hopeful move forward for live music this year, and how chancy it all is at this stage. If the playground remains uneven, I never intended the article to be pessimistic, though it mayโ€™ve been perceived that way. I just advised applying caution may be necessary prior to a compulsory detonation of over-excitement.

The other side of the coin of this vicious circle is that, without ticket sales there will be no show. While many organisers have cancelled their regular events, some keep their fingers and toes crossed, others are trying to work through it, and are dowsing a silver lining to this cloud with a summer of festivals planned.

Letโ€™s hope and pray it pays off. Festival websites report that it is, and tickets are selling fast, which agreed, could be a sales pitch. So, you’re left to risk the call, and snap up tickets, especially for the most popular ones. I have faith most festivals will refund you if it either goes Pete Tong, or Pete Tong is booked to DJ, or else ask to retain your ticket for another year, because they organise festivals, and festivals are all about openness and sharing. Booking agents on the other hand, might be another story.

Personally, I’ve done gone got the festival t-shirt many moons ago, and the jester’s hat too, come to think about it; I can bide my time from power-napping in a spinning canvas pyramid, paying over the odds for a baggie of basil, and sliding headlong into a ditch of piss. For many though, particularly younger generations, festivals are essential, and vital, for their wonderful feeling of togetherness. For the music industry it’s crucial to maintain this notion; ignore my aged rant, there is no ditch of piss, not really, not in this clean-cut era!

Letโ€™s run through the locally based choicest ones, which sound too good to miss… but remember to check the individual planned conditions of entry, some will ask you to provide evidence of licensed vaccination or negative PCR test within the previous 48 hour period.

June


11th โ€“ 13th: Kite Festival

Kirtlington Park, Oxfordshire

Born from a Kickstarter campaign in January 2020, but cancelled for the obvious reasons, itโ€™s this festivalโ€™s maiden voyage this year. KITE aims to combine incredible music and breakthrough ideas in a unique programme of live performances and interactive discussions. โ€œWe wanted to bring together contemporary and legendary performers, thinkers, writers and public figures from the world of music, politics, business, technology and the arts and give you the opportunity to engage with the people who are influencing the way we live.โ€

Cultural icon Grace Jones, multi-Grammy-Award winning jazz singer Gregory Porter and gospel legend Mavis Staples were set to lead the music programme for the original date last year, we wait in anticipation to hear the line-up now, as Kite announce theyโ€™re working on their 2021 programme. Sign up for their newsletter for updates.


18th-20th: Bigfoot Festival

Ragely Hall, Warwickshire

Another first outing cancelled last year sees its debut this June. Just the map is enticing enough, with a boating lake and woodland and all that stuff. Local breweries and bands, who share the stages with a great line up, including Primal Scream, Fat White Family, Hot Chip Megamix, Maribou State (DJ) Baxter Dury and Dinosaur Pile-Up. Thereโ€™s also an intersting wellbeing programme with hip hop yoga, boxercise, Let’s Talk About Sex Meditation & Mindfulness, and biscuits & burpees; Iโ€™ll just have the biscuits, thank you! Find Bigfoot here.


July


2nd โ€“ 4th: Minety Music Festival

Hornbury Hill, Malmesbury

Fourth outing for this popular do. A community non-profit triple day extravaganza, run entirely by volunteers which raised funds for the Wiltshire Air Ambulance, and local schools and charities last year. Guaranteed excellent music, a great, wide range of food and a well-stocked house Bar, Gin & Prosecco Bar and Cocktail Tiki Bar! There will also be a range of FREE activities in the Kidzone, including rock climbing wall, rock climbing digi-wall, an inflatable slide and assault course, bouncy castles, circus skills workshops and kids craft workshops, plus many more activities.

Line-up includes, Dr & The Medics, Space, Jesus Jones, Dreadzone, Crikey Minogue & Six Packs, a Ministry of Samba workshop, and a great local roster of Devizine favourites The Tribe, Talk In Code, The Dirty Smooth, A’La-Ska, Navajo Dogs, Sloe Train and Plucking Different. This is going to be a brilliant one, make sure thereโ€™s room in your backpack to sneak me in! Info Here.

Should get you in the mood…..

8th-10th: 2000trees Festival

Withington, Cheltenham

A largely rock and indie festival, 2000trees has a good reputation and won awards. This year sees Jimmy Eat World headline, with Thrice, Creeper, The Amazons, Dinosaur Pile-Up, The Menzingers, The Get Up Kids and many more to make me feel old!  Tickets & info Here.

9th-11th: โ€“ Cornbury Festival

Great Tew, Oxfordshire

Still in the planning stages, this ever-growing festival in the most beautiful Oxfordshire Cotswold location think itโ€™s enough just to announce on headline act, yeah, but it is Bryan Adams; show offs! Should be good though. Info here.


22nd-25th Womad (?)

Charlton Park, Malmesbury

Still hopeful, Womad are holding off announcing acts, but you know, I know, we all know itโ€™ll be the crรจme de la crรจme of world music on our doorstep, if all goes well, theyโ€™ve secured the date and tickets are here.


31st Mfor 2021

Lydiard Park, Swindon

A family orientated, affordable, one day pop-tastic festival I’ve only heard good things about, could be just the thing to introduce kids to festivals. And with Craig David, Rudimental, Ella Henderson, Phats & Small, Mark Hill (Original Artful Dodger), Lindy Layton on the line-up, itโ€™s easy to see how this party is going to go down. I believe local acts will also be on agenda, certain our friends Talk in Code feature. Thereโ€™s even an over 18 Friday night special additional event, with Five, S Club, Liberty X, Baby and Rozalla; everybody is freeeee, to feeeel gooood, apparently. Info & Tickets.


August


5th-8th: Wickham Festival

Fareham, Hampshire

New one on me this, but The Wickham Festival is an annual four-dayer of music and arts. Boasting three stages, and rated as one of the safest, most relaxed and family-friendly festivals in the UK, Wickham was voted ‘Best UK Festival, cap. under 15000’ at the Live UK Music Business Awards in October 2015; so, they know their stuff; I mean, theyโ€™ve got Van the man, and The Waterboys. Note also, Devizine favs, Beans on Toast, Gaz Brookfield, Tankus the Henge along with Nick Parker on the agenda; sweet! Tickets & Info Here.


6th: Love Summer Festival Devon: SOLD OUT.


7th- 8th: The Bath Festival Finale Weekend

And what a finale it is, Saturday; McFly, Scouting For Girls, Orla Gartland, Lauren Hibberd, George Pelham, Josh Gray, Novacub, Dessie Magee and Luna Lake. Sunday; UB40 featuring Ali Campbell & Astro, Billy Ocean, Fun Lovin’ Criminals, Seth Lakeman, Bloco B, Hannah Grace, Casey Lowry, Port Erin Life, and Life In Mono, with more to be announced… Tickets HERE.


21st: Mantonfest

Manton, Marlborough

Any closer than this and itโ€™ll be in your back garden! But thatโ€™s not the sole reason to grab a ticket for MantonFest! Just thirty notes for adults, a tenner for teenagers, and a fiver for kids, but thatโ€™s not the only other reason. Reports on this family, broad ranging charity fundraising annual do has never been negative, and weโ€™re glad to hear itโ€™s back for 2021. Number one Blondie tribute Dirty Harry headline, along with Dr. Feelgood, Ex-Men (five members of original 60’s bands), Barrelhouse, Jo Martin with his band, Devizine favs Richard Davies and The Dissidents, Josie and the Outlaw and homegrown Skeddadle. We previewed it last year before shit hit the fan; tickets bought in 2020 are valid for 2021. Mantonfest say, โ€œwe may have to introduce some anti-covid restrictions. These will be announced nearer the time and will be in line with the latest developments and best practice;โ€ letโ€™s hope this goes off this time. Tickets & Info here.


21st: Live at Lydiard

Lydiard Park, Swindon

Anneโ€Marie, Sean Kingston, Roman Kemp [DJ set] Artful Dodger, Chaney, Fabian Darcy on the line-up over four stages for this day festival at Lydiard, with a dance tent, boutique cocktail bar and food court. Info & Tickets here.


21st: Bath Reggae Festival

Now pushed back to August bank holiday, this is the maiden voyage for the Bath Reggae Festival, and we bless them with the best of luck. With a line-up this supreme though, Iโ€™d imagine itโ€™ll sell itself. Legends Maxi Priest, Aswad, Big Mountain, Dawn Penn, and The Slits solo extraordinaire Hollie Cook, Laid Back and lovers rocker Wayne Wonder, this is a must for reggae fans. Tickets & info here.


September


4th-5th: Concert at the Kings

All Cannings, Devizes

For locals little more can be said about how awesome this ground-breaking festival raising staggering funds for cancer research is. Since 2012 it has bought international headline acts to the sleepy village outside Devizes; legendary fables and the fondest memories have been had there. No difference this time around, save for some social distancing. Billy Ocean, 10CC, Steve Harley & Cockney Rebel, Sweet, Strawbs, Lindisfarne and Devizine favs Talk in Code, with more to be announced; twist your arm anymore, sir? No; no need to! Tickets & Info here.


9th-12th: Swindon Shuffle

Venues across Swindon

A later date for this annual extravaganza of local live music, spread across Swindonโ€™s premiere venues and hugely supportive of original homegrown talent, this is weekend to head for the railway town. Since 2007 the Shuffle raises funds for MIND, and is largely free to attend. Ah, thereโ€™s plenty time to arrange a line-up, which is underway, but you can guarantee a truckload of our local favourites will be there, somewhere! Info.


10th-12th: Vintage Nostalgia Festival

Stockton Park, Near Warminster

The mature place to glamp this summer if you want to get retro; classic cars is the concentrate, but thereโ€™s no shortage of great bands from rockabilly, doo-wop, blues to mod skiffle, boogie woogie jazz and beyond. Sarah Mai Rhythm & Blues Band, “Great Scott,” Shana Mai and the Mayhems, The Bandits, Junco Shakers,The Flaming Feathers, The Harlem Rhythm Cats, Little Dave & The Sunshine Sessions, The Rough Cut Rebels, Riley K, The Ukey D’ukes and loads more. Info & Tickets Here.


You know, this one could be for me, rather than trying to look youthful clutching onto a marquee pole for dear life while a hoard of sugared-up teeny-boppers check Instagram amidst a soundtrack of dubstep! But look, I reckon thereโ€™s something for everyone here, but if I did miss yours, let me know, for a squashy cup of cider at the festie bar, I must just add your do here too!


โ€‹

Trending….

Agricultural Appropriation with Monkey Bizzle

There’s no sophomore slump for Monkey Bizzle; prolific in their art, these rural chav-choppers return with a second album, Agricultural Appropriation, only five years andโ€ฆ

Doctor Faustus Sells His Soulโ€ฆ. in Devizes!

Featured Image:@jenimeadephotography Just another rainy Saturday afternoon in Devizes, whereby I watched a profound fellow dramatically sacrifice himself to the devil, then popped to Morrisonsโ€ฆ

Chandra Finds Heaven on Earth

Usually I just write what I think, but if I had a point-scoring system this new single from Bristol-based indie-pop outfit Chandra would tick everyโ€ฆ

Wharf Theatre Has Some Positive News

The struggle is real; the theatre world in general is facing many issues and they lit their exteriors and foyers up in a red alert tone. Devizes beloved The Wharf Theatre joined forces again with fellow venues and took part in the Light It in Red campaign. They say, โ€œthe message this year is one of hope and support and we are using the universal symbol of the heart with the message; Weโ€™re still beating.โ€

Anyone passing The Wharf next week will note a series of posters created specially to celebrate this campaign, but they also have some exciting news. Subject to government guidelines eight shows are in pre-production and the scheduled dates are:

JULY: Collected Grimm Tales

SEPTEMBER: Jesus Christ Superstar

OCTOBER: The Navy Lark; The Tommy Cooper Story; Glorious (subject to rights)

NOVEMBER: The Paul Simon Story

DECEMBER: Dick Whittington

JANUARY: My Mother Said I Never Should

Tickets can be purchased by ringing 03336 663 366; from the website or, when open, at the Devizes Community Hub and Library on Sheep Street, Monday to Friday, 9am-5pm. Whilst restrictions remain in place please continue to refer to their website for the latest details or and donโ€™t follow on Instagram and Twitter.

In the meantime, thereโ€™s still a few places left for the on-line masterclass with West End star Luke Bayer on Thursday 25th March 7pm โ€“ 8pm. ย Would you like to be able to spend an hour with the Star of Jamie the Musical, learn a routine from the show and take part in a Q&A afterwards?ย  Tickets can be purchased from TicketSource โ€“ see website for further details.


Devizes Issues Wants You!

Dubiously biased and ruled with an iron fist, the mighty admin of the once popular Devizes Facebook group, Devizes Issues, is using the iconic Greatโ€ฆ

Who Broke into Joyrobberโ€™s Car?!

Poor Joyrobber, got his car broken into, on his birthday too, but avenged them in song! Requiem for my Car Window is this mysterious characterโ€™sโ€ฆ

Lady Nade; Sober!

Dry January, anyone? Well, Lady Nade just plunged into an outdoor 4ยฐC eucalyptus sauna for a social media reel. But whilst I’d require a stiffโ€ฆ

Ha! Let’s Laugh at Hunt Supporters!

Christmas has come early for foxes and normal humans with any slither of compassion remaining, as the government announced the righteous move to ban trailโ€ฆ

Talk in Code, Atari Pilot and Sarah C Ryan Taking to Level III

Yeah, I know, right, there was an element of pessimism in my last piece regarding over-excitement at the prospect of the return of live music, but I wasnโ€™t being cynical, just cautious. In the coming months I want to highlight hopeful upcoming gigs and festivals, the ones which tickle my fancy, but canโ€™t promise this for all, so keep checking our event calendar for updates; Iโ€™m working on it, slowly!

One thing which will always be a general issue, which I didnโ€™t cover, is that capacity will be lower, ergo tickets scarcer. Prime example; what should be a fantastic night for indie-fans, when our progressive, with a slice of retrospection, indie-pop favourites Talk in Code do Swindonโ€™s Level III on June 5th, bringing with them another favourite here on Devizine, Atari Pilot, and solo Americana performer, Sarah C Ryan, who I’ve yet to hear live, but hopefully will. Tickets are limited to eighty, so, if you want to get in on these things, you have to be the early bird.

Sarah C Ryan

You may take heed of my warning about events only being possibilities at this delicate time, and caution is understandable when forking out a fortune for a festival ticket. This will unfortunately be a spanner in the works for larger events, and I only hope is something they can digest financially. It truly is a rock and hard place. The difference here is a gradual, little toe in the water, as the hit for my example, Talk in Code at Level III, is far easier on the wallet, at ยฃ6.60; canโ€™t complain about that!

Atari Pilot

As grand adverts for summer festivals take to our newsfeeds, I believe the reopening of live music will be concentrated, to start with, on the smaller, grassroots gigs; and this one guarantees to be a blast. Tickets HERE.


Trending….

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward โ€œEโ€) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunesโ€ฆ

Burning the Midday Oil at The Muck

Highest season of goodwill praises must go to Chrissy Chapman today, who raised over ยฃ500 (at the last count) for His Grace Childrenโ€™s Centre inโ€ฆ

St John’s Choir Christmas Concert in Devizes

Join the St Johnโ€™s Choir and talented soloists for a heart-warming evening of festive favourites, carols, and candlelit Christmas atmosphere this Friday 12 th Decemberโ€ฆ

For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlboroughโ€™s singer-songwriter Gus Whiteโ€™s debut album For Now, Anyway has been sitting on the backburner, and itโ€™s moreโ€ฆ

Song of the Day 30: Maple Glider (A.K.A. Tori Ziestch)ย 

Naarm/Melbourne-based singer-songwriter, Maple Glider releasesd a new single today, “Good Thing.”

Her striking emotionality is at the centre of her performance, which opens with her light and velvety voice accompanied by a sparsely strummed guitar. She wastes no time in revealing the state of sadness sheโ€™s in, offering such tenderness and introspection that the listener feels as though theyโ€™re inside her bedroom as she plays for herself. Eschewing a traditional chorus, the repeated refrain is more a bookend to each verse. The emotional apex hits in verse three, turning the song into a spectral folk powerhouse with the revelation that sheโ€™s cutting ties before things turn sour.

Ziestch explains:ย โ€œI wrote this song out of a place of defeat. I was really heartbroken at this point, and very confused. I like the feeling of my independence and I think I was afraid of putting energy into the wrong people. Sometimes we make decisions out of fear and sometimes itโ€™s because we know that it is the best decision to make. Those lines can get very blurry.โ€

And that’s my song of the day. Very good, carry on….


Song of the Day 29: Bunny Wailer 1947-2021

Photo Credit: Redferns/Gem

I know, this feature is supposed to be for new music, promoting new and upcoming bands and artists. But here’s a notion, without the pioneers of many sounds their music would sound very different. So perhaps, when we lose a legend, we could also use it to pay tribute to them.

Sound like a plan?

Righty then, suitable for the agenda is the sad news today of the passing of the last of the three original Wailers, Neville O’Riley Livingston, aka Bunny Wailer. The red, gold and green flag flies at halfmast today, blessings to his family and friends.

And that’s my song of the day.


Trowbridge DJ and Producer, Neonian Releases Debut EP

A figure appears through the labyrinth of florescent drapes, strobing with ultra-violet lights. Sheโ€™s void of expression, hypnotised in her individual realm she perpetually gyrates, wearing a black figure-hugging bodysuit, highly decorated in costume jewellery constructed from glowsticks. Itโ€™s not the image families would conceive of when thinking of Longleat, rather a cheeky posse of rhesus macaque monkeys ripping the rubber insulation off their Volvo.

Yet the Wiltshire raver of yore will note, and reminisce, to trek to Swindonโ€™s Brunel Rooms would be to face happy hardcore, jungle or house, whereas there was a tribal movement of tranced techno-heads, a conglomerate of Wilts and Somerset rural ravers in the basement of the Warminster manor, and it took on a wildlife of its own; the UFO Club at the Berkley Suite. Memories of it flood whatโ€™s left of my neurons, Iโ€™m halfway into Trowbridge DJ and Producer, Neonianโ€™s debut EP Vaxxor, released this coming Friday (5th March.)

Not before the opening title track, that is, which detonates a more breakbeat house prose at you, something for the peaky middle of a set by Plump DJs in a glasshouse club off Brighton beach in the latter nineties. Thereโ€™s a lot going on here, for a four track EP, and itโ€™s having all subgenres large.

Released through Weatnu Records, thereโ€™s parts of Vaxxor where I thought a more conventional and contemporary danceable beat might rear its head, but it doesnโ€™t, it solidly rides a wave of classic electronic dance music with a penchant for the techno-trance feel, hence my memories of the UFO Club. That said, Vaxxor, as a tune contains definite traces of punky chemical beats, akin the Prodigy or Chemical Brothers, yet rather than a gimmicky vocal or sample element for possible mass-appeal, Neonian seems aware pop has detracted from this trend of recent, ergo its concentration is on perusing a consistent beat and sonic hi-hats.

This leaves you semi-prepared for the more trance-techno sound of the following tune, Glow. For this it is thumbs up as the most poignantly danceable, in the four-by-four psytrance fashion akin to Goa trance. Hypnotic Jerk takes elements of this, and slides into a downbeat โ€œhypnotic cocoon teetering on the edge of normality.โ€ Imagine Nightmares on Wax if triphop hadn’t been invented.  Weโ€™re in the chillout tent, Eat Static are playing a Sunday morning set, thatโ€™s where it is; yeah, Iโ€™m with you, mate, got a flyer I can roach?!

All these four tracks were recorded during the lockdowns, and together are a glorious testament to the psych-subgenres of the UK underground dance scene. But if youโ€™ve any misgivings to the variety of the melting pot, Iโ€™ll confirm Neonian blends and crafts it with distinct precision. To affirm heโ€™s clearly nodding to his influences, the testament comes to a finale like a returning migratory bird to its nest. Proof to the Tower finishes this short journey off with something, though layered with aforementioned influences, strips the sound back the subgenresโ€™ combined roots.

Proof to the Tower drips with elegant attributes of post-punk electronica, aligning New Order, Depeche Mode and even the stiffer originators, Kraftwerk and The Art of Noise. The EP is getting radio plays from BBC Radio Wiltshire, Kinetic7Radio (Bleeps & Beats show), Radio TFSC and Radio Wigwam, and Iโ€™m far from surprised.

Neonian is the work of Ian Sawyer, who has previously released a few singles, a mini LP ‘Treasure’ and provided remixes for Frannie B, NNYz?, Sergeant Thunderhoof and James Harriman. โ€œI make music, for myself,โ€ Ian explains, โ€œI can’t really describe it but it’s mainly made with synthesisers, loops and samples. Influences include New Order, Boards Of Canada, Coil, Pye Corner Audio, Factory Floor, and Russ Abbot.โ€ Unsure about citing that last one, though Vaxxor certainly has an atmosphere!

Nonetheless these tributes to the pioneers of electronica and nineties trance, techno and breakbeats are often viewed as rather soulless, this does what it says on the tin while retaining something fresh to boot. Clearly, four tracks with Neonian arenโ€™t enough, Iโ€™d like to hear a fully-mixed electronic concept album, perhaps, to be fully sucked into its deep and hypnotic grooves.

Excuse me for being so fussy, but some uplifting sections, with gimmicky elements such as female vocals would be advantageous. Not solely for my own palate, rather in hope itโ€™ll attract the attention of a wider audience. As, like William Orbit did when he got the phone call from Madonna, I think while Vaxxor is damn cool with florescent socks on, Neonian, I feel has yet to achieve his magnum opus, but when he does, judging by this EP, youโ€™ll want to standing in the middle of it, making boxes and reaching for the stars.

Available on all Digital Platforms March 5th 2021; ‘Vaxxor’ is now available to Pre-Order on Bandcamp via the following link.  You get to download the track ‘Glow’ now and the rest of the EP when it is released on March 5th.


Make Headway for Ariel Posen

Try this: think of some tunes of the decade you were born, songs which you like but donโ€™t know why, songs which, for some reason, ring alarm bells at you as characteristic of the era. Your taste screams no, you shouldnโ€™t like these, but you do. Then check the year they charted. I wager many of them were in the year you were born, the previous or following.

I remember liking, at the time, and Iโ€™m not proud but in the name of science Iโ€™m going to confess, Brotherhood of Manโ€™s Save All Your Kisses for Me! Oh, while weโ€™re there, Abbaโ€™s Dancing Queen too! Thing is, I know why. They were in the charts in 1976, when I was three, the sort of excruciating pop mush anthems a toddler graduates to after the Wheels on the Bus. However, I cannot put my finger on why Iโ€™m engrossed with glam rock songs, such as Gary Glitterโ€™s Iโ€™m the Leader of the Gang, The Sweetโ€™s Blockbuster and Sladeโ€™s Cum Feel the Noise, when the genre makes me generally quiver.

Any doubt I was born in the 70s cleared up with this family photo; I’m the baby!

Why flower-power sold out and hippies took to wearing kipper ties and platform shoes with goldfish in the heel is beyond my understanding of youth culture vicissitudes. Still, when I hear the aforementioned glam rock screeches, they stir something vague inside, indications of a life obscured by cognition. Coincidence they all charted in 1973, the year I was born? Or could the sounds around you, as a baby, implant permanent scars?! If so, Iโ€™ll be dammed, deeply archived Little Jimmy Osmondโ€™s Long-Haired Lover From Liverpool!

Though you should never condemn an entire decade for its pop chart. Given youโ€™ll throw Sonia, Jason & Kylie, even Blacklace at me, and tell me to shaddup my face. Despite the lack of technological advances of the seventies when compared with the eighties, there was numerous classics. Iโ€™m drawn to the cherished saxophone riff of Gerry Raffertyโ€™s Baker Street, but surprised to note, it broke my theory and wasnโ€™t until โ€˜78.

The research was stirred by Canadian singer-songwriter, Ariel Posenโ€™s forthcoming album, โ€˜Headway,โ€™ released on 5th March. Oh, yeah, I am coming to an eventual music review, excuse my waffle. Thereโ€™s something retrospectively seventies about it, my mind sees a Ronco record label revolving on the turntable of a seventyโ€™s mahogany music centre. A quick flick through the tracks suggested motives not to like this are manyfold. Yet, akin to why I cannot put my finger on why I like those glam tunes of my birth year, Iโ€™m finding it tricky to reason with this too, but I do like it, a lot.

With magnificent guitar riffs which nods subtly to country and heartland rock & roll, combined with smooth, blue-eyed soul vocals, thereโ€™s something very Springsteenโ€™s Darkness on the Edge of Town, or Tom Pettyโ€™s Full Moon Fever about this potential electrified Americana rock classic.

The harmonious and tenderly sensual soul of Coming Back, against the folksy- blues guitar picking of the single Heart by Heart suggests thereโ€™s a vast melting pot, but Posen meticulously stirs it into one seriously chilled groove, David Soul styled, which will leave you causally drifting through till the end. Hence my reasons for pondering my little science experiment while listening. Again, comparisons to seventies music, hereโ€™s an album to listen to complete, afar from youthful trend of flicking through Spotify playlists like time is against them.

Upon first impressions I was dubious about a Springsteen comparison, contemplating the subjects are generally of romance, and perhaps simpler than the Bossโ€™s interweaved wordplay, yet again humbler Beatlesโ€™ pop formulas clearly influence it greatly too. Harder listening conjured a progressive prose of evolution in life, love, and all points in between. Theyโ€™re poignant and beguiling, combined, you just have to dive a little deeper.

Two years in production, Posen began recording Headway in December 2019, a week after wrapping up an international tour in support of his acclaimed debut, How Long; the effort shows. The gigs received standing ovations, and Rolling Stone dubbed him โ€œa modern-day guitar hero.โ€ Music Radar listed him as a fan voted top 10 rock guitarist of the year, and the Western Canadian Music Awards nominated him for Breakout Artist of the Year.

So, yeah, this is worthy of your attention, and if I attempt to lambast the seventies again, remind me of the current sate of my lockdown coiffure; Iโ€™ve got the big hair of a middle-aged Caucasian from 1976. Iโ€™m going out on my Raleigh Chopper now, mum, call me when my mince in gravy is ready!

Artic Roll for pudding? Hunky dory!

Pre-order Headway HERE


Trending….

Butane Skies Not Releasing a Christmas Song!

No, I didnโ€™t imagine for a second they would, but upcoming Take the Stage winners, alt-rock emo four-piece, Butane Skies have released their second song,โ€ฆ

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Ladeโ€™s latest offering of soulful pop. Itโ€™s timelessly cool andโ€ฆ

Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a โ€œlarge unlicenced musicโ€ฆ

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCAโ€™s Winter Festival, andโ€ฆ

Devizes Winter Festival This Friday and More!

Whoโ€™s ready for walking in the winter wonderland?! Devizes sets to magically transform into a winter wonderland this Friday when The Winter Festival and Lanternโ€ฆ

Song of the Day 28: Kevin Brown

Launched today, ‘Square Peg in a Round Hole.’ How’s that for efficiency? I know, I’m not usually this quick off the mark, must be something in the water!

But yeah, but no, though; you’ve got to hear this beauty of blues-folk from Kevin Brown, it’ll take you away with it, and we all need to get away; who’s been living in their Jimmy-jams for months?!

A song inspired by, Kevin explains, “people living on the edges of society, in and around Bath in the mid 80โ€™s… people who don’t quite fit in.”

We’ve chosen some stunning photographs by Steven A Chandler for the montage – they really capture the mood of the track.” And emotive it is. I’ll use the term emotive rather than ‘moody,’ if you don’t mind, Kevin, as it has a subtle uplifting hint, and it’s simply gorgeous.

Subscribe to the man’s YouTube channel, here. I’ve stressed this before, and reinforcing it by subscribing to as many as I find. It’s crucial for all musical artists that you do, gives them possible revenue, if they get to a certain amount of subscribers, but they do a LOT of them to get there. Whereas, a “YouTuber” podcasting a hoard of bling and clothes, or playing Minecraft while chatting nonsense, can elevate to stardom in a matter of milliseconds. Such is the way of modern life.

Anyhoo, that’s my song for the day, very good, carry on…


Song of the Day 27: Emily Capell

We are the mods, we are the mods, we are, we are, okay, you get the gist. Imagine Kate Nash is Doctor Who’s assistant, and they tracked back to Carnaby Street in 1963. If she dressed and performed without raising suspicion that they’re time travellers, you’ve got a general picture of the fantastic Emily Capell.

On one hand, this is fab retrospective meddling, on the other it’s lively and fresh fun, with a beehive hairdo.

There’s nothing here not to like, unless you’re a ret-con rocker and if so, I’ll see you on Brighton beach, pal. All I ask is you aim for the face, so you don’t crease my suit.

And, that’s my song for the day. Very good. Carry on….. oh yeah, nearly forgot to mention, Emily has a live stream coming up Friday 12th March, here; groovy.


And There it is, Araluen

Ever considered Jolene mightโ€™ve been an innocent victim of circumstance? Dollyโ€™s husband was obsessed with her, talked about her in his sleep. But thereโ€™s no evidence in the song to suggest she enacted, nothing to say she consciously encouraged it or made the first move. Dolly persecuted her, couldโ€™ve been jealously. Thereโ€™re two sides to every story and we never hear Joleneโ€™s.  

Sounds rather conservative to me, Dolly blames anyone but herself. Rather, Araluenโ€™s song In the Arms of Another, offers a liberal angle on a similar premise. The singer admits and regrets her part in pushing him into the arms of another, by not seeing the significance of those tell-tale signs.

Credit: Music Closeup

Arguably, its notion is more provocative than Jolene, but itโ€™s certainly the most poignant tune on this captivating album, And There it is, released last month. Araluen being the project of Australian-born, (hence the name,) but resident in the UK, Paul Lush, known for his contributions with Rockingbirds singer Alan Tyler and Danny And The Champions Of The World. With a repute on the UK Americana circuit, guitarist and award-winning songwriter, Paul, has been plying his trade as a fleet-fingered gun for hire and now sets up his own project.

โ€œAraluen is the vehicle that I use to record my songs,โ€ explained Paul. โ€œIt’s an idea more than anything, that allows me to use whoever I want without having to stick to a set band line-up. I’ve written and recorded a lot of songs but have never done anything with them. So, once I started this project, it was with the idea to finally release something – get it out there.โ€

Occasionally here, the sound slips skilfully into folk-rock, and thereโ€™s an electric slide guitar instrumental decidedly rock, but for the bulk, itโ€™s uplifting country, graced by the alluring vocals of Angela Gannon from Magic Numbers. Also important to note this flows between changing styles with acute precision, rather than jumps in and out of styles.

Credit: Music Closeup

Maybe my mumโ€™s insistence we listened to her Tammy Wynette cassette in the car as kids, prepped me for my newfound affection for country, projected within our local circuit, our Tammy, Quin, Jamie R Hawkins and Dean Czerwionkaโ€™s invitations to attend his Americana club nights, but I must say, I actually prefer the string-bending country ballards on And There it is more than the rock ones; or is it an age thing?!

I could speculate till the cows come home, but itโ€™s likely the style suits Angelaโ€™s voice more. It is, by its very essence, hypnotically divine, and amatory too, in a kind of chequered shirts with tassels and Daisy Dukes fashion. Virtually all romantically themed in small-town matters and secrecy, I found myself drifting into its gorgeous, effectively unpretentious narratives, as thirteen of them roll off the ears like waves on a tropical ocean.

Such is the alluring vocals, my mind contemplated the classic Simpsons episode, where Homer is near-tempted by the advances of country singer Lurleen Lumpkin, incidentally voiced by actress and singer Beverly D’Angelo, who as well as being Ellen Griswold in the National Lampoon’s Vacation films, was nominated for a Golden Globe Award for her role as Patsy Cline in Coal Miner’s Daughter, so itโ€™s a fair credit.

Credit: Music Closeup

โ€œI’d admired Ange’s vocals for a long time, so one night while we were talking over a drink I asked if she was interested in singing on my new album,โ€ Paul elucidated. โ€œWe went through the songs a couple of times and then recorded them. She blew me away. I had never heard her sing like that. This was the first time I’d heard her sing as the main featured vocalist for a whole album and she’s fantastic.โ€

And she certainly is. Lush by name, Paul has created a cross-bred masterpiece here to appease both country aficionados and those merely window-shopping into the genre via rock n roll avenue. This is a keeper.


Trending….

Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizesโ€™ one and only Wharf Theatre last night, if forced to sum it upโ€ฆ

Song of the Day 26: The Maitree Express

Reggae and ska’s association with trains tracks back to its very roots, that beguiling chugging offbeat replicates engine noise, ergo subject matter and band names suit.

Here’s hoping if Devizes does ever get a station, more reggae bands will stop here and bring their sunshine music. Prime example; I’d sure make a beeline for this Bath-Bristol seven-piece locomotive, with their lively blend of dub, ska and soul.
Failing that, I’m trekking, have roots, will travel.

Offering an exciting live show, the Maitree Express has been in the recording studio and the effect projects onto wax; proof here, in the pudding.

Wait, did someone say pudding? My work here is done, that’s my song for the day. Very good. Carry on…..


Song of the Day 25: Strange Folk

I know, I accept your question, and let me just say, I think it’s a very good question, one which I fully intend to answer in the fullness of time, but first, let me just say this, and this alone, and let us be totally sure that this is the correct time to, indeed, as you ask, for me to answer that question, one which I think is a very good question, as I may or may not have said and I really feel it is a question which needs answering….and so on, and so forth….

Think I’ve got what it takes for national politics?! I can waffle shit for Queen and country, and yes, I promised a Song of the Day feature everyday, and I haven’t delivered on that promise for a few days now, and any excuse I could provide wouldn’t be fully truthful. That’s why I believe I’ve got what it takes, my capacity to lie is acute, and my moral responsibility is pretty much shot, besides I couldn’t possibly mess it up further than it already is anyway, so yeah; I might stand.

The fact you’re probably all watching real politicians waffling about the easing stages of lockdown, is neither here nor there. I’m going to slip our song of the day in now, when you least expect me to.

And it’s wonderful, earthy folk outfit Strange Folk, with a track called Glitter. You may recall them playing the Vinyl Realm Stage at Devizes Street Festival, you may not. But enjoy, it’s gorgeously fantastical, the kind of escapism we need right now.

Back to reality, why they gotta keep calling it a “roadmap,” for crying out loud? Boris navigating for real and you’d end up driving headlong into a lake.

Strange Folk they might be, but not as strange as those leading us, I might add. The announcement will be on all night, while the Daily Mirror managed to sum it all up, hours prior to the conference, in one neat graphic.

And that’s my song for the day. Very good. Carry on…..


Swindon Sound System Mid Life Krisis Live Streams

If youโ€™re missing a tubthumping club night, you could clear your laminate flooring of breakables, blag your kidโ€™s colour-changing lightbulb, overcharge yourself for a Bacardi Breezer from your own fridge, and belch up kebab behind your sofa.

All these things are optional to simulate the full lockdown nightclub in your own home. But, even creating a cardboard cut-out queue for the downstairs bog, or hiring a doggie tuxedo so your pet can double-up as the bouncer, extreme measures in extreme times will doubtfully replicate the genuine clubbing experience; sad but true.

However, if props donโ€™t make the neon grade, the music can. Swindon-based tri-county sound system, Mid Life Krisis, abbreviated to MiLK, announce an online schedule for live DJ feeds and multi-genre events. โ€œWe will be putting on events post Covid for the people of Swindon and beyond,โ€ they say.

Thereโ€™s an interesting line-up ahead, prompted to me by Pewsey acoustic performer Cutsmith, who is on this Sunday (28th Feb.) Yet most are hard floor, afro/tribal house, trance, techno and drum n bass DJ sessions, freely shared onto a Facebook group, here. Join the group, throw your hands in the air, scream oh yeah, just donโ€™t set your own roof on fire, itโ€™s only going to increase your insurance direct debits, mo-fo.

Your exhaust cannot drop off en-route, girlfriend needs not to spend umpteen hours sorting her hair, and thereโ€™s no over-vocal knob jockey giving you all that in the carpark to distract you. No excuse for unattendance; no dress-code either, get funky in your jimmy-jams, if you like, you know I will. Shit, Iโ€™m like the Arthur Dent of Mixmag!

Now, Iโ€™m also gonna start adding these posters to our event calendar, which despite being about as tech-savvy as Captain Caveman, Iโ€™ve taken the time when nought is really happening to redesign it, to be more user-friendly.

All needs doing is directing buggers to the thing, as weโ€™re listing global online and streamed events, and until a time when Bojo the Clown finally stops mugging us off and announces a release date, itโ€™s not worth adding real live events for me to have to go delete them again.

That said, I find difficulties in keeping up to scratch with whatโ€™s on in the online sense, partly because Iโ€™m fucking lazy, but mostly because they pop up sporadically and unexpectedly.

Else theyโ€™re mainstream acts begging via a price-tagged ticket. I can appreciate this, itโ€™s a rock and hard place, and we all need to get some pocket money, but from a punterโ€™s POV, charging to watch their own laptop screen in hope they get a good speed for their feed, can be asking a bit much and one now favours a PayPal tip jar system.

Such is the nature of the beast, where a performer or DJ could be slumped in front of Netflix one minute and suddenly decide they fancy going live. Thankful then, we should be, to these Facebook groups hosting streams, in order to create some kind of structure.

The positive, for what itโ€™s worth, is boundaries have been ripped down. Without travel issues, online, your performance has the potential to reach a global audience, and hopefully attract newbies to your released material. Who knows, pre-lockdown you played to a handful of buddies at your local watering hole, but afterwards tribes from Timbuctoo might rock up at your show. Okay, Iโ€™ll give you, they might not, but potentially, the world is your oyster. Just a shame its shell is clamped shut.


Trending….

Chatting With Burn The Midnight Oil

Itโ€™s nice to hear when our features attract attention. Salisburyโ€™s Radio Odstock ย picked up on our interview with Devizes band Burn the Midnight Oil andโ€ฆ

The Lost Trades Float on New Single

Iโ€™ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quinโ€ฆ

Dark Matter: Chloe Glover

In probably the oddest way, Iโ€™ve discovered Manchester folk-punker Chloe Glover, during a rather slow news week, in which I opted to watch Star Trek rather than write. So, Iโ€™ve got stuff to review building, just, you know, a Netflix, sofa-lounging savoury snack calling. Meanwhile on the other side of the country, Chloe joined the nationโ€™s joggers and tweeted a finish-line โ€œI feel fantastic,โ€ photo which reminded me of the โ€œno makeup selfieโ€ passing trend, being she added, โ€œeven with no makeup and covered in sweat and rainโ€ฆโ€

See, a thing I donโ€™t get intrigues me. Chloe affirms insecurities, and states her love of running, despite โ€œlooking objectively quite gross,โ€ when she clearly doesnโ€™t, and mutual friend, Kieran from Sheer Music concurred she doesnโ€™t in a comment. Thatโ€™s the link, how I discovered her. Knowing Mr Moore, I clicked on Chloeโ€™s account, a fair assumption sheโ€™s a musician. Such is da powers of da inter-web, before you could say Joan Jett, Iโ€™m rocking to this debut EP โ€œDark Matter,โ€ released just under a year gone.

While the opening track, Fool, is edgy, despondent themed folk-rock, and immediately obvious Chole has commanding and emotive vocals, itโ€™s only dipping a little toe in the EPโ€™s range. Only four tracks long, things escalate quickly. Get Back Up follows, and itโ€™s time to rearward past the clichรฉ and sappy direction P!nk commercialised riot grrrl and contemplate the impact of Alanis Morissetteโ€™s Jagged Little Pill, or possibly, Skunk Anansie. Hereโ€™s a beguiling potential punk-pop anthem, with balls, big balls, and sweary words to boot.

Three tunes and itโ€™s dumped you in the kick-ass mood, courteously. Hurricane is really showing a vocal range, itโ€™s decidedly indie taking on punk-pop, and it rocks. By the finale, Silver Linings, Iโ€™ve gone way beyond my previous ninetiesโ€™ comparisons, because essentially, weโ€™re in proper punk country, and Iโ€™m thinking Suzi Quatro, Joan Jett & the Blackhearts; this level of definitive punk.    

Photo Credit: Suncan Stone

Life after The Slits, and the hackneyed chauvinism backlashed against them, there was a celebrative sense about feminist punk, just prior to Spice Girlโ€™s โ€œGirl Power.โ€ An epoch grasped beyond the fanzine culture, of Bikini Kill and Huggy Bear. But if you tried my recommendation of the Smalltown Tigers recently, and thought wow, that blew up in my face kinda quickly, you should note while Chloe doesnโ€™t muck about, thereโ€™s a tenderer, leisurelier build-up to the rage, via folk, but perhaps closer associated with modern day too. This layered accumulation holds one in uncertainty on just how far Chole will take you, so, when she plucks these emotive and sharp frenzies, itโ€™s a nice surprise, abso-fucking-lutely sublime and executed with a celestial meticulousness.

Itโ€™s immediately amiable and addictive, projected to an effective live show too, with band or acoustically, which has seen Chloe support Frank Turner. Still, I donโ€™t get the no makeup fear thing, that recent Facebook selfie trend, like a dare. Iโ€™m always left scratching my head as to the fuss; they look gorgeous to me. Makeup, yeah, can highlight best features, but itโ€™s not the makeup which is beautiful, is it? Just sitting in on a shelf in Superdrug, a nonentity, no lure there.

I recall youโ€™d never see my Nan, until sheโ€™d โ€œput her face on,โ€ as she put it. As a kid Iโ€™d imagine her behind her bedroom door as Darth Vader in the scene of the Empire Strikes Back, you know the one, when his helmet eases down? But, for crying out loud, if you choose to see it like this, as your war paint, your confidence is shot, and youโ€™re overthinking it. Slap or no slap, doesnโ€™t make hide nor hair. Fuck what L’Orรฉal want to convince you of, and what Estรฉe Lauder say you need; you are girls, women, the female human form, and that makes you beautiful, as standard, all of you. It really is that simple, and bollocks to anyone who says otherwise.

For Chole, the power, essence and obvious devotion to her music garnishes this unique EP. Dejected themes conclude to optimistic premise, and to nail a concept, an inclusive narrative within four songs is sheer talent. If the punk element to it is a like a girl, full of makeup, or the stripped-back folk is the girl without, neither matter, itโ€™s all beautifully crafted, kick-ass music.

ย 


Trending….

Barrelhouse are Open for Business with New Album

Rolling out a Barrelhouse of fun, you can have blues on the run, tomorrow (7th November) when Marlborough’s finest groovy vintage blues virtuosos Barrelhouse releaseโ€ฆ

Ruzz Guitar Swings With The Dirty Boogie

Bristolโ€™s regular Johnny B Goode, Ruzz Guitar Blues Revue goes full on swing with a new single, a take on The Brian Setzer Orchestraโ€™s 1998โ€ฆ

Joyrobber Didn’t Want Your Stupid Job Anyway

A second track from local anonymous songwriter Joyrobber has mysteriously appeared online, and heโ€™s bitter about not getting his dream jobโ€ฆ.. If this mysterious dudeโ€™sโ€ฆ

Devizes Chamber Choir Christmas Concert

Itโ€™s not Christmas until the choir sings, and Devizes Chamber Choir intend to do precisely this by announcing their Christmas Concert, as they have doneโ€ฆ

Song of the Day 24: Jon Gomm

With gig and event organisers clutching at straws for potential summer dates, awaiting a bumbling announcement from the mighty Bojo the Clown, Sheer are keeping it in perspective and looking forward to October when they host an evening at Emmanuel’s Yard, Trowbridge, postponed from last December.

Our favourites The Lost Trades will be supporting Jon Gomm. If you’ve not heard of Jon, today’s song is a taster, as tickets are on sale now, and after watching this, I believe you’ll want one!

In fact, if I could bunk the Saturday off work, might be possible to kick my Devizine GigBus idea into touch; it’s in the pipeline, guys, just waiting and hoping….

And that’s my song for the day. Very good. Carry on…..


Yasmin Lacey Live Stream Tonight

Nottingham has never been so soulful since Yasmin Lacey came onto the scene.

But for Yasmin it’s been too long since playing live. “I’ve been missing playing with my band so much, and being able to meet and interact with you all after shows. So, this is the next best thing,” she expresses on announcing a live stream tonight.

Tickets are ยฃ7 from Bandcamp, here. A chatroom will be open where Yasmin encourages you to engage with.


Song of the Day 23: Nigel G. Lowndes

Nigel writes to confirm heโ€™s from theย โ€œDevizes side of Bristol!โ€ย Had to laugh about the perceived strictness of an obnoxious aging school teacher, and feel I should explain. While Devizine does offer local news subjects, since lockdown weโ€™ve blown up our border control and now rampage internationally when it comes to featuring arts and music. So, it makes hide nor hair what side of Bristol you come from, or even if you come from Bristol Connecticut, if I like it or I think my readers will, Iโ€™ll mention it, and despite the title,ย Boring, yeah, I do.

Seems weโ€™re alike, Nigel, least in the concept donโ€™t judge a book by its cover, because this nugget of quirky art-pop reminds me of Talking Heads and is far from boring. Nigel explained the meaning, โ€œ[itโ€™s] written after spending time with people who only seem to like the sound of their own voice – warning, I may be one of them!โ€ Yep, me too. But if weโ€™re not one of them, we all know one who is.

โ€œThe song started off as a Stones/Pistols rant,โ€ he continued, โ€œand has developed into a soft indie rock stomp, with an added lyrical twist at the end.โ€

Itโ€™s the first single from a forthcoming album,ย Hello Mystery, which I think we need to review nearer the time. Until then, thatโ€™s my song of the day, very good, carry onโ€ฆ.


David Grayโ€™s Skellig; Enchantingly Sublime

Music technology bears a burden on the acoustic singer-songwriter, hopefully awaiting a practical gap in the market to sneak into the mainstream. Locked in the adolescent tantrum of the drum machine, pop charts of the late eighties were awash with electronica, hip hop, and the dawn of house, either this, or jean commercials revitalised sixties soul classics. Then, along came a short dreadlocked female singer, clasping her guitar.

Had Tracey Chapman arrived a decade earlier when Joan Armatrading was prevalent, the impact might not have had the same clout. As it was her appearance was exhilarating, a breath of fresh air, but seems sometimes acoustic artists are to pop charts as Christopher Lambert is to Highlander, there can be only one.

In 1998 David Grayโ€™s self-released studio album, White Ladder looked as if it would be no more successful than his previous three. While renowned on the folk scene, Gray didnโ€™t break the mainstream until its ATO re-issue in 2000. Perhaps we could speculate the charts of 98 was held hostage by Britpop, else the reign of rave was at its apex. People looked for something fresh for the millennium, and Grayโ€™s folktronica found that gap.

Folktronica is a strapline, rather than subgenre. A causal grouping for fusing string instruments into electronic music, born at a time of public acceptance in hip hop. It was courageous, but a natural progression, and Gray was atop of the game, appearing in David Kaneโ€™s rom-com This Yearโ€™s Love, which he based a song around its title.

Like an Andy Warhol prediction, the sequel to White Ladder, A New Day at Midnight, failed to obtain the same critical acclaim, despite charting at the top, and whipping Pop Idol runner-up Gareth Gates’s debut album, which is enough for me! Exhaustion in the spotlight saw David Gray rest, and gradually fall into cult status, returning to the folk circuit.

At the millennium I was neither here nor there about David Gray. Yeah, I liked his charted songs, but entangled in denying rave had perished I sought heavier trip hop, or else a model folk formula; the two were strictly separate entities. It wasnโ€™t until a near decade ago, reviewing a self-published book which suggested White Ladder was a revelation of pious significance, that I gave second thought to David Gray, and just how good the album was. Mind you, the flimsy autobiographical plot continued onto how, under hypnosis, the author turned out to be an incarnation of Cleopatra, so it all had to be taken with a pinch!

This is the culprit, the reason Iโ€™ve been knocked for six by his new album, Skellig, released tomorrow (19th Feb 2021.) Naturally I expected it to be pretty awesome, but hadnโ€™t fathomed how awesome. Astounded, on continuous play and taking me on a journey for the best part of this week, I confirm its ambient, acoustic gorgeousness.

If last yearโ€™s twentieth anniversary of White Ladder saw a deluxe edition launched, but a subsequent tour cancelled due to the pandemic, Skellig counteracts; it is simply perfection for isolation, though written prior. The elements of folktronica are even more subtle than previously, with just a hint they set the scene, welcoming a sparser, shared soundscape with the atmospheric songs focussing around six-part vocals with Gray trading his signature gravel for a softer tone; mega-bliss. Though, a sense of shingle develops vocally as the album reaches a conclusion, not at Dylan level, but adjacent.

Skellig takes its name from a formation of precipitous rocky islands off the coast of Co. Kerry, the most westerly point in Ireland. Ravaged by the Atlantic, the seemingly un-inhabitable location of Skellig Michael became an unlikely site of pilgrimage in 600AD for a group of monks, who believed leading such a merciful existence, they would leave the distraction of the human realm to be ultimately closer to God.

Gray asks for no literal translation of the above, nor prescribes any religious allegiance; the story, told to him by a friend, has haunted his imagination ever since: โ€œThe more I contemplated the idea of a small group of people landing on those rocks and establishing a monastic life there, the more overpowered I became by a dizzying sense of awe. How close to God could you possibly wish to get? Life must have been unbelievably hard for them and trying to fathom the deep spiritual conviction that compelled them to escape the mediaeval world led me to acknowledge my own deepest longings to be free of all the endless human noise that we now so readily accept as being such an inescapable part of our day to day lives. Dreams of revelation, dreams of a cleansing purity, dreams of escape. Ideas that I think almost any 21st century person shouldnโ€™t find it too hard to relate to!โ€

A notion which saw Gray gather his team and venture to the Scottish Highlands to live out the creation of the record. In the significant of this backstory, Skellig paints a picture with sound akin to Goghโ€™s Starry Starry Night. You can sense the sea crashing into the rocks of a barren Irish landmass, hear the haunting echo through the draughty halls of a desolate monastery, through multi-layered vocals, delicate Celtic guitar picks and morose piano solos.    

Written astutely and with maturity in comparison to White Ladder, subjects twist dejection into uplifting awe. Carried by a singular baritone guitar, the opening title track bobs on an ocean like a chantey, familiarising you with how itโ€™s going to go down. From there on it free-flows thirteen tracks of blissful enchantment. While listening I noted the songs seemed short, but in checking most weigh over the four-minute mark, proof how engrossing Skellig is. Lost in its splendour it comes to a masterful finale with the graceful, All That We Asked For And More; which sums up the album perfectly. A ten from me!

Image credit: Derrick Santini

Trending…..

Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Zโ€™s outlets to convey anger and rage, resulting in a generation ofโ€ฆ

The Wurzels To Play At FullTone 2026!

If Devizesโ€™ celebrated FullTone Festival is to relocate to Whistley Roadโ€™s Park Farm for next summerโ€™s extravaganza, what better way to give it the rusticโ€ฆ

DOCAโ€™s Young Urban Digitals

In association with PF Events, Devizes Outdoor Celebratory Arts introduces a Young Urban Digitals course in video mapping and projection mapping for sixteen to twentyโ€ฆ

Jol Roseโ€™s Ragged Stories

Thereโ€™s albums Iโ€™ll go in blind and either be pleasantly surprised, or not. Then thereโ€™s ones which I know Iโ€™m going to love before theโ€ฆ

Vince Bell in the 21st Century!

Unlike Buck Rogers, who made it to the 25th century six hundred years early, Devizesโ€™ most modest acoustic virtuoso arrives at the 21st just shortโ€ฆ

Song of the Day 22: Kiano Taylee

Can you go twice on our Song of the Day feature? No, certainly not, one shot is all, get over it!

Wha? Cabin fever, me? Getting tetchy, perpetual rain the only visible sign of spring, going to need Google maps to locate my local pub if it ever gets back to normal, whatever normal is, been so long, forgotten, might need retraining in how to order a pint… ah, okay, point taken. I’m calm….

Here we go with the brilliant Big Ship Alliance reggae band, who may’ve had a Song of Day before but hey, when you hear this you’ll realise why I’m making the exception to my steadfast iron ruling.

My Life, it’s called, featuring Mitchell Joseph Thompson, and the Alliance introduces us to the incredible Kiano Taylee. At 13, it’s an emotive and sentimental debut single, capturing teenage anguish, bullying and family issues which bear heavy on modern youth. Moving stuff.

Available for download here.

For the record, I was young once too, you know. But, don’t let me get started on my memoirs, it’s a longwinded tale of nothingness but reading the Beano and eating spaghetti hoops. But, that’s my song for the day. Very good. Carry on…..


Song of the Day 22: Lady Nade

A tad shocked my car fluked its way through its MOT today, first time. Going on the theory good luck is a positive virus, maybe I should get a lottery ticket.

It’s your lucky day too, Song of the Day needs no introduction; Lady Nade, ’nuff said?

And that’s my song for the day. Very good. Carry on…..


Song of the Day 21: Andy J Williams

Ever just float around your favourite social media site with no objective in mind, to unexpectedly find something which pounces on you as utterly brilliant, and wonder why you’ve not heard about it before?

Took a second of watching this to establish it’s one of those rare occasions, and not just a pointless scrolling exercise for your index finger. You know the kind, where you only see your mate’s unappealing dinner, a wonky, windup political opinion, or video of a young prankster posing as a magician hoaxing eye candy on a Florida beach.

Took a further second to confirm it’s not to be confused with senior easy listening giant, Andy Williams, rather an indie-pop Bristol-based singer-songwriter namesake, but with an added middle J, a penchant for a funky riff and eye for a beguiling tune.

Check this cracking danceable video out, where one could ponder if the middle J stands for “Jacko!”

Not that I’m usually one to allow a cracking video convince me, even with dancing stormtroopers. So, you should note, he’s on his third album “Buy all the $tuff,” of which you can, here. I’m reckoning I need a window to review this fully in the near future. For now it came as big as a nice surprise as spotting an unidentified circular yellow object in the sky this morning, for a near halfhour! Amazing.

And that’s my song for the day. Very good. Carry on…..


Glowing in the Dark with Django Django

Drive Doc Emmett Brownโ€™s DeLorean to 1966 and dump the Pet Shop Boys off at Sunset Sounds, see how they get on helping the Beach Boys record Pet Sounds. Think of the marvel of time travelโ€™s possibilities, Pet Shop Boy Sounds; if only it were possible!

But while you ponder what kind of sound might it be, imagine what paradox youโ€™d cause in the wake of your return, what contemporary music wouldโ€™ve warped into; now Iโ€™m twisting your melon, man. Maybe give Django Djangoโ€™s fourth album Glowing in The Dark a try, if youโ€™re incapable of kicking Kraftwerk out of your Tardis at Abbey Roadโ€™s eight-track studio as John, Paul, George and Ringo plan Sgt Pepper, for in essence, the result might be uncannily parallel.

As the track Headrush fades into The Ark, halfway through this genre-bending electronica, youโ€™d be forgiven for aching to hear Soft Cellโ€™s Tainted Love cover for prosperity, but hurry or youโ€™ll be reaching for Pink Floydโ€™s Meddle too. If you think electronica has no avenues left to stride along and come out of the woods unscathed, here is a new journey, which though splices many influences, is perfected in matchlessness.

Equally, if you feel electronica lost its way after new wave, as hit factories seized the era and everything underground which followed for a decade seemed to involve waving glowsticks or making imaginary boxes to mindless and soulless techno while chewing your bottom lip off, then this is your reawakening.

Photo credit: Horacio Bolz

For lyrically, Glowing in the Dark has a rather platitude running theme of escapism. Clichรฉ as leitmotifs vis-ร -vis to despair from constraints of small-town life, or terrain ascending dreams might sound, itโ€™s handled well. Acoustic rock goodness is graced here too, then, the World will Turn is quintessentially The Byrds, at best comparison, and miniature road movie Waking Up hints at T-Rex combining Serge Gainsbourgโ€™s Bonnie and Clyde with Gainsbourgโ€™s daughter Charlotte guest vocalist, just to ascertain. But itโ€™s like Mike Oldfield plucks a funky guitar for the next tune, and Daft Punk will jaw drop at the simplified meticulousness of the danceable title track.

The finale then achieves what the late great Andrew Weatherall set out to do with Primal Screamโ€™s Screamadelica, precisely, oh my god, not, no, not thirty years ago, surely?! Tie a fluorescent French horn to my Zimmer frame and pass my meds, Glowing in the Dark relishes in all which has passed in music technology from the psychedelic nature of space rock, the dreamy accompaniments of acoustic, the bellbottoms of glam, through to new wave and rave, yet somehow, while embracing all familiarities, charges something exclusive and fresh at you.

But I feel now the end is here, all the aforementioned is not why this album is so beguiling and attained, because itโ€™s fair to say such blends have been attempted before, yet its originality is maintained and its splendour achieved by the free-flowing composition; it just, works.

Released 12th February 2021, via Because Music, on limited edition glow-in-the-dark vinyl, standard black vinyl, CD and digital download/streaming on all usual platforms.


Trending….

Deadlight Dance New Single: Gloss

You go cover yourself in hormone messing phthalates, toxic formaldehyde, or even I Can’t Believe It’s Not Body Butter, if you wish, but it’s allโ€ฆ

CrownFest is Back!

Yay! You read it right. After a two year break, CrownFest is back at the Crown in Bishop’s Cannings. So put a big tick ontoโ€ฆ

Six Reasons to Rock in Market Lavington

Alright yeah, itโ€™s a play on band names and thereโ€™s only really two reasons to rock on Friday 17th October at Market Lavington Community Hall;โ€ฆ

Kirsty Clinch Lauches Pre-School Music School

Wishing local singer-songwriter Kirsty Clinch only the best of luck today, as she announces a new project; a music school for pre-school age and above, called First Melodies.


As well as private tuition, Kirsty plans to combine published books and a YouTube channel to create a wider audience. Anyone interested should contact the website and subscribe to the channel…. I need not explain further, as it’s covered in this video…

Best of luck Kirsty, we reckon it’s the perfect idea for you.


Five Things of Smalltown Tigers

Being fashionably late for a party with a trio of female Rimini punks, their album, Five Things released in April last year on Area Pirata Records, mightnโ€™t be as bad as it sounds, because post-1973 this music is timeless, recapturing the genreโ€™s very essence and roots; welcome to the world of Smalltown Tigers.

Because, the punk the era was a short-lived explosion which although never toppled the rise of disco and funk, surely stamped its mark on everything which followed in its aftermath, from fashion, tenet and sound. Yet the aggressively modern attack of the first wave of punk rock in the face of hippie culture perpetually allowed itself to be watered down and fused. Just as every popular genre tends to do. Concluded new wave and avant-garde art-punk through to the skater contemporary fusion with metal, or oi ska, itโ€™s warped into many guises. Yeah, theyโ€™ve got edge, but as dicey as the original simplicity of early seventies punk? I think not.

Thatโ€™s where Smalltown Tigers pack their sucker-punch, from the hip of the original garage formula, as if post-punk never happened. ย They cut their teeth playing Ramones songs at squats and beach parties, spreading their love for surfboards and punk rock. Tommy Ramone stated on the lineages of the youth culture, โ€œpunk rock had to come along because the rock scene had become so tame that [acts] like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans, rock and roll meant this wild and rebellious music. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock ‘n’ roll.โ€ And from the off of Five things this notion resonates to modern day.

Image: Alex Poni

But it doesnโ€™t allow you time to contemplate any of this, it doesnโ€™t wait for you to come up for air, it doesnโ€™t causally drift in, and it certainly doesnโ€™t stop to excuse itself. It detonates eight under three-minute tunes of punk noise in your face before youโ€™ve time to take cover, and while their energy might leave adolescents jittery and flabbergasted, craving for what they consider a crazy new sound, punk diehards will wink with acknowledgement and welcome its blissful eruption with open arms.

While you wonโ€™t find this mini-album settling down to a ballad, or suddenly branching out to experimentation, as time passes obvious influences of Patti Smith and the Ramones slip into elements of Joan Jett and the B52โ€™s fashioned rockabilly, but remain elusive at best. Mostly of what you have here is no nonsense, high-energy, fuzz box punk rock n roll with a calling to its roots, and in this much, it absolutely rocks my world!

Recorded mostly live in the studio with no overdubs, mixed by analogue master Roberto Villa on 2โ€ tape, and mastered by Detroit garage-punk guru Jim Diamond, these eight songs testify that these girls are no Dolce Vita. Time to forget your Busted and Blink 182s; punk has never been so retro or raw since its incarnation, the opening for Smalltown Tigers is gaping.


Trending Now…..

Oh Danny Boy!

Oh Danny Boy, oh, Danny Boy, they loved your boyish Eton looks so, but when ye was voted in, an all democracy wasnโ€™t quite dying,โ€ฆ

A Quick Shuffle to Swindon

Milkman hours with grandkids visiting it was inevitable a five hour day shift was all I was physically able to put into this year’s Swindonโ€ฆ

Song of the Day 20: Darling Boy

Self-taught multi-instrumentalist, singer and actor, Darling Boy, aka Alexander Gold adds reminisces about his game childhood with this video for his new single “Tea Drinkers of the World.” An unusual move for this brand of indie-pop, but a colourful and entertaining 16-bit retro game fashioned video; enjoy.

And that’s my song for the day. Stream it here. Facebook here. Very good. Carry on….


Online Stuff 2 Do This Half Term

Yay! Home Schooling is out for half term, but before itโ€™s replaced with excruciating racket, higgledy-piggledy hullabaloos, and junior revolutionary uprisings, diligent stay-at-home parents teetering on the edge of wine oโ€™clock should note, if the outside activity mountain won’t come to Muhammad, well, Muhammad has to get there online. Hereโ€™s some โ€œlitโ€ bodacious suggies to get him harnessing his cramponsโ€ฆ.

No, Iโ€™ve no idea what that meant either, just hit me with your suggestions, homies, and Iโ€™ll add them here without beef!

Firstly, keep them well fed, and if you’re having difficulty…….

FREE SCHOOL MEALS ELIGIBILITY

Wiltshire Council is urging families who find themselves in difficult circumstances to check if they are also eligible for free school meals and the holiday food funding. Families can find out details of how to apply for free school meals support on the Wiltshire Council website including those families on: -โ€ข Income Supportโ€ข Job Seeker’s Allowance (income-based)โ€ข Employment and Support Allowance (income-related)โ€ข Support under part six of the Immigration and Asylum Act 1999โ€ข The Guarantee element of State Pension Creditโ€ข Child Tax Credit – providing you are NOT entitled to Working Tax Credit and your family’s annual income (as assessed by HMRC) is not more than ยฃ16,190 (as at 6 April 2012)โ€ข Working Tax Credit ‘run-on’ – the payment you may receive for a further four weeks after you stop qualifying for Working Tax Creditโ€ข Universal Credit (provided you have an annual net earned income of no more than ยฃ7,400, as assessed by earnings from up to three of your most recent assessment periods) โ€ข Better2Gether Funding (two year olds only) Universal Credit – if you and your partner are on a low income from work (this usually means a combined income of less than ยฃ15,400 a year after tax)Or if the two year old child: -โ€ข Has a statutory statement of Special Educational Needs (SEN) or an Education, Health and Care Plan.โ€ข Has left local authority care through a Special Guardianship Order, adoption or a Residence Orderโ€ข Is currently a Looked After Child, for example in foster careโ€ข Is in receipt of Disability Living Allowance (DLA)People should apply directly to Wiltshire Council if they are eligible but currently do not have free school meals by using the form on the Council website.

Morrisons Kids Meal and Pizza making Boxes Here!


Creative

Stuff!

Get Cartooning!

Thereโ€™s always cartoon and comic workshops to get creative darlings budding. Enter Beano artist and charismatic comedian Kev F, whose Comic Art Masterclass usually travels the schools and libraries of the country, and ends with some seriously entertained kids each with their own homemade comic. The only need to travel is to grab some paper and pens now Kevโ€™s class is online.

But check here for a number of different creators giving away their artistic secrets in comic workshopsโ€ฆ


The End of the Pier Show

Jonny Fluffypunk presents a brand spanking new show for families, with poetry, puppetry, story, song and a healthy dose of ramshackle anarchy.

Cooking

Stuff!

The Farm Cookery School in Netherstreet

have their popular holiday clubs online, and are available to book NOW! They are only ยฃ10 – ยฃ15 per login and that includes LIVE Tuition as well as a Recipe and Ingredients Guide which will be emailed to you straight away. Just imagine, dinner may be served by your little horrors!

Learning

Stuff!

Family half term activities among online events at Chippenham Museum

Prior to lockdown Wiltshire Museum were really enjoying hosting Curious Kids sessions for under 5โ€™s and their grown-ups. They have adapted sessions to deliver them on zoom. A chance for younger children to have some interaction with people from outside the home and for families to learn, create and play together โ€“ supported by the museum.

February Half term session will focus on Saxon Crafts and will look at weaving jewellery.


STEM Venturi

 February Half Term online coding courses for 7 – 12+ year olds. Also debuting Girls Who Code course…โ€ฆ Lots of coding courses including Minecraft!


Music

Stuff!

Open to all young people aged 12 โ€“ 18s who love to sing, the new Wiltshire Youth Choir (WYC) will take your singing and performance to the next level.
– Learn from inspiring choir leaders with years of professional experience
– Explore music from different genres: musical theatre, pop, classical and more…
– Work towards performances in some of the countyโ€™s top music venues
Join us for our next free virtual Come and Sing workshop on Thursday, 18 February, 10.00 – 12.00 via zoom.

Trending now….

Swindon Branch of Your Party is Growing

Following the excitement and success of the first meeting of โ€˜Your Partyโ€™ in Swindon, a second meeting has been arranged for 18th September 7.30 -โ€ฆ

No Rest For JP Oldfield, New Single Out Today

It’s been six months since Devizes-based young blues crooner JP Oldfield released his poignant kazoo-blowing debut EP Bouffon. He’s made numerous appearances across the circuitโ€ฆ

DOCA’s Early Lantern Workshops

Is it too early for the C word?! Of course not, Grinch! With DOCA’S Winter Festival confirmed for Friday 28th November this year, there willโ€ฆ

I See Orangeโ€ฆ.And Doll Guts!

There was a time not so long ago when I See Orange was the most exciting new band in Swindon. Their latest offering released atโ€ฆ

Song of the Day 19: Macka B

Topical, in view of Mark Little of Bristol Rovers’ social media attack, here’s a year-old message which, idealistically shouldn’t need repeating, but, unfortunately, seems it does.

And who better to deliver it than Wolverhampton’s Christopher MacFarlane, better known to the world as Macka B?

His righteous, yet witty DJ toasting style is often mimicked but never bettered. Since his early days on the Exodus sound system, through the eighties fast-style origination of Fashion Records, of which the late great Smiley Culture bought to mainstream charts, to today’s international recognition, award-winning Macka B never fails to breathe charisma and charm to a subject with intelligent and amusing verse.

The premise of his song is simple, the message is resounding.

And that’s my song for the day. Very good. Carry on….


15 Sensual Songs for Valentines

Here you go, right; the meal was flawless, the wine is taking effect, the candles are in perfect position, the rose petals spread on the duvet, made sure you changed the sheets and hidden your Razzle collection. Now all you need is the perfect valentines evening playlist as the icing on the cake.

One track wrong, just one accidental selection, could prove fatal for getting to final base. At worst youโ€™ll be alone, regretting how that Slipknot track got mixed in there, or which prankster mate added Iron Maidenโ€™s Bring Your Daughter to the Slaughter. At best, mistakes can be made in picking from the plethora of timeless love songs available. One narrative of break-up, something just too damn perverse or slushy, or even a song which reverts your partner back to past lost love, can be dangerous and a waste of your hard-earned cash at the johnny vending machine.ย ย  ย 

Image: Jakob Montrasio

It is with great empathy and consideration I offer you my tuppence on the perfect Valentineโ€™s Day playlist. To begin, you must understand, love songs come in four main categories; the clichรฉ slushy, soppy sort which are so wet theyโ€™re Wet Wet Wet. These are best avoided. The second are the breakup songs, often beautifully crafted nuggets of melancholy, but again, not best for enticement. The third sort, Frankie Says, is the outright filth, centred around the kind of mindless, unattached, no bars held bonking frenzy you have to clean up with a mop and bucket. While at times these are the best of the aforementioned options, what you really need to set the appropriate mood is the fourth category, the songs I deem โ€œsensual.โ€

Sensual songs arouse the neurons, make the hairs on the back of your neck stand up. They neither absolutely call out the knob-fest youโ€™re hoping for, merely hint at it, or relish in slushiness so maudlin it all comes over corny and nauseating. Donโ€™t blame me if everything you do you do it with Bryan Adamsโ€™ songs on repeat, it horribly backfires and all which remains of their presence is a fading odour of Superdrugโ€™s own make Eau de Parfum. Hereโ€™s the list, adhere to it, fool!

1- Try a little Tenderness – Otis Redding

Otis was a magician, indisputably. His effortless vocals are so sublimely sensual, one play of this and womenโ€™s clothes automatically fall off. Guys, if it was good enough for the Ducky, itโ€™s good enough for you; a guaranteed win-win.

2 – Let’s stay together – Al Green

Again, this one is a given. Why do people break up, turn around and make up? Well, itโ€™s for the make-up sex, Al, obviously. Look, we all know make-up sex is the best and stickiest kind of sex, but when setting the mood for the now, never dwell on the possibilities of the future; price of prams these days, prenuptial agreements, stuff like that. Nope, this song pledges nought can possibly go wrong, you are 100% devoted, and that assurance will see knickers on the bedroom floor.

3- Sexual Healing – Marvin Gaye

Marvin with the topper most sex blag, only one under the notion itโ€™s greater for weight-loss than a diet. Here, Motownโ€™s senior figure suggests wellbeing, that sex is good for him emotionally and psychologically. But thereโ€™s cohesion, it is affirmed, heโ€™s no slapper, and only wants to do it with you. Although you guessed this song would be listed, it works a like a charm.

4- Je T’aime…Moi Non-Plus โ€“ The Scamps

Okay, Serge Gainsbourgโ€™s classic obviously needs consideration, but is about as corny as seventies lava lamps, and Jane Birkinโ€™s aching French orgasmic harmonies might be off-putting if youโ€™re still eating pudding or not making quite as good a job as Serge himself. Therefore, try this; this Scamps version is instrumental reggae, and reggae in general, is kinky as. For added effect, should things be going well and your French up-to-scratch, you can have fun arranging your own vocals.

5- Bob Marley & The Wailers – Guava Jelly

So, pandoraโ€™s box opened. If weโ€™re going to do reggae, thereโ€™s so many Bob Marley tunes which are more than apt, picking just one is a minefield. Letโ€™s go demining like Steve, itโ€™s okay, Iโ€™m a professional. For starters Guava Jelly teeters on the edge of reggae, rather deemed closer to rock steady, the pioneering transitory period between ska and reggae. Rock steady is the definitive romantic period of the music of Jamaica, and Bob is one charmer. This particular song is the perfect balance for what Iโ€™m proposing here, itโ€™s connotations of lubrication is pure filth, but its backstory of love is quixotic; precision engineering from the Tuff Gong.

6 – Henry III โ€“ With a Girl Like You

Now, after all I said about rock steady, a word of warning. Donโ€™t, whatever you do go gung-ho and add any old rock steady song to your playlist. Such is the way of bygone eras and particularly in Jamaica, many are not PC by todayโ€™s standards. Often subjects deal with cheating, disintegrations or can be degrading to the fairer sex. Sometimes it helps, if going with rock steady to check covers, take this divine version of The Troggs โ€œWith a Girl Like You,โ€ for example; thisโ€™ll work.

7 – Lorna Bennett – Breakfast in Bed

Now, if youโ€™re only up for covers being the kind you jiggle about underneath, by all means go for the original of Breakfast in Bed, on Dusty Springfieldโ€™s ultimate โ€œDusty in Memphis,โ€ as itโ€™s more than suitable. But if you want a bit of reggae in said jeggae, the UB40 version is not your best option. Lorna Bennett does this with bells on. This is so sexy it should be illegal.

8 – Claude Fontaine – Cry for Another

If itโ€™s sexy reggae you want, but contemporary you fancy, and youโ€™ve taken heed of the importance of French accents weโ€™ve mentioned, hereโ€™s a lesser-known masterpiece by multi-platinum, Grammy award-winning record producer, Lester Mendez, certain to hold the object of your affections mesmerised and putty in your hands. Claude Fontaineโ€™s voice just, just, justโ€ฆ. oh, no, pass the Kleenex.

9- Kingston Town – Lord Creator

Look, I like UB40, I really do. But whence you listen to the original Lord Creator version of this, you wonโ€™t go back. Its subtle idealistic references paint a romantic image of Kingston Jamaica, in contrast to the biting reality itโ€™s often depicted as. Like the notion, any place is beautiful when youโ€™re there, sure to cause a love tidal wave, in your direction. 

10- Swimmer โ€“ Black Star Liner

Now, youโ€™ve done the groundwork and things are moving fast. Unlike technology of the era, owning a pager isnโ€™t going to get to you close enough to the opposite sex to be sneezed on these days, the electronica of the nineties can be your friend. Dance music came of age mid-nineties and no longer concerned itself wholly for standing in a muddy field wearing a dust-mask and gyrating like a broken robot. In fact, local city Bristol took a whopping portion of credit for the downtempo trip hop trend. But, while you know Massive Attack will make it onto this list or itโ€™s not worth publishing, unless you lived it, and I mean, really lived it, I forgive you for not knowing this and the next two sublime nuggets of dreamy dance. Black Star Liner are as if Massive Attack did bhangra for film scores.

11 โ€“ Long as I Can See the Light โ€“ Monkey Mafia

As the finale of Shoot the Boss, an album with enough cutthroat techno and dark ragga to scare the willies out of Moby, Jon Carter places this gorgeous protuberance of uplifting trip hop to bring a lump to your throat, or elsewhere.

12 โ€“Soldissimo – Air (Etienne de Crรฉcy Remix)

Again, the French know saucy. This Air remix by the super discounted Etienne de Crรฉcy is such a barely known, absolute inspiring masterpiece, and when that acoustic guitar breaks in, oh my, eyes will implode, and the bedsheets will need changing.

13 โ€“ Unfinished Sympathy โ€“ Massive Attack  

For me to pick a single song from my misspent youth wouldnโ€™t be easy, until Iโ€™m reminded of this. You know it, you must do, so will your partner. Theyโ€™ll whimper, โ€œI love this song,โ€ ergo, I love you for thinking itโ€™s suitable to reflect your feelings towards me, and bingo; fire in the hole.

14 – Sharing the Night Together- Square One

To take heed of my warning about picking any reggae tune, apply doubly so with soca. Subject matter of most soca is outright filth, if not being about waving your flag about during crop over, itโ€™s generally about waving something more phallic about. Which is great for the rugby clubโ€™s Christmas party, but not so much when wooing. However, thereโ€™s always exceptions to the rule, and when Alison Hinds does it by covering this Dr Hook track, she makes Rhianna sound like Cathy Lesurf by comparison.

15 – Lovely Day โ€“ Bill Withers

Okay, so a few might be new to you, this is good, but letโ€™s end it with a classic. The sunlight hurts his eyes, and something without warning bears heavy on his mind. Yes, it does have slight negativity about it, but the very notion just by looking at your partner, itโ€™s all inconsequential and can all melt away, will guarantee your bedposts will be thumping against the floorboards in no time at all. Have a happy and successful valentineโ€™s day. Best of luck, mucky comrade. Over and out!

And if these fail, something is wrong and you should either try Nina Simone, or consult your GP, just don’t bother me, do I look like Deidre Saunders? Actually, don’t answer that, just keep your mind on the job at hand, else your hand will be the only…..okay, you get the idea….


Trending now…..

Talk in Code Down The Gate!

What, again?! Another article about Talk in Code?! Haven’t they had enough Devizine-styled publicity?! Are their heads swelling?!ย  Didn’t that crazy toothless editor catch themโ€ฆ

A Busy Week For Lunch Box Buddy!

It was great to bump into Lunch Box Buddy in Devizes today. Last week was hectic for him; first BBC Wiltshire stopped by his standโ€ฆ

Song of the Day 18: The Lost Trades

If you’ve not heard of The Lost Trades before, you must be new to Devizine! Not a problem, we welcome newbies with open arms.

For further information we have a search bar, use it!There are plenty of archived features on The Lost Trades, Phil Cooper, Jamie R Hawkins and Tamsin Quin: enough for Devizine to be an official fan club! These Song of the Day posts are brief and are not intended to be full reviews.

They’re also about introducing you to artists we’ve not, or hardly ever mentioned much of before. Today’s case differs.

I should explain, we’ve followed the individual careers of this local vocal harmony trio since the website’s creation, and they’re three out of many in through doing this, have become personal friends.

Naturally, there’s a danger to the bias of honest criticism in a reviewer befriending the creators; mainstream artists use “enemy” as a term to describe NME journalists.

Although they’re aware I’d be critical if there was ever anything to be critical about, this is also, never a problem, because, simply, the awkward situation never arises.

Partly, I believe, this is because Devizine isn’t a job, it’s a hobby, and if I thought for a second I’ll unjustly slag anyone off for kicks, then the whole objective of it is compromised. Though it’s a delicate balance to provide honest content and maintain relationships with the talented subjects, there’s no reason to wreck a career, and I’d sooner avoid scribbling anything on the matter at all.

The fact if you do search for the Lost Trades or the musicians which make the trio up, you’ll find a fair amount of matter on the subject, can therefore mean only one thing: there never is a problem because they’re genuinely awesome, and this would still be the case even if they hated my guts. Which I’m not ruling out, but suspect it’s unlikely; least I can hope for is they think I’m a headcase. A friendly headcase, but a headcase nonetheless!

Still, it’s a great song, as ever, with a fascinating homemade video fusing Jamie’s enthusiasm for stop motion animation. Get it here.

And that’s my song for the day. Very good. Carry on….


Song of the Day 17: Diana Leoport

What’s Spanish for “diva?” Oh, Google translate aptly says it’s “diva!”

Super sassy Spanish vocalised RnB-pop doesn’t come sexier than Mexican singer Diana Leoport’s debut single. Aching with masses of Latino promise there’s elements of Shakira and Gloria Estefan in this smooth tune. My glasses have steamed up!

Out on all platforms here.

And that’s my song for the day. Very good. Carry on….


Song of the Day 16: Blondie & Ska

If you came here looking for an original song by upcoming hopefuls, look away. Chippenham’s Blondie & Ska may not be groundbreaking or looking for a mainstream recording contract, a Blondie tribute act who fuse ska and Two-Tone classics into their repertoire, but what they do they do with a barrel load of lively fun. And, in a nutshell, lively carefree fun is the backbone of ska.

Heores of the live stream currently, booking Blondie & Ska for a party or pub gig in the future, and you can gurantee, if fussy music devotees tut, the majority will be up dancing. For this reason enough, I blinking love this duo, but that alone is plentiful. Like their Facebook page for details of future free streams, it’s an entertaining, unpretentious show.

And that’s my song for the day. Very good. Carry on….


Song of the Day 15: The Emertarians

Anytime is a good time for some roots reggae, Sunday morning, doublely so.

Enter one of my favourite current reggae bands, from Madrid, the Emertarians.

They always remind me of an occasion, at a festival in Andalusia. I watched this great French reggae band. The slighty rotound frontman looked rather like the late, great Jacob Miller. After the performance I noted he was standing close to me, watching the following act. I went over in hope of telling him how much I enjoyed their music, praying they spoke English.

I momentarily regretted my school French lessons, which I spent making homemade comics out of text books, as he replied with an adamant no upon asking if he spoke English.

All the vocabulary my intoxicated mind could conjour was “tres bien,” so I repeated it perpetually in true Del-Boy fashion!

Otherwise the meeting was the awkward silence of communication breakdown, in which I suspected they thought I was completely nuts. Not so far from the truth.

So, I namedropped Jacob Miller and suddenly we had understanding and mutual respect for the man. My point is, sometimes the Emertarians sing in Spanish and sometimes English, often the Spanish ones more emotive, but reggae has no language barriers, because it’s spiritual meaning and uplifting ambiance is universal. As with the French Jacob Miller-alike, we were on the same song sheet….

Naturally at that conjunction, I rolled a joint.

And that’s my song for the day. Very good. Carry on….


Wiltshire Rural Music to Stream Gigs from Trowbridge Town Hall

Wonderful Trowbridge-based music charity, Wiltshire Rural Music revealed an online programme project, Live at Town Hall, today.

In collaboration with Trowbridge Town Hall, they plan to stream full concerts of our outstanding local musicians, starting in February. I hope to have more information for you, when dates and acts are announced.

Wiltshire Rural Music do an outstanding job supporting and enabling local communities and individuals to realise their musical potentials and fullfilling their ambitions. They provide room hire, give bursaries and work closely with Alzheimer’s Support, taking music into care homes and schools across the county.

More info on the work they do here. Follow them on Facebook for details of the streamed gigs.


Around and Around, and Hitting a High; Kirsty Clinch on Top Form

You can give it to me straight and agree, Iโ€™m old. Though as much as I hold dear the hours browsing record shops for a seven-inch slither of vinyl, the streamโ€™s advantage is manyfold. Perhaps none more than the increased availability and distribution of home-made wares.

Vinyl junkies were restricted to what the music industry decided. While DIY music was around then, it was a needle in an underground haystack, obscured by a lack of prior knowledge of counter culture distribution, and even if you were aware, still they cost post and packaging.

Send a SAE in good faith, and when the musician finally finished his last bong, made it off his scabby sofa to the post office, youโ€™d receive your cassette, only to find out it wasnโ€™t as good as youโ€™d been convinced it was by the crazy fractal advert in a punk-paste zine. Weโ€™ve come a long way, folks.

Local independent, country, singer songwriter, Kirsty Clinch posts on Facebook, one of the many social media platforms she tweaks to promote her music. Her latest single, Around and Around has reached a staggering 2K Spotify streams in just five days, managing to peak at number four in the iTunes country chart. Itโ€™s an achievement made mostly on her own, but does it prove the value of DIY rather than aiming to be signed by a label, can anyone with social media savvy achieve it, or is simply that itโ€™s a great song from an exceptionally talented musician?

Itโ€™s certainly that much. Dreamy and evoking, Around and Around sees the ever-enlightening Kirsty at the ultimate perch in her career, in line for the forthcoming album, it leaves you dripping in anticipation for more. โ€œAround & Around is all about catching your dreams,โ€ she explained, โ€œtaking chances and not getting stuck in ruts; thatโ€™s just what Iโ€™m doing right now.โ€

A smidgen punchier than her previous release, Fit the Shoe, and perhaps even more beguiling than that beauty. To hear it is to engrossed in its pensive narrative, as all classic country should. But its Americana influences are subtle, it never references peripheral subject, as much UK country artists feel impelled to mention boxcars, dustbowls, and things you wouldnโ€™t expect to find in their English suburban hometowns. No, Around and Around, like, Fit the Shoe is romantically topsy-turvy themed, flexible for a wider, international audience and contemporary sounding.

That said, Kirsty is no stranger to authenticity, travelling and performing in Nashville at venues such as the Blue Bird. Aside the clear influence of countryโ€™s leading ladies, the likes of Parton and Wynette and modern folk-rock artists, KT Tunstall and KD Lang spring to mind, Around and Around evoked memories of Kate Bush more than any other tune Iโ€™ve heard of Kirstyโ€™s, in its haunting atmosphere rather than vocal arrangement. I put this to her.

โ€œI donโ€™t get the Kate Bush thing; my voice is not as squeaky!โ€ she laughed, โ€œIโ€™m not a big fan of hers, which is weird as youโ€™re not the first person to say it either. Sheโ€™s huge though and loved for whatโ€™s she does, so I wonโ€™t complain!โ€  I had to explain I meant more the whole ambience of the sound rather than squeakiness of her voice, but we needed to move onto the immediate success of this particular tune, and where she hope it will lead.

โ€œIt wonโ€™t go higher,โ€ Kirsty predicts, and I hope sheโ€™s wrong. โ€œOnly slowly hides away after that, the famous people take over sooner or later! But songs can always come back, so [Iโ€™ve] just got to keep hustling.โ€

I took Kirsty back a couple of years, sitting chatting on the lawn at BromFest, we discussed the hopes of an album then; best things come to those who wait. Aside her nonchalant social media persona, I perceive Kirsty to be a perfectionist on the quiet, certainly shows with these two singles. โ€œYes, I have one more coming out hopefully before May, and then Iโ€™ll drop the 14-track album,โ€ she announced, โ€œThatโ€™s why itโ€™s taken so long, itโ€™s a big one, but for a first timer in online sales, I had to do it to catch up!โ€

Iโ€™m aware Peter Lamb had a hand in this remarkable achievement, so I name-dropped the local legend, โ€œall produced by Pete?โ€

โ€œI did the whole thing in my bedroom studio by myself,โ€ Kirsty replied, adding an angel emoji. โ€œPete added the bass, and then corrected my mixing and mastering mistakes at the end, as I got frustrated on the last bit! So, Iโ€™m pretty proud of it for that reason.โ€

It must be a relief to get an album complete, but the hard work is only halfway there, getting out and promoting it follows. Which part does Kirsty favour, despite psychically getting out and launching is impossible at the moment?

โ€œI like all of the process,โ€ she chuckled. โ€œGigs will come back, Iโ€™m just making the most of the situation and working with what Iโ€™ve got for now, there is always a way around things when youโ€™re creative.โ€

Returning to my opening notion, due to developments in tech and a motivation for independence, a professional sound can be achieved at home. Kirsty furthered that she did the artwork and music video for this track all by herself too, due to lockdown.

โ€œThe album launch is not so essential,โ€ she pondered, โ€œwhen I can promote it just as good online anyway now.โ€ As I said, Kirsty has a sturdy online presence, accomplished at building a YouTube audience, but is that more important to her than an album?

โ€œItโ€™s equal. All my fans are excited for the album! But the social media side of things mean they get to know you more, which is essential for selling music in the first place. Loads of people sell music, the marketing is the part that makes them what to listen to yours.โ€

And her secret?

โ€œGet to know your story etc,โ€ Kirsty elucidated, โ€œand connect with the music; if you just say โ€˜buy my singleโ€™ and thatโ€™s all your social media is about, you wonโ€™t get many results.โ€

For the end of our chat, we dithered and pondered if the angle of this piece should focus on the song or herself. Iโ€™m of the opinion, when the creative open themselves up to releasing art, a part of creator is revealed through it, so practically, theyโ€™re similar. You are the song; the song is you; be one with the song! Itโ€™s why naรฏve teenage fans really believe they know a popstar enough to fall in love with them, and perhaps is augmented with homemade product. There’s a huge connection between the singer and the song, though, I put to Kirsty.

โ€œYah, subscribe to my YouTube channel, and they would have all the details anyway!โ€ I suggest you do, as the interconnection is all-encompassing, the song is awesome, and likewise, so is Kirsty Clinch.


Wither; Debut Single From Butane Skies

Whilst dispersing highly flammable hydrocarbon gases into the atmosphere is not advisory,  Butane Skies is a name increasingly exploding on local circuits. The young andโ€ฆ

Song of the Day 14: King Hammond Meets Death of Guitar Pop

Great things about ska are many fold, but a topper most one has to be collaboration. Rather than set groups, as with most mainstream music, musicians uniting for projects is common and has always been the ethos of ska and reggae since day dot. Perhaps being the very reason it’s so lively and communal.

Another great thing about our song of the day, where Islington’s ska legend Nick Welsh, aka King Hammond, teams up with that crazy Essex duo Death of Guitar Pop, is the ska style displayed, near enough mimics the jump blues “shuffle” on which ska is originally based.

But history aside, let’s just enjoy this new track for all it’s worth. DoGP are fast rising in rank on the UK ska scene, with a carefree “Nutty Boys” fashion, it’s easy to see why.

And that’s my song for the day. Very good. Carry on….


Join me every Friday night at 10pm on www.bootboyradio.net

Song of the Day 13: Antoine & Owena

Congratulations go to folk duo Antonie & Owena for winning the G.S.M.C award for Best Album this year. Yet it’s not their first award, winning best duo at last year’s GSMC, and others. Here’s Something Out of Nothing, which I think explains all you need to know about how and why they won it!

And that’s my song for the day. Very good. Carry on….


Song of the Day 12: Darla Jade

Even portions of expressive contemporary pop, the ambience of post-goth and downtempo electric blues of trip hop makes this Staffordshire singer, Darla Jade really someone to watch. With a haunting uniqueness about her voice and style, there’s shards of Evanescence fused with Beth Orton. It’s somehow individually chartable but would also appease alternative rock or goth aficionados alike.

Subscribe to her YouTube channel, hear her own stamp on Radiohead’s Creep, and realise, her talent is so very special.

And that’s my song for the day. Very good. Carry on….


Song of the Day 11: Dakka Skanks

No video to this one. Do we need visuals? Not when it’s this good; my favourite track of Brighton-based contemporary ska heads, Dakka Skanks.

They’re lively, diverse, lots of fun, and I think we’ll be hearing a lot more from them in the near future.

If the Duallers have reached a pivotal point akin to the Specials, and Death of Guitar Pop are providing the tongue-in-cheek Madness equivalent, I believe these guys could be The Beat of this era, as there was a band unafraid to experiment.

Dakka Skanks are majorly ska, but throw a lovable but carefree punk attitude, and a wide range of other influences, such as soul, into the melting pot, and concoct something uniquely entertaining.

Very good. Carry on….


Skates and Wagons: Path of Condie

If Iโ€™d one criticism of Britpop, during its heyday, least that which the pop charts threw at us, was, in an era of progressing technological electronica, embedded deep in my psyche, Britpop, to me felt regressive. I argued at the time, if The Beatles were still together, in their prime, theyโ€™d be producing techno or drum n bass, for they were trailblazing, innovative and progressive. Whereas, picking on Oasis, particularly, being they seemed to strive to be a Beatles tribute as far as I could see, were relapsing to a previous generation.

Then the crossover crossed back over. If waning was a heady dawn of the nineties where rock fused electronica on the Madchester scene, towards the end of the decade The Prodigy were advancing with an almost punk slant, and Noel Gallagher was lending his vocals to the Chemical Brothers. To pick the era apart now is futile, no one remembers what the fuck was going on most of the time!

Letโ€™s agree to disagree, put it in the past and note today, retrospection is big business, and thereโ€™s nothing wrong with songs which hark back to the sixties, for it was pioneering but more importantly, divine and inspiring. Particularly when, rather than regenerating cover songs, but acting as a base of inspiration. We see a lot of this; from the sixtyโ€™s British blues scene to bubble-gum pop, but perhaps not produced with as much passion as Skates & Wagons.

Skates & Wagons

They sent me a link to their album, Path of Condie on Boxing Day, so apologies it was put on the backburner but I had Scrabble tiles to lay and Quality Street to puke. The EP I reviewed previously appears to be taken down, and Iโ€™m unsure why. The album, is akin to all I mentioned about the EP, only more so. If regenerating Britpop is tiresome and monotonous to you, you need to check this Oxford duo, because they manage it with the precision, innovation and splendour of classic pop-rock and blues of that sixties period, with bells on.

I mean sure, it opens with an interesting approach, Chevron Waltz proves this is going to be no everyday indie-Britpop ride, it is indeed as the name suggests, a waltz. If weโ€™re going to revel in compassions, Iโ€™ll cite The Kinks or Small Faces, The Spencer Davis Group, The Troggs, but predominantly the Beatles, more than Oasis. Plus, weโ€™d need to break it down with the fab-fourโ€™s individual preferences. Opening then is experimental, merging traditional styles of music is certainly McCartney, yet the majority, like Indian Summer rolls smooth, like the later Beatles, Sane Again is anthemically mellowed; very George Harrison.

But this is an album which builds progressively, just like the sixties did. The earlier tunes, initiate sixties pop, and sit at radio-friendly three-to-four-minute timings. Mr Wake Up, for example, explains how itโ€™s going to roll for the time being, beat-based shards of classic pop-rock. But things liven up at Conversation with God, the walt reprise towards the end nuances the album is progressing the entire decade and weโ€™re midway. Waste of the Sky is subtly psychedelia, like the opening to the beatnik period.

Itโ€™s this equidistant section where Skates and Wagons really shine, itโ€™s as if we didnโ€™t need the 1980s, we were fine where we were. Catchy tracks like The Man Who Never Sleeps and All the Love mirror the advancing changes of the middle of the decade, and bring us in line with classic seventies rock bands like Genesis and ELO.

It leaves you dripping for the concentrated, lengthier compositions the trend which followed via Floyd and Hendrix et all, and Skates and Wagons deliver. As Path of Condie develops it builds to more ending with a beautiful eight-minute composition, Yesterday’s Love. Itโ€™s beguiling and timeless splendour, catchy as pop, definitive as classic rock.

If weโ€™ve seen a relived trend with scooterists and mod culture recently, these guys are a hot contender to front such a movement, as opposed to a Britpop throwback band going through archaic motions. Though thereโ€™s often a dispelling, or more, overlooked aspect with the current trend, in the interesting and natural progress to the late-sixties beatnik and flower-power movements; scooterists donโ€™t go for that, and while thereโ€™s nothing so โ€œway-outโ€ as Zappa on offer through Skates & Wagons, it does reflect those initial, optimistic changes of the mid-sixties. And in this notion, is what divides the duo from the bulk standard; yeah, fab, love it!


Trending…..

FullTone Festival 2026: A New Home

It’s been a wonderful summer’s weekend, in which I endeavoured to at least poke my nose into the fabulous FullTone Festival, despite being invited toโ€ฆ

Graham Steel Music Awards Online Tomorrow

Join the GSMC on Friday 22nd January at 8pm for a celebration of grassroots music as they present this yearโ€™s GSMC Music Awards Live Online on YouTube, where they will announce the Winners of all 12 categories and will include live and pre recorded music from some of the nominees as well as a look back at the year and celebrate all those people that helped keep the grassroots music scene alive in 2020.

GSMC Music Awards Night will be streamed live from YouTube on Friday 22nd January at 8pm, the link for this is below:


Song the Day 10: Summit 9 Studios

Funkin’ for Devizes. This lockdown project from Tom Harris, Dan and Ross Allen and Rich, Summit 9 Studios has just been given a funky lift with this blinder, Change Change Change, bang on cue for me hunting for a song of the day.

Saucy effort guys, love it!

Very good. Carry on….


Song the Day 9: Emily Lockett

Facebook memories posts a year ago this week we rocked up in the Celler Bar raising money for the Waiblingen Way Fire fund, and makes me stops and think about the years I’ve been smashing out articles on Devizine. So many artists and bands we’ve mentioned, I rarely forget about them, this one I admit I nearly did. Most likely because I didn’t get the opportunity to attend Stoke-on-Trent’s teenage country sensation Emily Lockett’s gig at Dean’s Country Club, then operating at Devizes Cons Club, later at the Cavalier.

So, nice as it is to discover new talent, equally important is to recap. Emily must be nearing her twenties now, and as a musical prodigy from aged 5, her expertise shines through in a matured sense now. This track, Front Porch says it all.

And that’s my song of the day for today.

Very good. Carry on….


Song of the Day 7: Mr Tea & the Minions

Sunday off, broke my promise to post a song of the day, everyday. Allow me to make up for it. Bristol’s Mr Tea & the Minions with a lockdown themed song. See how sublimely they fire a frenzy of folk and Balkan styled ska-punk into festival proportions. I think they’re the hottest bands around these parts, and fondly reviewed the album, Mutiny a while ago. Just a reminder today then, these kids have it.

I made enquiries, wanting to bring them to Devizes. It’s no cheap option and obviously currently off the cards.

The reservation is that just because I’m loving this style, it might too radical for a Devizes audience. So, I’d appreciate some feedback; would you have paid a purple one to see them play in our town?

Fingers crossed, we live for a better day. But I believe lobbying a large Devizes venue to bring contemporary music direct to us, just occasionally, is crucial to the culture diversity we should be delving into.

Have a lovely rest of your day. Very good. Carry on….


Song of the Day 6: The Simmertones

It’s getting late now and I’ve only just got around to posting our song of the day. Had a piece to write and the obligatory family Scrabble game. Nearly missed the deadline, meaning my promise to post a song each day didn’t quite last a week, but alas, I’m here last minute to seal the deal.

What better then, than the pride of Devon, The Simmertones. They’ve fast made it to a lead name in the UK ska scene, and with their lively shows and crazy ska cover of the Dr Who theme, a personal favourite, it’s easy to see why. A tad more tender, here they are…..

Have a lovely rest of your day. Very good. Carry on….


Song of the Day 5: Gecko

Okay, so Iโ€™ll be brief; weโ€™ve mentioned Gecko quite a lot recently and I wouldnโ€™t want him to get big-headed! Can you imagine? That was a joke by the way, because in some light one could describe what Gecko does as rap, and could you imagine, in your wildest dreams Gecko being conceited? Heโ€™s got to be the most unpretentious rapper ever, though thatโ€™s not saying much; narcissistic is the occupational hazard of the average rap star.

If you ainโ€™t got something nice to say, rapperโ€ฆ… Ah, thatโ€™s why Gecko is a breath of fresh air. if you need any more proof of how good he is, hereโ€™s yesterdayโ€™s released video of the title track of his album. Over and out. Have a good rest of the day. Carry onโ€ฆ.

Trending Now…


Song of the Day 4: Girls Go Ska

Hi, yeah s’me, keeping up the Song of the Day feature like dedication was as word I know the definition of!

No excuses not to, I mean I am of the generation when Roy Castle clasped his trumpet weekly, ready for the signing off of “Record Breakers.” No, it’s not a euthanasim, Google it whippersnappers.

Might also explain my fondness for brass. Brass is class, and a vital element of ska. Yep, four tunes in and I couldn’t resist sharing some ska with you.

It’s a commonly misguided notion that ska is a retrospective cult here in England. It tends to convey a bygone era of Two-Tone records, boots and braces.

Yet today, while said stereotype has a grounding, ska is an international phenomenon, particularly in South America. I did write a piece about this region’s love for ska, and how it’s roots out of Jamaica bare a different tale from our own.

To show you how fresh it can be elsewhere in the world, and it’s not a reminiscence for a
load of overweight balding pensioners as perceived in the UK, here’s all-female bar one Mexican band, Girls Go Ska, who I’m secretly in love with, (so secret they don’t even know themselves….until they use Google translate!) doing an instrumental jam.

Girls and ska; what’s not to like? Have a lovely rest of your day. Very good. Carry on….


  • Harmony Asia Can Do This

    Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture a slice of her wonderful performances on record. I guess I will have to find a new request now, but judging by her debut single released today, I Could Do This, it will probably be, when is the next one coming out?!

    Yeah, itโ€™s as moreish as Maltesers, deliciously soulful and simply sublime. Whilst I had high expectations it would be no less, the anticipation didnโ€™t falter my delight upon hearing it. The presumption was Harmony Asia can do this, do this with distinction, and she did. I Could Do This is jazzy piano and feathering drum neo soul, and with Harmonyโ€™s soothing vocals causally tingling the coolest feelgood romance theme, itโ€™s commercially viable contemporary pop; top marks from me!

    Thereโ€™s technical mastery which seems to come naturally to Harmony; the defined range of emotional depth, and raw passion akin to soul legends, yet retaining the coolness of artists like Sade or Sharon Woolf and Macy Gray. And while this single is on that level too, itโ€™s written with equal skill. Listen to it, youโ€™ll hear what I mean and your ears will love you forevermoreโ€ฆ. ย 


  • A Year into a Lib Dem Wiltshire Council; Chatting with Ben Reed

    Itโ€™s a Friday, just polishing off a big boy breakfast at New Society. Got the window seat; I ponder how beautiful Devizes Market Place looks from up here, and how we often take it for granted. Thereโ€™s Ben Reed, Wiltshire Councillor for Devizes North, waving at me from below; heโ€™s coming up for carrot cake, and to chew the fat over the first year with the Liberal Democrats at the helm of Wiltshire Councilโ€ฆ. priorities; not till Iโ€™ve finished my sausages!

    There was minimal bumps driving here, in comparison to how it has been. The Council are slowly playing catch up with our dilapidated roads, but potholes remains firm on my agenda, because while the main roads are getting TLC, it feels like Devizes is being left out. Despite a lesser public issue visibly, isnโ€™t the spiralling costs of social care more important than potholes, or are the two holistically connected, if these potholes drive us to insanity?! Ben? He starts talking pubs; Iโ€™ve made a friend!

    Far from being something Ben has researched, โ€œbut,โ€ he started, โ€œI think thirteen pubs might be the most of any council division in Wiltshire. It’s nice to have places to stop when you’re out and about delivering and canvassing.โ€ For the record, it was relevant. I was praising the cafรฉ.

    It also served as an introduction to Benโ€™s enthusiastic bearing on the area he manages, explaining its diversity he continued, โ€œthere’s quite a lot of social housing, retirement complexes, and all the businesses. So, quite a lot going on.โ€ย 

    It is through this enthusiasm Iโ€™ll acknowledge while the public are keen to pick easy targets, like potholes, thereโ€™s so many other duties to being a Councillor we rarely contemplate.ย  Ben told me he was due to meet an elderly lady straight after this who lives in Long Street and finds it difficult getting around town. โ€œI’m going to try and work out what her routes are,โ€ he said, โ€œand maybe look at whether there are things I can report on the My Wilts app.โ€ Pausing to consider pedestrians navigating our wobbly pavements might better take their chances on the dodgy roads, Iโ€™m determined to turn him to the subject of potholes! Is Devizes being left out?!

    โ€œIt does feel a bit like that,โ€ Ben agreed. โ€œfrankly, it’s going to be a problem for a while because the backlog is huge.โ€ I will, later in our chat, praise Ben for his Councillor Facebook page, where, unlike others, thereโ€™s no negativity bashing the opposition, just feelgood posts, but sometimes fact is fact, the previous Conservative Wiltshire Council seriously neglected road repairs, leaving us in this state and passing the buck.

    โ€œI’ll try to steer away from being too tribal,โ€ Ben affirmed, โ€œbecause I don’t think it’s very helpful, but as I understand it, there was quite a bow wave of funding in the last couple of years as the election approached. I don’t know whether there was a realisation that this was a problem, but if you go back further than that, and this isn’t this isn’t particularly a Wiltshire problem, going back to 2010, when the Conservative government first came in, local authority funding across the board was really slashed. And highways were one of the things that councils chose to take the money away from. So there was a period where we fell behind with those preventative jobs. And now we’re chasing our tails. It’s a never-ending problem, and when you get a winter like we’ve just had with so much rain and then that freezesโ€ฆ.โ€

    As it being a national issue, Iโ€™ve seen better roads in other counties. Yet, we may believe Wiltshire hits the hotlist for the worst roads, probably because we use them regularly. But research suggests Derbyshire, Northamptonshire, Lincolnshire, and others, long before Wiltshire gets a mention.

    I could scrutinise the previous Conservative-led Wiltshire Council until suppertime, and Iโ€™m pleased someone else now has a stab at it. But, councillors on the opposition and ex-councillors who lost their seats, are quick to raise issues visible to the public, like the pothole debacle, whereas they wouldโ€™ve avoided the subject when The Conservatives were in charge.

    In considering the often unmentioned tasks, such as social care costs, exampling the Trowbridge car park fiasco, which I talked to Taylor Wright about, I worry thereโ€™s too much time taken up with political point scoring, andย  the council is far more disputative and argumentative now that the Tories are on the back foot and Reform makes their impact, against all common sense. To summarise, Iโ€™m gonna ask Ben how a council is supposed to find solutions to important and pressing countywide problems, when they spend months bickering about a carpark!

    ย โ€œYeah,โ€ Ben nods, Iโ€™m onto something! โ€œI found probably the least enjoyable element so far has been those council meetings. It’s difficult to see some of the tactics as anything other than obstructive, unfortunately. The way funding is and the way policies get brought forward is the council officers look at our manifesto and make suggestions and then the administration says yes, or, can we tweak this, and quite often the things we end up doing are probably the things, to be completely honest, that the Conservatives would have done if they’d if they’d still been in power, and yet they end up opposing what often are, as far as I can see, the most the most sensible measures, and the carpark is a good example, I think.โ€

    โ€œIt’s a strange situation,โ€ Ben justifies the carpark fiasco thus, โ€œhaving to provide free parking, and this covenant. But you’ll see this week, NCP, the big carpark developer, have gone into administration. So, if they’re not making money on carparks that they can actually charge people to park in, then you can see what a liability a carpark that we’re not allowed to charge for is. And it’s got to be rebuilt. And it’s going to cost us far more now than it would have been to incentivise the developer to knock it down and, you know, build something nice for Trowbridge.โ€

    ย I can play โ€œrealโ€ journalist, try to gauge Ben for marketable controversy by name-dropping troublesome local political busybodies, but he’s not taking the bait! I’m unconcerned, for that’s never my objective. New to politics, Ben was keen to express he’d never been the opposition, so doesnโ€™t know what it feels like. Though, he comes across as genuine, an earnest and honest guy, tucking into his carrot cake.

    There’s a phrase, โ€˜a week is a long time in politics,โ€™ maybe it’s the opposite for local politics; it’s early days for this new Wiltshire Council and perhaps, optimistically, we need to be patient to see any fruition at base level.

    The carpark was only an example, I was more after dirt on the bickering. Issues regarding waste, reducing the bin collections, and Reformโ€™s pathetic failed bid to end net zero were all hitting points for the opposition, that we discussed later in our chat. I suggested we need some education on how to reduce waste, not just waste being collected, to which he agreed.

    Disappointed by the reaction from the opposition and that โ€œthe petition that’s running doesn’t really go into detail,โ€ Ben was keen to talk bins, and to defend the motion. โ€œYour black bin collections are being reduced from two weekly to three weekly,โ€ Ben said, but expressed, โ€œalongside that, a weekly food waste collection is being introduced. So if you look at a six week period, people will actually be getting more for their money. There will be more collections over the year, just different collections, and hopefully there should be a lot less in the residual waste when the food waste comes out.โ€ Besides, he pointed out, it’s a government requirement, โ€œwe have to we have to do it.โ€

    For the opposition itโ€™s a soundbite, easy to highlight your waste collection wonโ€™t be as regular under the Lib Dems, ย but Ben explained, โ€œit’s just not true. One type of bin collection has been reduced, but you’ve got a new one which is a lot more frequent. Sadly, there is a bit of game playing.โ€

    On the general bickering, โ€œI do find that very energy-sapping,โ€ ย Ben replied. โ€œI try and stay away from it as much as I can. I think for the Conservative group, it’s a real change for them. It’s a period of adjustment. They’ve been in charge of Wiltshire Council pretty much from the outset. And I think, well, I hope they’ll find a bit of a friendlier way of conducting themselves. Because opposition is about fair criticism, it’s about scrutiny. They’re perfectly entitled to raise complaints. The roads, you know, it’s difficult to see how we can be criticised too much on those at the moment. Up until last month, we were working on the old Conservative budget. We’ve allocated some additional capital spend for the next few years. Hopefully we can get away from kind of reactive maintenance.โ€

    โ€œJanuary, there were 2,700 pothole repairs, which is a record month ever. It’s an unwanted record, but, I think up to mid-March, they did about 5,000. And there’s normally, I think about 15,000 done a year. That’s quite a lot ahead of schedule. They’ll be concentrating on repairs until June and then hopefully they’ll get to a place where they can look at preventative maintenance. Station Road is a case in point. It’s been due for a proper resurfacing, but you can’t do that while Northgate Street is still closed. So as soon as that’s open, I’ll be pushing for Station Road to have its resurfacing, and they’ll come to Northgate Street later.โ€

    It makes me wonder, that they created a road repair taskforce, if the workers are allowed to think for themselves and bypass the red tape, because thatโ€™s what appears to delay the process. You download the app, report one pothole at a time in a road of thousands, which goes through evaluation processes, paperwork, venturing out to spray-paint a square around it, or pop a cone in there. Whereas a taskforce could deal with it immediately. Because I see a repaired stretch of road, and often thereโ€™s potholes centimetres after it! Are they restricted to deal with what it says on a piece of paperwork, and not permitted to think, โ€˜hey, we’ve got a bit of spare tarmac, we could just carry on a wee bit, and cover that trench too?!โ€™

    โ€œI’m told that there is a bit of leeway for that,โ€ Ben stressed. โ€œPotholes get prioritised, a defect or a pothole gets categorised. So, if it’s in a particularly dangerous area, or of a particular size or depth, then it gets a P1, and it’s supposed to be repaired within 24 hours. If there’s a crew going around doing those, they probably will ignore some smaller ones and just get the ones on their list ticked off. So that’s probably why that arises. But I think in practice, if there’s a massive priority one pothole and then some quite big ones obviously visible nearby, they probably would repair those before they move on, I’d like to think. But it depends how busy they are and what they’ve got on their list for that day.โ€

    I canโ€™t really argue with that, state of our roads, they must be busy bees! ย Ben also suggested technical issues with the MyWilts app needs reviewing, that issues raised by the public can be marked as closed even if the issue hasnโ€™t been resolved. โ€œI don’t think they should be closed until they’re repaired,โ€ he said, โ€œwe’ll see what the review of the app comes up with, in terms of improvements.โ€

    Itโ€™s not the roads though taking up the budget, annoying as it is to hit a pothole, the bigger picture is knowing vulnerable people are safely cared for. โ€œPeople often don’t realise that the bulk of our funding, whether that’s from government or from council tax payments, is pretty much spent before we even decide what to do with it. And social care takes up a really big chunk of that. So, children’s and adults, vulnerable people’s services is, I forget the exact percentage, but it’s certainly over 60% of all Wiltshire Council’s expenditure.โ€

    โ€œThat’s an ever-increasing chunk,โ€ Benย justified, โ€œwhich makes it really difficult to find money for other statutory services, like library services are statutory, highways too, obviously. Once you get beyond that, you’re really having to find pennies to do things. Leisure, for instance, is not a statutory service, but Wiltshire’s managed to keep a reasonable number of leisure centres. I think, compared to some local authorities, we’ve done quite well there, building a new leisure centre in Trowbridge, which is coming on very well.โ€

    โ€œBut yeah, social care is the headline thing, I think, for councils. And it’s very important to look after people who need help. I’m recently been added to the Children’s Select Committee, which is the main scrutiny committee for all the children’s services. They look at how schools are performing, school attendance, and the leisure and youth services we offer. I’m really enjoying that actually. I don’t have children, so I thought, well, maybe this isn’t the right committee for me. But no, of all the committees I’m on, I think I get most out of that. So yeah, it’s been good.โ€

    We talked for some time on MPs, praising Brian Matthew, and we agreed switching parties, as Danny Kruger recently did in Marlborough should meet with a by-election. But the focus needed shifting back to council level, so I asked Ben what he thought the biggest changes at Wiltshire Council has been, and how transparent they are.

    โ€œWe certainly want it to feel people are closer to their council,โ€ Ben responded. โ€œThey can ask questions and get answers, and then we will be, transparent with people. Yeah, there’s criticism been levelled about, some meetings go into part two, which is confidential business. And, like the carpark, we were accused of doing things behind closed doors. But this is completely standard stuff that happened under the last administration. If there’s commercial sensitive information, then it doesn’t, or personal; if individuals are being spoken about, that isn’t going to be in the public domain. And that’s the same everywhere.โ€

    The opposition play on this, and it reflects badly?

    โ€œWell, it does,โ€ Ben agreed. โ€œThere’s no reason why people shouldn’t take what they’re reading from them at face value. But to be honest, I wish more people would tune in to the council meetings on YouTube. Because to me, If you watch a bit of that, then it’s pretty clear, to me at least, who’s trying to get things done, and who’s trying to stop things moving forward.โ€

    With public engagement, prior to the meeting, Ben stressed surgeries arenโ€™t popular. I said he shouldnโ€™t take it personally, as they often happen during the working day, and supposed many of us, myself guilty too, prefer to have a whinge on Facebook rather than address the councillors in person!

    โ€œProbably, yeah,โ€ he figured.โ€ I want to make sure if someone does want to get in touch with me, they can. So the more channels and opportunities there are for that, the better. And that’s partly on me to go out to events and knock on people’s doors and sort my focused newsletters out three or four times a year. But, it does need someone to make the effort to drop me a line. It can be a phone call, an e-mail, a Facebook message. They can come and see me at a surgery. I am trying to do the surgeries evenings or weekends, so hopefully a bit friendlier times for people.โ€

    โ€œI’ll answer comments on Facebook if I think I sensibly can. Sometimes people make comments, and you can understand why, people let off steam, but maybe they donโ€™t know the full facts of what the issue is. And sometimes it’s complex to explain that. So it’s difficult on a Facebook message.โ€

    And people can take it the wrong way. It’s just words. Herein I raised the Kebab Shop fire as an example, an issue Ben confirmed had been his most pressing, and being such a complex one, has learned not to ย โ€œover promise.โ€ He originally said the site will be demolished in February, weโ€™re moving into April. Devizes is a lovely place, but it’s easy to think the town’s in a state, and everything that’s promised is just pie in the sky.

    โ€œWhat would be a worry for a town is if there wasn’t these developments happening,โ€ Ben replied, โ€œif it wasn’t a place where developers wanted to invest and create new facilities and new homes.โ€

    โ€œDevizes, seems to be moving in the right direction, and I know it’s frustrating with the delays, but I think there’s so much light at the end of the tunnel. Northgate Street, the kebab house, there’s been a perfect storm, but itโ€™s really unfortunate in terms of the location, the type of building and the damage that was done, ended up being propped up like it was.โ€

    โ€œQuite apart from the human aspect of it and the loss of business and livelihoods, and the neighbouring properties are both quite badly damaged as well. Hopefully they can get on and get it repaired. And it has dragged. If I’d been able to hire a wrecking ball and pitch up there myself, I would have done it!โ€

    โ€œIt was not the easiest thing to inherit. It was six months after the fire that I won the election, and at that stage, I don’t think the owner had worked through all the insurance issues. But eventually the demolition application went in. They were supposed to do it in February, as you say. They hadn’t finalised the partition wall agreement, because they need to make sure when they knock it down that they don’t do more damage to number one and number three. And then the contractor wasn’t available until April. So we are where we are.โ€

    Our chat continued onto Station Roadโ€™s resurface and its traffic flow. Ben agreed lessons needed learning between the Highway’s team and Building control team, and he raised other issues, such as the condemned old Royal Oak building.

    โ€œThey’re converting it into apartments,โ€ he said. โ€œIt was a terrible state, but it’s a listed building, so it’s really good to see it getting back into use. Unfortunately, they’re going to need to close half of New Park Street to sort out the water and electricity connections. So, I’ve been talking with the traffic team at Wiltshire Council, about when is a good time; there’s no good time! I think the offer they’ve made to the developer is do it overnight, so there won’t be any closures in the day. So, we’re waiting for that to be scheduled.โ€

    โ€œItโ€™s only a short closure, but what we don’t want is any overlap with Northgate Street still being closed. So, the highways team are always balancing these things against each other.โ€

    It was great to meet and chat with Ben, for thereโ€™s many issues which need clarification. Short newspaper articles on a relative single subject cannot provide as much information, and being surgeries arenโ€™t popular and the public tend to need matchsticks to keep their eyes open watching a video of council meetings, it is all too easy to be misinformed about Wiltshire Council! I believe social media posts from the opposition parties should be taken with a pinch of salt, and while criticism is fair game, things are looking positive a year into the newly elected Lib Dem council.


  • Battle of Bishop’s Cannings Ends in Devizes Defeat

    David slew Goliath with a sling and a stone. Bishop’s Cannings Parish Council used evidence, against a group of Devizes Town councillorsโ€™ more circumstantial land grab pitch, at Wiltshire Councilโ€™s Community Governance Review, and just like David, triumphantlyโ€ฆ..

    More war of words than any military action, though the latter would’ve made a better scoop for me, the underdogs came up trumps in a surprising result!

    Rather than admit it’s for financial reasons, the Devizes Town councillors fluttered around premises such as they were rattled by messages from residentsโ€™ misunderstandings as to what council they came under, plus staking a claim to the Lidl store, in their pitch to the council to transfer areas of the town currently run by Bishops Cannings Parish Council to Devizes Town Council instead.

    But the parish council had strong evidence in their arsenal, that theyโ€™re successful in community commitments, and used villagersโ€™ statements to present a more heartfelt plea. They even mentioned football, for what the commendable Bishop’s Cannings FC has done for all ages and abilities with their local grassroots football team supersedes any other local club, and serves the whole community of Devizes and its many other villages.

    The Committee voted by 5 votes to 3 to recommend that the semi-urban area and the rural area south of Nurtsteed School should both be retained within the Parish of Bishops Cannings.ย 

    Though the battle was won, it’s dubious if the war is over, for while this will not be subject to further consultation, it will go to a free vote amongst Wiltshire Councillors, likely in July.

    Chair of Bishops Cannings Parish Council, Cllr Darren Bone sent a message to the residents. He said, โ€œCllr Iain Wallis of Devizes Town Council and Simon Williams, the Town Clerk, made a joint presentation in which they tried to persuade the Committee that the only correct result would be the wholesale transfer of the semi-urban area of Bishops Cannings Parish to Devizes. They also sought the transfer of rural land south of Nursteed School. Some of the arguments were new. All were subjective and offered without evidence. They tried to convince the Committee that 1200 homes and the families of over 2000 electors would all be better off under the control of Devizes.โ€

    โ€œIn response, I introduced Mr Chris Nicholls, whose letter in support of the Parish Council and the retention of the semi-urban area was included in our detailed submission to the Committee. I am indebted to Chris for his honest, passionate statement. It was well-received and carried weight.โ€

    โ€œI then addressed the Committee in turn, countering the vague notions which had been put forward by representatives of Devizes Town Council. The wealth of verified, tangible evidence presented previously by Bishops Cannings Parish Council in its submission and in person was reiterated. We sought a clear and unambiguous recommendation that the Parishโ€™s boundaries should remain as they currently were. Further agreement was sought for a change of name for the Parish.โ€

    But the good news for Bishops Cannings Parish Council wasn’t over yet. Unexpectedly, once the committee debated the issue, they voted to consult with both Devizes and Bishops Cannings Councils, and the public on whether two potential transfers should occur, albeit this time from Devizes Town Council to Bishops Cannings Parish. Whoa there, it’s all gone a bit Treaty of Versailles here, if Devizes has to surrender significant territory, guaranteed someone’s knickers are going to get in a twist!

    Despite it being a more common occurrence, where land is urbanly adjoined to a town, community governance reviews tend to side with the town, in this case it seems it was not only a loss for the Devizes Town councillors, but a complete backfire!

    Cllr Darren Bone continued his message to the people of Bishops Cannings, โ€œToday was a good day for the Parish of Bishops Cannings, for the Council and for its 2,628 electors and their families. The Councilโ€™s transformation, achievements and intent were universally praised by the Committee. Special thanks go to Mr Nicholls and to Cllr Philip Whitehead, our Unitary Councillor, who both spoke powerfully and eloquently.โ€

    Congratulations to Bishops Cannings Parish Council; treat yourself to a cupcake, while the Devizes Town councillors can have some humble pie!


  • How it Feels for a Bluebeard!

    The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a book by its cover, because while this Wiltshire collective’s debut single How it Feels might pertain such elements, I was pleasantly surprised to find it also jumping with feelgood soul….

    Taken from an upcoming album of the same name, How it Feels is brass-blowing, high energy, sunny side of the street music, and I’d wager we all need a bit of that these days.

    Piano-driven rock, gripping onto early Springsteen, or Elton John even, uptempo yet melodic, with an instant and irresistible hook. Yet when I listened, I was filled with imaginations of later new wave mod, when it became the staple pop of the eighties; this wouldn’t look out of place on a Style Council album. I’ll tell you how How it Feels feels; it feels alive and kicking!

    Bluebeard and the Desperate Hours are quite the expert collective. Dave Turner is the bluebearded frontman pianist, Helen Robertson plays cello and adds those soulful backing vocals with Phil Cooper, who is also on bass.

    All backed by guitarist Rich Godfrey and drummer Coby Franklin-Turner. The brass section knocking the energy into this song is provided by trumpeter and flugel horn player John Hare.

    Shame I missed them at 7 Hills last weekend now I’ve heard this cracking single, but made up they’ll be at our newly opened The Fold this Friday, 27th March, at The Lamb in Devizes, with JP Oldfield in support. It’s free, hope to see you there?!


  • โ€œUnderdog: The Other Other Brontรซโ€ at the Rondo Theatre, Larkhall, Bath, March 25th-28th 2026

    by Ian Diddams

    images by Richard Fletcher

    How many Brontรซ sisters can you name? Which books did the sisters write between them? Can you name them?

    Did you get that there were three sisters? That wrote seven books? You may have thought of โ€œJane Eyreโ€ and โ€œWuthering Heightsโ€, but what about โ€œAgnes Greyโ€? Or โ€œThe Tenant of Wildfell Hallโ€. You may have recalled Charlotte and Emily Brontรซโ€ฆ

    But what about Anne Brontรซ? Author of those two last named novels? Does she, or they, feature on your literary radar?

    Congratulations if they do โ€“ you are an English Literature graduate at least, or one of those weird people that know loads of usually useless knowledge that people want to have on their pub quiz team that then drop you like a stone once the winnings are divvied up, and you wander home alone, smelling vaguely of stale BO and loneliness.

    So, step forward the other other Brontรซ, Anne. The one everybody forgets if they ever knew of her to start with. And is embraced by Sarah Gordonโ€™s play performed this week at the Rondo Theatre, Larkhall, Bath by the โ€œin houseโ€ theatre company, RTC.

    Anne, as per the above, is the centre of this play, but in many ways its really about the fractious, loving, abusive, and caring, relationship between her and Charlotte as we see Anne systematically abused firstly in her efforts to be a governess, and when finally escaping the oppression of service, receiving little better from her eldest sister… while Anne eventually becomes the worldโ€™s first feminist writer.

    The story covers a simple timeline of the Brontรซ sisters adulthood, with appearances of drunken brother Branwell, though there is a little poetic licence over some chronology to help the flow of the narrative. I have to throw that in for the three of you reading this that are actually internationally renowned experts on the Brontรซs and may otherwise think I missed it. So there. I didnโ€™t. For everybody else โ€“ its not important and the story works well as a result. I blame Branwellโ€™s booze befuddled brainโ€ฆ

    Anyโ€™ow โ€“ as they may say in West Yorkshire โ€“ their basic history is on Wikipedia so I wonโ€™t reproduce it here. Suffice to say all three Brontรซs in their own way produced magnificent works that have stood the test of time, and Kate Bushโ€™s singing, before Anne and Emily succumbed to tuberculosis following Branwellโ€™s previous demise. The water in Haworth has a lot to answer for.

    Charlotte died of complications in pregnancy โ€“ maybe she didnโ€™t drink the water. None of them made the age of forty, and the younger two barely thirty at best. Tragedy had also struck the other two totally unknown sisters – Elizabeth who had died aged ten, and Maria aged eleven.

    โ€œUnderdogโ€ is a quite superb piece of writing; Sarah Gordon has lifted a passingly interesting family history and created a vibrant soap opera (in the best possible way!) about three siblings all destined for greatness, with hugely differing personalities. Of their love and support for each other; their internecine rivalries; their differences. Anne, at first demure then latterly strong and quietly confident, Emily, abrupt yet watchful, and Charlotte โ€“ a domineering bully that gaslit her sisters, particularly Anne and most definitely herself. Charlotte opens the show with a 4th wall monologue about pious men looking down on women, but is portrayed as being no better herself.

    The three leads are mesmeric. Their characterisation is sublime, magnificent. Josie Mae-Ross plays Charlotte, Naomi Miller, Emily, and Alana Wright, Anne. The three bond so well on stage, with amazing chemistry, they really feel like three sisters. Itโ€™s a line heavy play for the three of them, as well as the portrayal of their characters on top and they are on stage for pretty much the entire two hours that the play runs for. Chapeau all round.

    Branwell is played by Natalie Prescott, swapping her natural North Cheshire vowels for West Yorkshire ones and crossing the Pennines to do so. Thereโ€™s a suitably gruesome reminder of the results of TB and Natalie captures Branwellโ€™s self-destructive insouciance to a tee. Natalie also partakes in various ensemble roles along with the other members of the cast Antonia White, Jade Wright, Sarah Horrex and Sophie Kerr. Their slickness between several cameo style roles each is commendable, and peaks with a brilliant scene of literary critics discussing the sistersโ€™ works in deprecating terms. No spoilers here but the show is worth seeing just for this one particular ninety second scene.

    Youโ€™ll have noticed I am sure eight female names for eight cast members โ€“ yes dear reader, itโ€™s an all-female cast โ€“ as befits a play about the worldโ€™s first feminist writer. This is all pulled together by director Helen Taylor with great vision and pace. The set is wonderfully simple doing just enough to set the scene and allow the actors to deliver in an uncluttered space.

    Tech as ever at the Rondo is delivered as excellently as ever by Alex Latham, and the costumes are simply perfect โ€“ take a bow, as is often the way, Chrissy Fryers. The original music for the show is provided by the maestro that is Moray Macdonald and all of these creatives are more than ably supported by producer Yvonne Paulley, Stage Management Lylou Sharp and Olivia Lynch with publicity and poster design by Meg Robertson and Cate Nunn respectively.

    You donโ€™t have to be a Brontรซ fanboy or fangirl to enjoy this show. It has a quality that live theatre brings that watching a screen just doesnโ€™t haveโ€ฆ the immediacy of the action, the intimacy of the space, the direct connection with the cast, and it has this in spades. It is simply one of the best pieces of theatre I have ever seen, and I am fortunate enough to watch a lot of quite excellent theatre that is well worthy of the highest praise.

    You could do far worse than blow a whole fifteen quid, cheaper than a pizza and a pint, on a ticket to this wonderful show this week. I even urge you not to miss it.

    Tickets from https://rondotheatre.co.uk/underdog-the-other-other-bronte and the show runs Wednesday 25th March to Saturday 28th March.

    And you may recall I said something about the water in Haworthโ€ฆ? Itโ€™s actually trueโ€ฆ.

  • 7 Hills to Trowbridgeโ€™s Old Town Hall

    To clear up any confusion, Trowbridgeโ€™s old town hall is no longer the town hall, but The Old Town Hall. I have no idea, nor care to know if there’s a new town hall; that’s irrelevant. Whilst still owned by the council, it was refurbished and reopened as a charity funded arts centre and cultural hub last Octoberโ€ฆ..

    I met a great bloke there called Tom, he used to run Bath’s venue Moles, now he’s steering events at this glorious grade II listed building, originally opened in 1889 to commemorate Queen Victoria’s Golden Jubilee. It is an utterly stunning space of Victorian splendour with acoustics from the heavens; nice to note it’s in good hands.

    In equal splendour was the reason I’m here, for the 10 Hills Spring Music Festival. Congrats if you spotted the deliberate mistake, there were only ever seven hills; I’m rounding it up as if it’s a score out of ten, perhaps I should add an extra hill or five onto that for good measure!

    If forced to find a nick-picking fault with this event, I could suggest a lack of chairs inside the hall, considering the higher end of the age demographic in attendance. But the concentration was on the music, an elaborate concert-festival, and the quality and quantity of this was absolutely mindblowing, if not particularly diverse.

    7 Hills regularly organise music events at The Night Jar in Bath, including an annual festival. Chris Hoar of Courting Ghosts explained he, โ€œreached out to them initially to say I was planning a festival in the newly renovated Old Town Hall, just to check it didnโ€™t clash with them, and Matt said letโ€™s do it together in Trowbridge as a spring festival.โ€ And here we are finally in spring, I’ve been looking forward to this.

    Americana, folk-rock was the order of the day, everything uniformed to the influences of Courting Ghosts. So if you wanted to go looking for a dance tent, this wasn’t for you. But the standard of music was sublime throughout the day and into the evening, and that’s what made 7 Hills so spectacular.

    Best festival of the year I could jest, because it’s my first, still, I believe I’m going to be hard pressed to find a lineup as good as this, and the craziest element was, while I knew most of the local acts booked for the afternoon, I was in the dark about the later ones, but far from disappointed.

    Jess Chivers

    Perhaps the only one I saw to deviate from Americana was Jess Chivers, who delivered a great set on an acoustic stage adjacent to the main one, as this had subtle elements of punk. This second stage assured consistent entertainment whilst bands prepped on the main stage. I believe because I needed sustenance I missed Phil Cooper’s set, drafted in due to a cancellation, and a few others before my arrival, but Leander Morales polished off the acoustic stage with an energetic and poignant set.

    Thieves

    Sadly I missed Fly Yeti Fly, meeting Darren on the stairs as I came in. Love this duo too, they remind me of Christopher Atkins and Brooke Shields in the Blue Lagoon! My arrival, I hoped, would be timed for Concrete Prairie, as it was, lovable bluegrass collective Thieves were doing their wonderful thing on the second stage, while the prairie tuned on the main, under the stained glassed lancet; confirming I’m going to love this event.

    Concrete Prairie

    Make no mistake, Concrete Prairie was on fire, I expected no less. Undeniably the liveliest set at the festival, they gave us the classics from their 2022 self titled debut album, finishing on their magnum-opus, the incredible crescendo-hugging Devil Dealt The Deck, but between them blessed our ears with some new songs from their forthcoming album. While Joe set no date for its release, the songs came across livelier than the sombre mood of the debut album. Theyโ€™re perfectionists, providing me with faith there will be no sophomore slump.

    The band were incomplete too, Phil Cooper taking bass, and original fiddler in the band, Georgia, filling in for her replacement. Still they rocked it, and Iโ€™d have been content if I had to go home straight after them!

    Courting Ghosts

    Obviously with Chris Hoar at the helm, Courting Ghosts would play, and I could imagine no other following the Prairie, even if their overall mood is more sombre; this is music for the soul. Counting Ghosts surely set the mood for the remaining acts, this smooth Americania with influences from both country folk and jazzy soul. They gifted us a new song, to be the title track of their next EP, Baby, I Bleed for you, and sparks flew.

    Orla

    Everything chronologically from now on would be new to me, but all of it flying miles above my expectations. A great example came from the acoustic stage immediately after the Ghosts. Orla is a young singer-songwriter from Bath, and clearly one to watch. With crystal vocals she gave us some divine originals, including a particularly poignant one called Mouthwash, and made Crowded Houseโ€™s principal her own.

    Matt Owens & The Delusional Vanity Project

    Former Noah and the Whale, Matt Owens & The Delusional Vanity Project followed with a dynamite set. As evening set in a professional precedence, I figured this was going to get continuously better. Multiple AMA UK Award winner Hannah White, the best yet, intertwined devout stage presence with a heartfelt singalong, she captivated, projecting her pure lyricism like dripping honey. I especially liked the tune with the reggae offbeat, but overall, I left wondering if, or how it could possibly get any better.

    Hannah White

    If Iโ€™m now a Hannah White fan, and all presented before us was of a quality so high it would be impossible to fault, it should be no negative reflection in comparison to suggest something here wasnโ€™t entirely my cuppa. No doubt, any Ohio artist signed by Peter Gabriel is going to be of an excellent standard, and soloist and loop pedal god,ย Joseph Arthur certainly is, it was just the bar was set so high by Hannah it levelled off here somewhat.

    ย Joseph Arthur

    So, despite the highest of qualities, I wondered now if, for my personal tastes, anything could possibly top Hannah, and casted a preconceiving critical eye over Our Man in The Field as they set up. They certainly had an impressive ensemble, seven piece with an upright bassist, organist and everything. The lead guitarist had something of a Bill Wyman debonair, while the frontman presented himself as a funky truckstop dweller. Grasping tight to my newfound adoration of Hannah, this would be interesting, if nothing more.

    Thatโ€™s when the vibe hits you best, when itโ€™s a surprise! Our Man in The Field has the perfect Americana balance, components of country, but with such soulful jazzy swagger, they had me off-guard and now totally hooked, the first to entrance me wholly. Our Man in The Field is sublimely captivating.

    Our Man in The Field

    Shit, I realise now I shouldโ€™ve put more trust in Chrisโ€™s knowledge! He has presented a lineup which, despite me thinking at numerous intervals, heโ€™s not going to top this, he somehow did! I made up my mind then, I had to witness the final act even if an asteroid hit The Shires shopping centre.

    The Delines, self-labelled as โ€œretro country soulโ€ from Portland, Oregon headlined. With everything previous so hyped in the hamster wheel of my mind, it mattered not if this suited me, I could leave now, more than content. I couldnโ€™t leave. I imagined myself off the lines, driving one of those poetic American roads, planning to stop off to drink my soul away at a roadside bar, but when you walk in a band playing in a back room is so inspiring you figure life is too short as they blissfully cure your blues.ย 

    The Delines

    This was gorgeous. Utterly brilliantly steady, smooth with no need to fire up, just drifting with narratives akin to Guthrie, jazzy and soulful as Springsteenโ€™s early recordings and the Asbury Park scene, on a Gil Scott-Heron level, and topped with the honest banter of a band in their prime; there was no need for them to apologise for Trump, thereโ€™s two bridges between us, they can break the political one, but cannot ever do the same to the creative arts one. I wished my friend Chrissy could see this, this is what her band Burn the Midnight Oil should attain to, this was blended bliss, American music without borders.

    Impossible for me to compare what Queen Victoria’s Golden Jubilee was like at Trowbridge Town Hall with the events now being run at it, but 7 Hills felt like it couldโ€™ve matched it, even without cherries cooked in flaming brandy, and the range of community events at the venue breathes positive new light into Trowbridge town centre.ย 



  • Wiltshire Hunt Sabs Stolen Drone Footage Reveals a Beaufont Hunt Kill

    Retrieved footage from a stolen drone of the Wiltshire Hunt Saboteurs reveals the Beaufont Hunt making a fox kill earlier this month, and itโ€™s undeniable evidence of their despicable crimes against our wildlifeโ€ฆ.

    The Wiltshire Hunt Saboteurs have exposed The Beaufort Hunt numerous times, recording a kill on the Fosse Way in November 2025, on the Dukeโ€™s Badminton Estate in December, and another at Cranmore Farm, Shipton Moyne, in January this year.

    This distressing footage was recorded earlier this month at Commonwood Farm, Luckington. It clearly shows a fox hiding the hedgerow, the hounds doubling to the exact spot where a field rider was waiting, and dragging the terrified fox from the edge of the hedge, tearing it apart. The fox is then killed in front of hunters, who do nothing to stop the attack.

    If this sickens you, the next part of the process is utterly terrible; the cover-up. Whilst they bag the remains of the fox, their terrierโ€‘men and hunt supporters surround the drone, waiting for it to land, in an attempt to steal it, while the sabs rush to protect it. This is now common practice added into their โ€œtraditional country sport.โ€

    The Police were called, and an officer from the Roads Policing Unit took the drone. “He just took it,” The Sabs explained, “he didn’t say what powers and didn’t give a receipt, hence we call it a theft.” Meanwhile, many of the terrier-men, with “registration plates deliberately muddied out,” realising they too were being recorded, fled. Police engaged with the leader, but not with the sabs. A rural crime officer viewed the footage on the drone controller, and another officer from Chippenham Response also attended.

    The Rural Police Unit seized the drone containing vital evidence, but did nothing to stop the hunt, or locate the remains of the fox, disposed of in a bin bag, according to the sabs. The drone was returned to Wiltshire Hunt Sabs, following a weekโ€‘long campaign exposing the circumstances of its seizure. The evidence has now been posted to their social media platforms.

    This leaves me with little faith the new laws will do anything to stop this, if police do not act on them. Because, there was me thinking the objective of the police is to prevent crime, not just punish after a crime is committed? I asked the Wiltshire Hunt Sabs how they feel about these new rules regarding trial hunts, and if they think it will really make a difference?

    โ€œItโ€™s hard to say without knowing what the government will implement,โ€ a spokesperson told me. โ€œAny improvement is welcomed but this is our only opportunity to get rid of the loopholes – and the government must make sure it doesnโ€™t introduce new ones.โ€

    โ€œThe Hunt Saboteurs Association has produced a brilliant booklet detailing the key changes needed to ensure an effective ban on hunting wildlife with proper sentencing deterrents. Currently the Hunting Act allows only for a fine, which isnโ€™t a deterrent or punishment for fox hunters with deep pockets. Landowners and hunt management also need to be held accountable more often too; they are supportive of their law-breaking hunt staff. Trail hunting needs to be banned; it isnโ€™t an activity in itself, it simply exists only as a legal defence. Reckless clauses will certainly hurt them as every defence comes down to โ€œooops, it was an accident!โ€ Itโ€™s nigh on impossible to prove intent – as you canโ€™t hop into anyoneโ€™s mind, even though everyone knows when fox hunters hunt or kill foxes, itโ€™s 100% intentional.โ€

    The continuous scroll of comments on The Wiltshire Hunt Saboteursโ€™ social media posts show the overwhelming support for the organisation’s attempts to prevent this criminal activity, their anger this continues, and criticisms of the seemingly inactions of the Police. Myself? I call the Beaufont Hunt something which rhymes with hunt.

    You can follow Wiltshire Hunt Sabs HERE and support their work HERE.


  • Extended Lineup for CrownFest

    It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentioned it, because the organisers Stone Circle announced that its proceeds will be donated to Wiltshire Hope & Harmonyโ€™s Dementia Choir. I like to tease you during those cold winter months, and get us looking forward to warmer days coming…..

    Now the time is nearly upon us; frosty starts but some glorious sunshine brings a sigh of relief, as spring has sprung. Time to remind ourselves of some of the local festivals on our horizon, but this isnโ€™t about simply regurgitating what weโ€™ve already said about CrownFest, because thereโ€™s been a few updates since, worthy of your attentionโ€ฆ..

    What is new, is that the music will be presented over two stages rather than the single stage. Acoustic acts will be in the marquee, while bigger bands will be soundchecking and warming up on the main stage. This is great news, for continuous entertainment, and youโ€™d have to wonder otherwise, just how theyโ€™d squeeze so many acts into just one day.

    And, before I waffle too far, that one day is the 4th July 2026; closer than you might think!

    Tickets available HERE. A standard adult is only ยฃ32, children are ยฃ10, and thereโ€™s a ยฃ75 family bundle option too.

    So, what Iโ€™ve already told you: Kinishaโ€™s renowned Simply the Best Tina Turner Tribute and Adam & The Ants tribute Ant Trouble headline, closely followed by Wiltshireโ€™s premier indie-pop favourites and winners of six Wiltshire Music Awards, Talk in Code. Purveyors of Irish & Celtic folk The Publicans will also be playing, along with Salisburyโ€™s rock cover band Innovator, rock covers band Tipsy Gypsies, the one and only George Wilding, Mother Ukes, and the blooming marvelous Lucas Hardy.

    And if all that isnโ€™t already enough, what you might not have noticed, is some fantastic additional acts recently added. Firstly, the sublime Ruby Darbyshire is now on the lineup, who is worth the ticket price alone! Young Calne singer-songwriter, Braydon Lee, is a name on everyoneโ€™s lips right now, we fondly reviewed his latest single, and heโ€™s coming too. Eighteen-year-old singer-songwriter, guitarist and pianist Dylan Bratley also made the team; a new name to us but Iโ€™ve just checked out his rather cool Noah Kahan cover on TikTok, looking forward to hearing him live.

    Lastly, is an upcoming Salisbury sixth form band, organiser Eddie Prestidge likened to Nothing Rhymes With Orange, called Five Nights at Adyans. The Salisbury Journal recently mentioned them playing Wiltshire Creativeโ€™s โ€œGlow with the Flowโ€ event for young musicians at Salisbury Art Centre. They revealed โ€œthe band is composed of four boys, Jasper Hill, Owen Morgan, Thomas Clark, and Toby Allen, who are all currently in Lower Sixth at Bishop Wordsworthโ€™s school, and have been friends since they were in Year Seven. The influence behind their name is a play on the famous video game โ€œFive Nights at Freddyโ€™sโ€, combined with the influence from their classmate called Adyan, whom they often bring up on stage.โ€ย 

    This kind of leaves me wondering what Adyan does, if heโ€™s like a young Bez from the Happy Mondays, and if he will show up at CrownFest! Adyan or no Adyan, CrownFest is getting better and better, the latest poster unusually puts the lesser-known acts above the headliners, showing a real dedication to upcoming performers, and thatโ€™s a great look! All roads lead to Bishops Cannings this coming 4th July…. get on one of them!


  • Vox Populi: New Album From Deadlight Dance

    The difference between punk and goth is that as a punk you reject society, as a goth society rejects you. Being society lives mostly online today, that’s probably why my spam filter assumes proposals from exiled middle eastern princes to deposit bitcoin into my bank, and machines to extend oneโ€™s manhood are of interest to a regional entertainment blog, but a local goth duo’s new album should be hidden in a spam folder.

    Algorithms now pressure me into having to rush this out, despite noting on social media, Deadlight Dance are releasing their third album, Vox Populi tomorrow (Friday 20th March), which they launched at The White Bear in Devizes last Sunday. Have Nick and Tim got in the humph with me?!

    They are Eurythmics-covering retro goths after all, who seem to be dealing with the apocalypse with new songs and a spot of gardening. I’ve always been nice about what they do and thought the feeling was mutual! Not at all; seems after a quick Facebook message, the glitch is real, and the email was discovered; and just like the issues Nick and Tim describe, โ€œthe populist rhetoric, the age of the oligarch where the rapid development of A.I. and deepfakery is upending reality, and โ€˜straight-talkingโ€™ chancers who claim to represent the majority are stoking the smouldering embers of fascism,โ€ these are the depressing first world problems which need addressing, and with them in mind, isnโ€™t it overdue to rekindle the era of the goth spirit?

    Recorded as usual at Mooncalf Studio with legendary purple-bearded producer Nick Beere, it feels at times as if Deadlight Dance are canvassing for compassion as humanity gears up to vote for the collapse of civilised society. โ€œItโ€™s dark,โ€ agrees Nick Fletcher, โ€œbut there is hope there. You donโ€™t talk about these things unless you want to do something about it.โ€

    โ€œLight and shade,โ€ says his partner in sound, Tim Emery. โ€œHopefully thereโ€™s something forย everyone. For some people, everything will be for them.โ€

    With all edgy synths blazing, Gloss opens Vox Populi, dramatically and attacking the beauty industry, its harmful lies and unrealistic standards in an era most pop stars are encouraging them. We reviewed this as a single last October, where I vowed to shave my eyebrows off and draw them back on with a Sharpie. The exploitative nature of the cosmetics industry, the first deep and eerie original song of eight, which speak of algorithmic existences; gaslighting by the elite, the paradox of โ€˜humaneโ€™ food production, identities and the preconceptions that can shape them, the corporatisation of the militaryโ€ฆ and gardening.

    โ€œThere are some important horticultural and botanical references,โ€ says Nick, reassuringly. The poisonous evergreen shrub Daphne odora, being an example, as the second tune, a poignant plodding shoegazer and followed by a surprisingly jocund ballad which gracefully reminds of the playful moments of The Cure.

    Red Flags warns of danger, but takes no prisoners, Lachrymal is as dismayed as Fields of the Nephilim, Glass Walls is uptempo, furious and robust by design, an enclosed space frameless and seamless, but perhaps not maximising natural light, for thatโ€™s simply not goth!

    The Theatre of Absurd thuds us back into the dark, with anticipatory anxiety and New Order beats. Followed by the first of two cover songs, Eurythmicsโ€™ Sweet Dreams. Deadlight Dance comforts you here with familiarity and reminiscence, but stamp their own authoritative pounce on this, and the second, Princeโ€™s When You Were Mine, both of which feature guest vocalist Sian and drummer Mike Dymond, the latter of whom first played with Nick and Tim when they were sixth formers.

    Thereโ€™s an underlying retro sensation with all that Deadlight Dance produces, that not all electronica was lost to Stock Aitken Waterman, and neither will it be with smug grinned Simon Cowell. And something wholly satisfying that post punk artists of yore inspired Nick and Tim to form a band, and, acne replaced by wrinkles, thirty years later, amidst a global pandemic and a growing whirlwind of social and political chaos, they felt that the time was right to continue the journey. But what is more, is that younger punk bands, like those gravitating towards DIY labels like Sketchbook, are continuing the theme, and, I reckon, would take Deadlight Dance with similar respect to the aforementioned post-punk artists who inspired Nick and Tim. At least they should if or when they hear this album.

    While there is always a coherent thought process behind them all, their previous releases, 2024โ€™s acoustic covers album The Wiltshire Gothic, and the literature-themed EP Chapter & Verse of the same year, held a running theme more rigidly. The dystopian or unnerving observations of the modern era subjects behind Vox Populi is subtler, and this feels like the fashion of their debut Beyond Reverence, only with the natural progression, experience and diligence of those three years. And it shows, this is a most excellent album, once again.

    Vox Populi is released worldwide to stream, and own as a CD, vinyl LP and download,ย through Ray Records on Friday 20th March. Check out details on their website HERE.


  • Kate X: Swindonโ€™s Best Kept Secret

    Youโ€™re young, stars in your eyes, and you live in Swindon; you are not alone, but you are, unfortunately, up against Kate X! Kate is independently producing contemporary pop RnB of international quality, and sheโ€™s riding it. Kate X should, and I hope and strongly predict she will be, a global success storyโ€ฆ..

    James Threlfall spins her tunes on BBC Introducing, comparing her with Sabrina Carpenter and Zara Larson, and I respect his professional judgement. Her singles No Tears and Touch have amassed over nine thousand streams on Spotify and her latest, fifth single, For One Night had over a thousand plays in the four days after its recent release.ย ย 

    Itโ€™s easy to understand why once youโ€™ve listened. Every element to a viable contemporary pop song is evident in Kate Xโ€™s tunes. Theyโ€™re sassy without being coarse, her mezzo-soprano vocals perfectly fit pop, and Kate has a natural flair for bringing acute hooks to the bridge. For One Night, in particular, has that driving RnB bassline, but as a collection, all of Kate Xโ€™s singles to date make for an impressive portfolio.

    Iโ€™ve been hooked on Touch since Peggy-Sue Ford introduced it to me on her Donโ€™t Stop the Music show on Swindon 105.5 last year, and it hasnโ€™t left my head yet! For One Night clearly shows a natural progression, with a familiar and timeless clandestine lover theme, akin to Dusty Springfieldโ€™s popular cover choice Breakfast in Bed, but a contemporary soul feel more Beyonce than Kylie.ย ย ย 

    She has 670 monthly listeners on Spotify, which for a local indie artist is impressive. She might suggest she can be the object of her desireโ€™s โ€œbest kept secret,โ€ but in my opinion, she should no longer be secret to mainstream media and a worldwide fanbase.ย ย 

    Okay, so there are occasions, and more often than not, when an aspiring wannabe’s judgement obscures the probable reality that theyโ€™re the needle in the haystack and unlikely to progress to stardom in the competitive music business. And someone has the unfortunate task of tying their feet back to the floor. It’s sad, but a common stipulation, and often manipulated by television talent shows for ratings. But when I listen to Kate X’s tunes, compare them to what the mainstream is putting out, and consider she’s independently creating and marketing, this is clearly not the case here. Kate has something really rather special, which is on par with the mainstream commercial output.

    All it takes is for word to spread, and maybe some crossed fingers and toes, but Kate X seems determined, and unquestionably has the potential to be the next big pop star.

    Kate, your songs are simply brilliant, remain steadfast to your goal, mentally prepare for setbacks, obviously, but I reckon, judging on this latest single, youโ€™ve got it in the pocket girl! And we wish you all best of luck with this positively facing journey.ย Follow her journey on Instagram, TikTok, or Facebook.


Song of the Day 3: Harmony

Look, right, I’m not at the top yet, but it’s in clear sight. A round number, of the half century kind, awaits me atop the hill, and there’s no stopping the ride to get off.

I guess reaching these milestone ages causes you to analyse your life somewhat, and if there’s one thing I do know in all my years, it’s that I’ve told some colossal pork pies. Some real stinkers. I don’t know why, other than occupational hazard as a journalist, I’ve no excuses, not one which will wash with you clever lot.

Whether it be for the prestige, the glory, or, sometimes just for the sheer hell of it, just because the golden opportunity arose and I couldn’t stop myself, they just slipped out.

I’m not proud, just saying, you know, get it off my chest. Not compulsively, though, I’d go as far to say the majority of what I say is true.

Why do people say, “I’ll be honest with you…” ? Well duh, I sincerely hope you do anyway, it should go without saying. But the phrase immediately raises the alarm; I’m guessing a whopper is on its way. I never use that phrase on principle. The principle I don’t trust myself to keep to it.

See, what with the whopper, the real damaging kind of fib. I consider my track record on that quite good, I tend to lie to big myself up, but not to put others down. I tend to lie to make light of a situation, rather than darken the notion. I tend not to lie to anyone I trust not to lie to me, and I’ve seen too many of them backfire anyway, so, I’m done with lies, filled my quota but retain decency in not being overly destructive with them; quantity not quality!

And anyway, I don’t lie here, cos I trust you all, I really do. This isnt a tabloid, this is me. Clearly you get what you see, which might be a waffling clown but, hey.

So, Harmony, from Chippenham, on the subject of liars; she’s not singing about me, no sir, not when I say with all the honesty left in me, this young singer-songwriter I’ve discovered via Sheer music, has got something really special. And even if I was lying, which I’m not, I’ve shared the video, to prove it.

And that’s Song of the Day, for the third day. It’s become a popular feature, overnight, honest.

Should you choose to believe that!

Have a lovely rest of your day. Very good. Carry on….

Ain’t Nobody’s Business but Ruzz Guitar and Pete Gageโ€™s

Iโ€™ve said it before, said lots of what Iโ€™m going to say before, in fact, but I reserve the right to say it again. And you canโ€™t blame me, itโ€™s this Groundhog Day thing, this exasperating lockdown. I perpetually revert my mind back to the last night of live music I attended, Ruzz Guitar Blues Revue at Devizes Sports Club with Peter Gage, Jon Amor and Innes Sibun. How I suspected walls could come crashing down, but didnโ€™t want accept it, neither at the time acknowledge it would be so soon. Still, optimistically, what a blinding night; least we went out with a bang.

I mean, I know and Iโ€™m eternally grateful to everyone who acted to do what they could immediately after the first lockdown, the afternoon sessions at the Southgate, and our own outing for Devizes;IndieDay, but as good as they were, as Ray Charles said, the night time is the right time. Ode to the gig, the gathering and the celebration, how we miss it so. Are you with me? You are, right?

Faced with the unwelcome likelihood of the first anniversary of the occasion coming around and still, no live music, I have to ponder how far to the light at the end of this gloomy tunnel. And to rub salt into the wound, Ruzz has released a new track, featuring the very same blues legend Peter Gage! But as far as salt goes, upon hearing this tune Iโ€™m like a halophile (a salt-loving organism; look it up, people) living on the back of a saltwater crocodile, basking at the shore of the Dead Sea.

A cover of Jimmy Witherspoon’s tune Ain’t Nobody’s Business, Ruzz explains, โ€œwe’ve taken the B.B. King and Freddie King versions, mashed them together and added an RGBR flavour into the mix! Weโ€™ve been working hard on this track since Christmas and we’re all very excited to release it.โ€

And so, they should be, itโ€™s sublime, as ever. Habitually, I favour Ruzz and the Blues Revue when they work up a frenzy, but this is smooth, this is blues, the kind of blues you need contemplating the anniversary of the gig ban, and if you attended, it will remind you of it too. If not, it doesnโ€™t matter, it just breezes over you, as all virtuous blues should.

I mean, right, the guy was from The Sloane Squares, headhunted by Shadows bassist Jet Harris upon them supporting Hendrix, and thatโ€™s just the beginning of his extensive profession. Peteโ€™s proficient vocals, gives it that edge of aforementioned BB King influence, the arrangement and tightness of this collaboration are like the chimes of seamless bellringing, hereโ€™s the Blues Revue on top form, adding guests of calibre and concluding as perfection; quid well spent.


Latest Reads….

Stonehenge or Bust; Duck n Cuvver Scale the Fence!

The last thing Robert Hardie wants is to be portrayed as villainous, or condoning mass trespass, though he accepts some might interpret breaking over the fence at Stonehenge as such. Chatting to this veteran on the phone this morning, he described the exhilaration and sensation of wellbeing, wandering between Wiltshireโ€™s legendary stone pillars, but expressed he doesnโ€™t wish to encourage others to follow his example, only to raise awareness of his crusade.

Frustration with English Heritage was the prime motive for taking the leap, displayed in his video doing the rounds on social media. But one half of Salisbury folk-rock indie duo, Duck n Cuvver has been fundraising for over three years to be able to shoot the final part of a music video inside the stone circle. โ€œInitially,โ€ he said, โ€œEnglish Heritage said it would cost ยฃ750, then they suddenly upped it to ยฃ4,500.โ€ I asked Rob if they gave an explanation, a breakdown of what the costs involved to them would be. He replied they hadnโ€™t.

My musing wandered over the occasion two years ago when local reggae band, Brother from Another pulled a publicity stunt recording themselves atop Silbury Hill, to wide criticism, but how The Lost Trades recently played around Avebury stone circle without trouble. Rob and Ian cannot call a compromise though, being the subject of the song, Henge of Stone, is as it says on the tin. As he explained to the Salisbury Journal back in 2019, โ€œThis video will make history โ€“ singing about Stonehenge in Stonehenge.โ€

Clearly enthusiastic about covering our ancient local landmarks as song themes, Rob told me heโ€™d written about Avebury too, and how he played them to the solstice crowd there. This part of our conversation ended with him reciting a few verses in song, and expressing the feeling of joy as the crowds sang them back to him.

While he didnโ€™t rule out this was a publicity stunt too, we discussed the necessities of the project. Rather than being a colossal movie production, with the atypical entourage, trailers and crew, all thatโ€™s needed is his partner in crime, Ian Lawes, and possibly the accompanying musicians, Chris Lawes, Jamez Williams, Louis Sellers and Paul Loveridge, a cameraman and a few instruments. The mechanics of shooting the footage would be simple, itโ€™s unplugged, being thereโ€™s no electricity on site, and Rob explained how mats would be provided to protect the grass. Besides, if EHโ€™s concerns were for the welfare of the site theyโ€™d simply say no, surely, not put a price on it.

Thereโ€™s therefore no justice, in my mind, really, on the exceptionally high price tag. Only to assume English Heritage is out to profit. Contemplating on recent outcries concerning activities around Stonehenge; the solstice parking debacle, closing for winter solstice and of course the tunnel, which we mutually dismissed as ludicrous on the grounds excavating there would obviously turn up some ancient findings and archaeological digs, and protection rights would whack the project way over budget, it feels the quango run agency is not the best method to protect our heritage sites, if the conservative ethos is revenue driven rather than insuring itโ€™s splendour is for all to enjoy and savour. As Rob points out in the film, โ€œStonehenge belongs to fucking us!โ€

Ah, story checks out; even English Heritage states similar on their website, if not quite so sweary! โ€œThe monument remained in private ownership until 1918 when Cecil Chubb, a local man who had purchased Stonehenge from the Atrobus family at an auction three years previously, gave it to the nation. Thereafter, the duty to conserve the monument fell to the state, today a role performed on its behalf by English Heritage.โ€ Itโ€™s basically one extortionate babysitter, calling the shots.

I enjoyed chatting with Rob, even if my plan to record the dialogue backfired due to my poor tech skills! I apologise to him for this improv article.

Iโ€™m surprised to not have previously heard of Duck n Cuvver, we tend to get vague coverage of the Salisbury area; something I need to work on. We did rap about our mutual friend, the pianist prodigy, young Will Foulstone, among other things.

The duo are sound as a pound, though, real quality folk rock come indie sound, the song is cracking, proper job. Which is why theyโ€™ve supported the likes of the Kaiser Chiefs and The Feeling, and recently performed at the National Armed Forces Day. Ardent about his music, this veteran explained his service inspired the band name, and continued to express his passion for this particular song, something which has been evolving over five years, and it shows. He described it as a โ€œcelebration of life,โ€ dedicated to a friend who passed away, from cancer.

Both members of the duo are good, charitable folk, and if Rob did climb the fence at Stonehenge recently, note he lives within the restricted range of it to constitute it being his daily exercise. From our phone call alone, I could tell theyโ€™re not the sort to abuse the trust, if it was given to them, to perform at Stonehenge, thatโ€™d be a magical moment, and, well, we could do with a magical moment right now. So, if you can help fund their campaign, youโ€™ll find a link to do so here.

I’ll pop the song which is kicking up all the fuss below, and leave with a thanks for the natter, Rob, and I wish you all the best with the crusade; Stonehenge or bust!

    


Song of the Day 2: The Big Ship Alliance and Johnny2Bad, featuring Robbie Levi and Stones

Newly-formed just a year ago, this Birmingham-based seven piece reggae band, Big Ship Alliance started out as possibly the only tribute act to reggae legend Freddie McGregor, but on track to record their own material they’ve teamed up with the outstanding UB40 tribute act, Johnny2Bad for this gorgeous topical debut single.

Featuring Robbie Levi and Stones, aside from my love of all things reggae, the song’s positive message of togetherness and unification during this era of the pandemic makes it more than apt for my second “song of the day” post. Though I did say I wasn’t intending to write anything like a review on this feature, just let you enjoy the tunes, and this is kinda heading a little bit “reviewy.” Probably cos it’s such a nice tune.

I also promised not to waffle; but I’m here now. Something about having your cake and eating it goes in rather appropriately at this point!

More so than being my song of the day, I believe this should be, as the Big Ship Alliance say themselves, “the anthem for 2021!”

Determined to make this feature a goer, as of yesterday’s pledge to add a song each day, ingeniously titled “song of the day.” I know, right, it scares me at times, I’ll be honest!

So, enjoy this fantastic tune, let the good vibes roll and have a great rest of the day. Same time tomorrow then?

Very good. Carry on….

Song of the Day 1: Atari Pilot

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

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

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

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

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

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

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


  • Harmony Asia Can Do This

    Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture a slice of her wonderful performances on record. I guess I will have to find a new request now, but judging by her debut single released today, I Could Do This, it will probably be, when is the next one coming out?!

    Yeah, itโ€™s as moreish as Maltesers, deliciously soulful and simply sublime. Whilst I had high expectations it would be no less, the anticipation didnโ€™t falter my delight upon hearing it. The presumption was Harmony Asia can do this, do this with distinction, and she did. I Could Do This is jazzy piano and feathering drum neo soul, and with Harmonyโ€™s soothing vocals causally tingling the coolest feelgood romance theme, itโ€™s commercially viable contemporary pop; top marks from me!

    Thereโ€™s technical mastery which seems to come naturally to Harmony; the defined range of emotional depth, and raw passion akin to soul legends, yet retaining the coolness of artists like Sade or Sharon Woolf and Macy Gray. And while this single is on that level too, itโ€™s written with equal skill. Listen to it, youโ€™ll hear what I mean and your ears will love you forevermoreโ€ฆ. ย 


  • A Year into a Lib Dem Wiltshire Council; Chatting with Ben Reed

    Itโ€™s a Friday, just polishing off a big boy breakfast at New Society. Got the window seat; I ponder how beautiful Devizes Market Place looks from up here, and how we often take it for granted. Thereโ€™s Ben Reed, Wiltshire Councillor for Devizes North, waving at me from below; heโ€™s coming up for carrot cake, and to chew the fat over the first year with the Liberal Democrats at the helm of Wiltshire Councilโ€ฆ. priorities; not till Iโ€™ve finished my sausages!

    There was minimal bumps driving here, in comparison to how it has been. The Council are slowly playing catch up with our dilapidated roads, but potholes remains firm on my agenda, because while the main roads are getting TLC, it feels like Devizes is being left out. Despite a lesser public issue visibly, isnโ€™t the spiralling costs of social care more important than potholes, or are the two holistically connected, if these potholes drive us to insanity?! Ben? He starts talking pubs; Iโ€™ve made a friend!

    Far from being something Ben has researched, โ€œbut,โ€ he started, โ€œI think thirteen pubs might be the most of any council division in Wiltshire. It’s nice to have places to stop when you’re out and about delivering and canvassing.โ€ For the record, it was relevant. I was praising the cafรฉ.

    It also served as an introduction to Benโ€™s enthusiastic bearing on the area he manages, explaining its diversity he continued, โ€œthere’s quite a lot of social housing, retirement complexes, and all the businesses. So, quite a lot going on.โ€ย 

    It is through this enthusiasm Iโ€™ll acknowledge while the public are keen to pick easy targets, like potholes, thereโ€™s so many other duties to being a Councillor we rarely contemplate.ย  Ben told me he was due to meet an elderly lady straight after this who lives in Long Street and finds it difficult getting around town. โ€œI’m going to try and work out what her routes are,โ€ he said, โ€œand maybe look at whether there are things I can report on the My Wilts app.โ€ Pausing to consider pedestrians navigating our wobbly pavements might better take their chances on the dodgy roads, Iโ€™m determined to turn him to the subject of potholes! Is Devizes being left out?!

    โ€œIt does feel a bit like that,โ€ Ben agreed. โ€œfrankly, it’s going to be a problem for a while because the backlog is huge.โ€ I will, later in our chat, praise Ben for his Councillor Facebook page, where, unlike others, thereโ€™s no negativity bashing the opposition, just feelgood posts, but sometimes fact is fact, the previous Conservative Wiltshire Council seriously neglected road repairs, leaving us in this state and passing the buck.

    โ€œI’ll try to steer away from being too tribal,โ€ Ben affirmed, โ€œbecause I don’t think it’s very helpful, but as I understand it, there was quite a bow wave of funding in the last couple of years as the election approached. I don’t know whether there was a realisation that this was a problem, but if you go back further than that, and this isn’t this isn’t particularly a Wiltshire problem, going back to 2010, when the Conservative government first came in, local authority funding across the board was really slashed. And highways were one of the things that councils chose to take the money away from. So there was a period where we fell behind with those preventative jobs. And now we’re chasing our tails. It’s a never-ending problem, and when you get a winter like we’ve just had with so much rain and then that freezesโ€ฆ.โ€

    As it being a national issue, Iโ€™ve seen better roads in other counties. Yet, we may believe Wiltshire hits the hotlist for the worst roads, probably because we use them regularly. But research suggests Derbyshire, Northamptonshire, Lincolnshire, and others, long before Wiltshire gets a mention.

    I could scrutinise the previous Conservative-led Wiltshire Council until suppertime, and Iโ€™m pleased someone else now has a stab at it. But, councillors on the opposition and ex-councillors who lost their seats, are quick to raise issues visible to the public, like the pothole debacle, whereas they wouldโ€™ve avoided the subject when The Conservatives were in charge.

    In considering the often unmentioned tasks, such as social care costs, exampling the Trowbridge car park fiasco, which I talked to Taylor Wright about, I worry thereโ€™s too much time taken up with political point scoring, andย  the council is far more disputative and argumentative now that the Tories are on the back foot and Reform makes their impact, against all common sense. To summarise, Iโ€™m gonna ask Ben how a council is supposed to find solutions to important and pressing countywide problems, when they spend months bickering about a carpark!

    ย โ€œYeah,โ€ Ben nods, Iโ€™m onto something! โ€œI found probably the least enjoyable element so far has been those council meetings. It’s difficult to see some of the tactics as anything other than obstructive, unfortunately. The way funding is and the way policies get brought forward is the council officers look at our manifesto and make suggestions and then the administration says yes, or, can we tweak this, and quite often the things we end up doing are probably the things, to be completely honest, that the Conservatives would have done if they’d if they’d still been in power, and yet they end up opposing what often are, as far as I can see, the most the most sensible measures, and the carpark is a good example, I think.โ€

    โ€œIt’s a strange situation,โ€ Ben justifies the carpark fiasco thus, โ€œhaving to provide free parking, and this covenant. But you’ll see this week, NCP, the big carpark developer, have gone into administration. So, if they’re not making money on carparks that they can actually charge people to park in, then you can see what a liability a carpark that we’re not allowed to charge for is. And it’s got to be rebuilt. And it’s going to cost us far more now than it would have been to incentivise the developer to knock it down and, you know, build something nice for Trowbridge.โ€

    ย I can play โ€œrealโ€ journalist, try to gauge Ben for marketable controversy by name-dropping troublesome local political busybodies, but he’s not taking the bait! I’m unconcerned, for that’s never my objective. New to politics, Ben was keen to express he’d never been the opposition, so doesnโ€™t know what it feels like. Though, he comes across as genuine, an earnest and honest guy, tucking into his carrot cake.

    There’s a phrase, โ€˜a week is a long time in politics,โ€™ maybe it’s the opposite for local politics; it’s early days for this new Wiltshire Council and perhaps, optimistically, we need to be patient to see any fruition at base level.

    The carpark was only an example, I was more after dirt on the bickering. Issues regarding waste, reducing the bin collections, and Reformโ€™s pathetic failed bid to end net zero were all hitting points for the opposition, that we discussed later in our chat. I suggested we need some education on how to reduce waste, not just waste being collected, to which he agreed.

    Disappointed by the reaction from the opposition and that โ€œthe petition that’s running doesn’t really go into detail,โ€ Ben was keen to talk bins, and to defend the motion. โ€œYour black bin collections are being reduced from two weekly to three weekly,โ€ Ben said, but expressed, โ€œalongside that, a weekly food waste collection is being introduced. So if you look at a six week period, people will actually be getting more for their money. There will be more collections over the year, just different collections, and hopefully there should be a lot less in the residual waste when the food waste comes out.โ€ Besides, he pointed out, it’s a government requirement, โ€œwe have to we have to do it.โ€

    For the opposition itโ€™s a soundbite, easy to highlight your waste collection wonโ€™t be as regular under the Lib Dems, ย but Ben explained, โ€œit’s just not true. One type of bin collection has been reduced, but you’ve got a new one which is a lot more frequent. Sadly, there is a bit of game playing.โ€

    On the general bickering, โ€œI do find that very energy-sapping,โ€ ย Ben replied. โ€œI try and stay away from it as much as I can. I think for the Conservative group, it’s a real change for them. It’s a period of adjustment. They’ve been in charge of Wiltshire Council pretty much from the outset. And I think, well, I hope they’ll find a bit of a friendlier way of conducting themselves. Because opposition is about fair criticism, it’s about scrutiny. They’re perfectly entitled to raise complaints. The roads, you know, it’s difficult to see how we can be criticised too much on those at the moment. Up until last month, we were working on the old Conservative budget. We’ve allocated some additional capital spend for the next few years. Hopefully we can get away from kind of reactive maintenance.โ€

    โ€œJanuary, there were 2,700 pothole repairs, which is a record month ever. It’s an unwanted record, but, I think up to mid-March, they did about 5,000. And there’s normally, I think about 15,000 done a year. That’s quite a lot ahead of schedule. They’ll be concentrating on repairs until June and then hopefully they’ll get to a place where they can look at preventative maintenance. Station Road is a case in point. It’s been due for a proper resurfacing, but you can’t do that while Northgate Street is still closed. So as soon as that’s open, I’ll be pushing for Station Road to have its resurfacing, and they’ll come to Northgate Street later.โ€

    It makes me wonder, that they created a road repair taskforce, if the workers are allowed to think for themselves and bypass the red tape, because thatโ€™s what appears to delay the process. You download the app, report one pothole at a time in a road of thousands, which goes through evaluation processes, paperwork, venturing out to spray-paint a square around it, or pop a cone in there. Whereas a taskforce could deal with it immediately. Because I see a repaired stretch of road, and often thereโ€™s potholes centimetres after it! Are they restricted to deal with what it says on a piece of paperwork, and not permitted to think, โ€˜hey, we’ve got a bit of spare tarmac, we could just carry on a wee bit, and cover that trench too?!โ€™

    โ€œI’m told that there is a bit of leeway for that,โ€ Ben stressed. โ€œPotholes get prioritised, a defect or a pothole gets categorised. So, if it’s in a particularly dangerous area, or of a particular size or depth, then it gets a P1, and it’s supposed to be repaired within 24 hours. If there’s a crew going around doing those, they probably will ignore some smaller ones and just get the ones on their list ticked off. So that’s probably why that arises. But I think in practice, if there’s a massive priority one pothole and then some quite big ones obviously visible nearby, they probably would repair those before they move on, I’d like to think. But it depends how busy they are and what they’ve got on their list for that day.โ€

    I canโ€™t really argue with that, state of our roads, they must be busy bees! ย Ben also suggested technical issues with the MyWilts app needs reviewing, that issues raised by the public can be marked as closed even if the issue hasnโ€™t been resolved. โ€œI don’t think they should be closed until they’re repaired,โ€ he said, โ€œwe’ll see what the review of the app comes up with, in terms of improvements.โ€

    Itโ€™s not the roads though taking up the budget, annoying as it is to hit a pothole, the bigger picture is knowing vulnerable people are safely cared for. โ€œPeople often don’t realise that the bulk of our funding, whether that’s from government or from council tax payments, is pretty much spent before we even decide what to do with it. And social care takes up a really big chunk of that. So, children’s and adults, vulnerable people’s services is, I forget the exact percentage, but it’s certainly over 60% of all Wiltshire Council’s expenditure.โ€

    โ€œThat’s an ever-increasing chunk,โ€ Benย justified, โ€œwhich makes it really difficult to find money for other statutory services, like library services are statutory, highways too, obviously. Once you get beyond that, you’re really having to find pennies to do things. Leisure, for instance, is not a statutory service, but Wiltshire’s managed to keep a reasonable number of leisure centres. I think, compared to some local authorities, we’ve done quite well there, building a new leisure centre in Trowbridge, which is coming on very well.โ€

    โ€œBut yeah, social care is the headline thing, I think, for councils. And it’s very important to look after people who need help. I’m recently been added to the Children’s Select Committee, which is the main scrutiny committee for all the children’s services. They look at how schools are performing, school attendance, and the leisure and youth services we offer. I’m really enjoying that actually. I don’t have children, so I thought, well, maybe this isn’t the right committee for me. But no, of all the committees I’m on, I think I get most out of that. So yeah, it’s been good.โ€

    We talked for some time on MPs, praising Brian Matthew, and we agreed switching parties, as Danny Kruger recently did in Marlborough should meet with a by-election. But the focus needed shifting back to council level, so I asked Ben what he thought the biggest changes at Wiltshire Council has been, and how transparent they are.

    โ€œWe certainly want it to feel people are closer to their council,โ€ Ben responded. โ€œThey can ask questions and get answers, and then we will be, transparent with people. Yeah, there’s criticism been levelled about, some meetings go into part two, which is confidential business. And, like the carpark, we were accused of doing things behind closed doors. But this is completely standard stuff that happened under the last administration. If there’s commercial sensitive information, then it doesn’t, or personal; if individuals are being spoken about, that isn’t going to be in the public domain. And that’s the same everywhere.โ€

    The opposition play on this, and it reflects badly?

    โ€œWell, it does,โ€ Ben agreed. โ€œThere’s no reason why people shouldn’t take what they’re reading from them at face value. But to be honest, I wish more people would tune in to the council meetings on YouTube. Because to me, If you watch a bit of that, then it’s pretty clear, to me at least, who’s trying to get things done, and who’s trying to stop things moving forward.โ€

    With public engagement, prior to the meeting, Ben stressed surgeries arenโ€™t popular. I said he shouldnโ€™t take it personally, as they often happen during the working day, and supposed many of us, myself guilty too, prefer to have a whinge on Facebook rather than address the councillors in person!

    โ€œProbably, yeah,โ€ he figured.โ€ I want to make sure if someone does want to get in touch with me, they can. So the more channels and opportunities there are for that, the better. And that’s partly on me to go out to events and knock on people’s doors and sort my focused newsletters out three or four times a year. But, it does need someone to make the effort to drop me a line. It can be a phone call, an e-mail, a Facebook message. They can come and see me at a surgery. I am trying to do the surgeries evenings or weekends, so hopefully a bit friendlier times for people.โ€

    โ€œI’ll answer comments on Facebook if I think I sensibly can. Sometimes people make comments, and you can understand why, people let off steam, but maybe they donโ€™t know the full facts of what the issue is. And sometimes it’s complex to explain that. So it’s difficult on a Facebook message.โ€

    And people can take it the wrong way. It’s just words. Herein I raised the Kebab Shop fire as an example, an issue Ben confirmed had been his most pressing, and being such a complex one, has learned not to ย โ€œover promise.โ€ He originally said the site will be demolished in February, weโ€™re moving into April. Devizes is a lovely place, but it’s easy to think the town’s in a state, and everything that’s promised is just pie in the sky.

    โ€œWhat would be a worry for a town is if there wasn’t these developments happening,โ€ Ben replied, โ€œif it wasn’t a place where developers wanted to invest and create new facilities and new homes.โ€

    โ€œDevizes, seems to be moving in the right direction, and I know it’s frustrating with the delays, but I think there’s so much light at the end of the tunnel. Northgate Street, the kebab house, there’s been a perfect storm, but itโ€™s really unfortunate in terms of the location, the type of building and the damage that was done, ended up being propped up like it was.โ€

    โ€œQuite apart from the human aspect of it and the loss of business and livelihoods, and the neighbouring properties are both quite badly damaged as well. Hopefully they can get on and get it repaired. And it has dragged. If I’d been able to hire a wrecking ball and pitch up there myself, I would have done it!โ€

    โ€œIt was not the easiest thing to inherit. It was six months after the fire that I won the election, and at that stage, I don’t think the owner had worked through all the insurance issues. But eventually the demolition application went in. They were supposed to do it in February, as you say. They hadn’t finalised the partition wall agreement, because they need to make sure when they knock it down that they don’t do more damage to number one and number three. And then the contractor wasn’t available until April. So we are where we are.โ€

    Our chat continued onto Station Roadโ€™s resurface and its traffic flow. Ben agreed lessons needed learning between the Highway’s team and Building control team, and he raised other issues, such as the condemned old Royal Oak building.

    โ€œThey’re converting it into apartments,โ€ he said. โ€œIt was a terrible state, but it’s a listed building, so it’s really good to see it getting back into use. Unfortunately, they’re going to need to close half of New Park Street to sort out the water and electricity connections. So, I’ve been talking with the traffic team at Wiltshire Council, about when is a good time; there’s no good time! I think the offer they’ve made to the developer is do it overnight, so there won’t be any closures in the day. So, we’re waiting for that to be scheduled.โ€

    โ€œItโ€™s only a short closure, but what we don’t want is any overlap with Northgate Street still being closed. So, the highways team are always balancing these things against each other.โ€

    It was great to meet and chat with Ben, for thereโ€™s many issues which need clarification. Short newspaper articles on a relative single subject cannot provide as much information, and being surgeries arenโ€™t popular and the public tend to need matchsticks to keep their eyes open watching a video of council meetings, it is all too easy to be misinformed about Wiltshire Council! I believe social media posts from the opposition parties should be taken with a pinch of salt, and while criticism is fair game, things are looking positive a year into the newly elected Lib Dem council.


  • Battle of Bishop’s Cannings Ends in Devizes Defeat

    David slew Goliath with a sling and a stone. Bishop’s Cannings Parish Council used evidence, against a group of Devizes Town councillorsโ€™ more circumstantial land grab pitch, at Wiltshire Councilโ€™s Community Governance Review, and just like David, triumphantlyโ€ฆ..

    More war of words than any military action, though the latter would’ve made a better scoop for me, the underdogs came up trumps in a surprising result!

    Rather than admit it’s for financial reasons, the Devizes Town councillors fluttered around premises such as they were rattled by messages from residentsโ€™ misunderstandings as to what council they came under, plus staking a claim to the Lidl store, in their pitch to the council to transfer areas of the town currently run by Bishops Cannings Parish Council to Devizes Town Council instead.

    But the parish council had strong evidence in their arsenal, that theyโ€™re successful in community commitments, and used villagersโ€™ statements to present a more heartfelt plea. They even mentioned football, for what the commendable Bishop’s Cannings FC has done for all ages and abilities with their local grassroots football team supersedes any other local club, and serves the whole community of Devizes and its many other villages.

    The Committee voted by 5 votes to 3 to recommend that the semi-urban area and the rural area south of Nurtsteed School should both be retained within the Parish of Bishops Cannings.ย 

    Though the battle was won, it’s dubious if the war is over, for while this will not be subject to further consultation, it will go to a free vote amongst Wiltshire Councillors, likely in July.

    Chair of Bishops Cannings Parish Council, Cllr Darren Bone sent a message to the residents. He said, โ€œCllr Iain Wallis of Devizes Town Council and Simon Williams, the Town Clerk, made a joint presentation in which they tried to persuade the Committee that the only correct result would be the wholesale transfer of the semi-urban area of Bishops Cannings Parish to Devizes. They also sought the transfer of rural land south of Nursteed School. Some of the arguments were new. All were subjective and offered without evidence. They tried to convince the Committee that 1200 homes and the families of over 2000 electors would all be better off under the control of Devizes.โ€

    โ€œIn response, I introduced Mr Chris Nicholls, whose letter in support of the Parish Council and the retention of the semi-urban area was included in our detailed submission to the Committee. I am indebted to Chris for his honest, passionate statement. It was well-received and carried weight.โ€

    โ€œI then addressed the Committee in turn, countering the vague notions which had been put forward by representatives of Devizes Town Council. The wealth of verified, tangible evidence presented previously by Bishops Cannings Parish Council in its submission and in person was reiterated. We sought a clear and unambiguous recommendation that the Parishโ€™s boundaries should remain as they currently were. Further agreement was sought for a change of name for the Parish.โ€

    But the good news for Bishops Cannings Parish Council wasn’t over yet. Unexpectedly, once the committee debated the issue, they voted to consult with both Devizes and Bishops Cannings Councils, and the public on whether two potential transfers should occur, albeit this time from Devizes Town Council to Bishops Cannings Parish. Whoa there, it’s all gone a bit Treaty of Versailles here, if Devizes has to surrender significant territory, guaranteed someone’s knickers are going to get in a twist!

    Despite it being a more common occurrence, where land is urbanly adjoined to a town, community governance reviews tend to side with the town, in this case it seems it was not only a loss for the Devizes Town councillors, but a complete backfire!

    Cllr Darren Bone continued his message to the people of Bishops Cannings, โ€œToday was a good day for the Parish of Bishops Cannings, for the Council and for its 2,628 electors and their families. The Councilโ€™s transformation, achievements and intent were universally praised by the Committee. Special thanks go to Mr Nicholls and to Cllr Philip Whitehead, our Unitary Councillor, who both spoke powerfully and eloquently.โ€

    Congratulations to Bishops Cannings Parish Council; treat yourself to a cupcake, while the Devizes Town councillors can have some humble pie!


  • How it Feels for a Bluebeard!

    The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a book by its cover, because while this Wiltshire collective’s debut single How it Feels might pertain such elements, I was pleasantly surprised to find it also jumping with feelgood soul….

    Taken from an upcoming album of the same name, How it Feels is brass-blowing, high energy, sunny side of the street music, and I’d wager we all need a bit of that these days.

    Piano-driven rock, gripping onto early Springsteen, or Elton John even, uptempo yet melodic, with an instant and irresistible hook. Yet when I listened, I was filled with imaginations of later new wave mod, when it became the staple pop of the eighties; this wouldn’t look out of place on a Style Council album. I’ll tell you how How it Feels feels; it feels alive and kicking!

    Bluebeard and the Desperate Hours are quite the expert collective. Dave Turner is the bluebearded frontman pianist, Helen Robertson plays cello and adds those soulful backing vocals with Phil Cooper, who is also on bass.

    All backed by guitarist Rich Godfrey and drummer Coby Franklin-Turner. The brass section knocking the energy into this song is provided by trumpeter and flugel horn player John Hare.

    Shame I missed them at 7 Hills last weekend now I’ve heard this cracking single, but made up they’ll be at our newly opened The Fold this Friday, 27th March, at The Lamb in Devizes, with JP Oldfield in support. It’s free, hope to see you there?!


  • โ€œUnderdog: The Other Other Brontรซโ€ at the Rondo Theatre, Larkhall, Bath, March 25th-28th 2026

    by Ian Diddams

    images by Richard Fletcher

    How many Brontรซ sisters can you name? Which books did the sisters write between them? Can you name them?

    Did you get that there were three sisters? That wrote seven books? You may have thought of โ€œJane Eyreโ€ and โ€œWuthering Heightsโ€, but what about โ€œAgnes Greyโ€? Or โ€œThe Tenant of Wildfell Hallโ€. You may have recalled Charlotte and Emily Brontรซโ€ฆ

    But what about Anne Brontรซ? Author of those two last named novels? Does she, or they, feature on your literary radar?

    Congratulations if they do โ€“ you are an English Literature graduate at least, or one of those weird people that know loads of usually useless knowledge that people want to have on their pub quiz team that then drop you like a stone once the winnings are divvied up, and you wander home alone, smelling vaguely of stale BO and loneliness.

    So, step forward the other other Brontรซ, Anne. The one everybody forgets if they ever knew of her to start with. And is embraced by Sarah Gordonโ€™s play performed this week at the Rondo Theatre, Larkhall, Bath by the โ€œin houseโ€ theatre company, RTC.

    Anne, as per the above, is the centre of this play, but in many ways its really about the fractious, loving, abusive, and caring, relationship between her and Charlotte as we see Anne systematically abused firstly in her efforts to be a governess, and when finally escaping the oppression of service, receiving little better from her eldest sister… while Anne eventually becomes the worldโ€™s first feminist writer.

    The story covers a simple timeline of the Brontรซ sisters adulthood, with appearances of drunken brother Branwell, though there is a little poetic licence over some chronology to help the flow of the narrative. I have to throw that in for the three of you reading this that are actually internationally renowned experts on the Brontรซs and may otherwise think I missed it. So there. I didnโ€™t. For everybody else โ€“ its not important and the story works well as a result. I blame Branwellโ€™s booze befuddled brainโ€ฆ

    Anyโ€™ow โ€“ as they may say in West Yorkshire โ€“ their basic history is on Wikipedia so I wonโ€™t reproduce it here. Suffice to say all three Brontรซs in their own way produced magnificent works that have stood the test of time, and Kate Bushโ€™s singing, before Anne and Emily succumbed to tuberculosis following Branwellโ€™s previous demise. The water in Haworth has a lot to answer for.

    Charlotte died of complications in pregnancy โ€“ maybe she didnโ€™t drink the water. None of them made the age of forty, and the younger two barely thirty at best. Tragedy had also struck the other two totally unknown sisters – Elizabeth who had died aged ten, and Maria aged eleven.

    โ€œUnderdogโ€ is a quite superb piece of writing; Sarah Gordon has lifted a passingly interesting family history and created a vibrant soap opera (in the best possible way!) about three siblings all destined for greatness, with hugely differing personalities. Of their love and support for each other; their internecine rivalries; their differences. Anne, at first demure then latterly strong and quietly confident, Emily, abrupt yet watchful, and Charlotte โ€“ a domineering bully that gaslit her sisters, particularly Anne and most definitely herself. Charlotte opens the show with a 4th wall monologue about pious men looking down on women, but is portrayed as being no better herself.

    The three leads are mesmeric. Their characterisation is sublime, magnificent. Josie Mae-Ross plays Charlotte, Naomi Miller, Emily, and Alana Wright, Anne. The three bond so well on stage, with amazing chemistry, they really feel like three sisters. Itโ€™s a line heavy play for the three of them, as well as the portrayal of their characters on top and they are on stage for pretty much the entire two hours that the play runs for. Chapeau all round.

    Branwell is played by Natalie Prescott, swapping her natural North Cheshire vowels for West Yorkshire ones and crossing the Pennines to do so. Thereโ€™s a suitably gruesome reminder of the results of TB and Natalie captures Branwellโ€™s self-destructive insouciance to a tee. Natalie also partakes in various ensemble roles along with the other members of the cast Antonia White, Jade Wright, Sarah Horrex and Sophie Kerr. Their slickness between several cameo style roles each is commendable, and peaks with a brilliant scene of literary critics discussing the sistersโ€™ works in deprecating terms. No spoilers here but the show is worth seeing just for this one particular ninety second scene.

    Youโ€™ll have noticed I am sure eight female names for eight cast members โ€“ yes dear reader, itโ€™s an all-female cast โ€“ as befits a play about the worldโ€™s first feminist writer. This is all pulled together by director Helen Taylor with great vision and pace. The set is wonderfully simple doing just enough to set the scene and allow the actors to deliver in an uncluttered space.

    Tech as ever at the Rondo is delivered as excellently as ever by Alex Latham, and the costumes are simply perfect โ€“ take a bow, as is often the way, Chrissy Fryers. The original music for the show is provided by the maestro that is Moray Macdonald and all of these creatives are more than ably supported by producer Yvonne Paulley, Stage Management Lylou Sharp and Olivia Lynch with publicity and poster design by Meg Robertson and Cate Nunn respectively.

    You donโ€™t have to be a Brontรซ fanboy or fangirl to enjoy this show. It has a quality that live theatre brings that watching a screen just doesnโ€™t haveโ€ฆ the immediacy of the action, the intimacy of the space, the direct connection with the cast, and it has this in spades. It is simply one of the best pieces of theatre I have ever seen, and I am fortunate enough to watch a lot of quite excellent theatre that is well worthy of the highest praise.

    You could do far worse than blow a whole fifteen quid, cheaper than a pizza and a pint, on a ticket to this wonderful show this week. I even urge you not to miss it.

    Tickets from https://rondotheatre.co.uk/underdog-the-other-other-bronte and the show runs Wednesday 25th March to Saturday 28th March.

    And you may recall I said something about the water in Haworthโ€ฆ? Itโ€™s actually trueโ€ฆ.

  • 7 Hills to Trowbridgeโ€™s Old Town Hall

    To clear up any confusion, Trowbridgeโ€™s old town hall is no longer the town hall, but The Old Town Hall. I have no idea, nor care to know if there’s a new town hall; that’s irrelevant. Whilst still owned by the council, it was refurbished and reopened as a charity funded arts centre and cultural hub last Octoberโ€ฆ..

    I met a great bloke there called Tom, he used to run Bath’s venue Moles, now he’s steering events at this glorious grade II listed building, originally opened in 1889 to commemorate Queen Victoria’s Golden Jubilee. It is an utterly stunning space of Victorian splendour with acoustics from the heavens; nice to note it’s in good hands.

    In equal splendour was the reason I’m here, for the 10 Hills Spring Music Festival. Congrats if you spotted the deliberate mistake, there were only ever seven hills; I’m rounding it up as if it’s a score out of ten, perhaps I should add an extra hill or five onto that for good measure!

    If forced to find a nick-picking fault with this event, I could suggest a lack of chairs inside the hall, considering the higher end of the age demographic in attendance. But the concentration was on the music, an elaborate concert-festival, and the quality and quantity of this was absolutely mindblowing, if not particularly diverse.

    7 Hills regularly organise music events at The Night Jar in Bath, including an annual festival. Chris Hoar of Courting Ghosts explained he, โ€œreached out to them initially to say I was planning a festival in the newly renovated Old Town Hall, just to check it didnโ€™t clash with them, and Matt said letโ€™s do it together in Trowbridge as a spring festival.โ€ And here we are finally in spring, I’ve been looking forward to this.

    Americana, folk-rock was the order of the day, everything uniformed to the influences of Courting Ghosts. So if you wanted to go looking for a dance tent, this wasn’t for you. But the standard of music was sublime throughout the day and into the evening, and that’s what made 7 Hills so spectacular.

    Best festival of the year I could jest, because it’s my first, still, I believe I’m going to be hard pressed to find a lineup as good as this, and the craziest element was, while I knew most of the local acts booked for the afternoon, I was in the dark about the later ones, but far from disappointed.

    Jess Chivers

    Perhaps the only one I saw to deviate from Americana was Jess Chivers, who delivered a great set on an acoustic stage adjacent to the main one, as this had subtle elements of punk. This second stage assured consistent entertainment whilst bands prepped on the main stage. I believe because I needed sustenance I missed Phil Cooper’s set, drafted in due to a cancellation, and a few others before my arrival, but Leander Morales polished off the acoustic stage with an energetic and poignant set.

    Thieves

    Sadly I missed Fly Yeti Fly, meeting Darren on the stairs as I came in. Love this duo too, they remind me of Christopher Atkins and Brooke Shields in the Blue Lagoon! My arrival, I hoped, would be timed for Concrete Prairie, as it was, lovable bluegrass collective Thieves were doing their wonderful thing on the second stage, while the prairie tuned on the main, under the stained glassed lancet; confirming I’m going to love this event.

    Concrete Prairie

    Make no mistake, Concrete Prairie was on fire, I expected no less. Undeniably the liveliest set at the festival, they gave us the classics from their 2022 self titled debut album, finishing on their magnum-opus, the incredible crescendo-hugging Devil Dealt The Deck, but between them blessed our ears with some new songs from their forthcoming album. While Joe set no date for its release, the songs came across livelier than the sombre mood of the debut album. Theyโ€™re perfectionists, providing me with faith there will be no sophomore slump.

    The band were incomplete too, Phil Cooper taking bass, and original fiddler in the band, Georgia, filling in for her replacement. Still they rocked it, and Iโ€™d have been content if I had to go home straight after them!

    Courting Ghosts

    Obviously with Chris Hoar at the helm, Courting Ghosts would play, and I could imagine no other following the Prairie, even if their overall mood is more sombre; this is music for the soul. Counting Ghosts surely set the mood for the remaining acts, this smooth Americania with influences from both country folk and jazzy soul. They gifted us a new song, to be the title track of their next EP, Baby, I Bleed for you, and sparks flew.

    Orla

    Everything chronologically from now on would be new to me, but all of it flying miles above my expectations. A great example came from the acoustic stage immediately after the Ghosts. Orla is a young singer-songwriter from Bath, and clearly one to watch. With crystal vocals she gave us some divine originals, including a particularly poignant one called Mouthwash, and made Crowded Houseโ€™s principal her own.

    Matt Owens & The Delusional Vanity Project

    Former Noah and the Whale, Matt Owens & The Delusional Vanity Project followed with a dynamite set. As evening set in a professional precedence, I figured this was going to get continuously better. Multiple AMA UK Award winner Hannah White, the best yet, intertwined devout stage presence with a heartfelt singalong, she captivated, projecting her pure lyricism like dripping honey. I especially liked the tune with the reggae offbeat, but overall, I left wondering if, or how it could possibly get any better.

    Hannah White

    If Iโ€™m now a Hannah White fan, and all presented before us was of a quality so high it would be impossible to fault, it should be no negative reflection in comparison to suggest something here wasnโ€™t entirely my cuppa. No doubt, any Ohio artist signed by Peter Gabriel is going to be of an excellent standard, and soloist and loop pedal god,ย Joseph Arthur certainly is, it was just the bar was set so high by Hannah it levelled off here somewhat.

    ย Joseph Arthur

    So, despite the highest of qualities, I wondered now if, for my personal tastes, anything could possibly top Hannah, and casted a preconceiving critical eye over Our Man in The Field as they set up. They certainly had an impressive ensemble, seven piece with an upright bassist, organist and everything. The lead guitarist had something of a Bill Wyman debonair, while the frontman presented himself as a funky truckstop dweller. Grasping tight to my newfound adoration of Hannah, this would be interesting, if nothing more.

    Thatโ€™s when the vibe hits you best, when itโ€™s a surprise! Our Man in The Field has the perfect Americana balance, components of country, but with such soulful jazzy swagger, they had me off-guard and now totally hooked, the first to entrance me wholly. Our Man in The Field is sublimely captivating.

    Our Man in The Field

    Shit, I realise now I shouldโ€™ve put more trust in Chrisโ€™s knowledge! He has presented a lineup which, despite me thinking at numerous intervals, heโ€™s not going to top this, he somehow did! I made up my mind then, I had to witness the final act even if an asteroid hit The Shires shopping centre.

    The Delines, self-labelled as โ€œretro country soulโ€ from Portland, Oregon headlined. With everything previous so hyped in the hamster wheel of my mind, it mattered not if this suited me, I could leave now, more than content. I couldnโ€™t leave. I imagined myself off the lines, driving one of those poetic American roads, planning to stop off to drink my soul away at a roadside bar, but when you walk in a band playing in a back room is so inspiring you figure life is too short as they blissfully cure your blues.ย 

    The Delines

    This was gorgeous. Utterly brilliantly steady, smooth with no need to fire up, just drifting with narratives akin to Guthrie, jazzy and soulful as Springsteenโ€™s early recordings and the Asbury Park scene, on a Gil Scott-Heron level, and topped with the honest banter of a band in their prime; there was no need for them to apologise for Trump, thereโ€™s two bridges between us, they can break the political one, but cannot ever do the same to the creative arts one. I wished my friend Chrissy could see this, this is what her band Burn the Midnight Oil should attain to, this was blended bliss, American music without borders.

    Impossible for me to compare what Queen Victoria’s Golden Jubilee was like at Trowbridge Town Hall with the events now being run at it, but 7 Hills felt like it couldโ€™ve matched it, even without cherries cooked in flaming brandy, and the range of community events at the venue breathes positive new light into Trowbridge town centre.ย 



  • Wiltshire Hunt Sabs Stolen Drone Footage Reveals a Beaufont Hunt Kill

    Retrieved footage from a stolen drone of the Wiltshire Hunt Saboteurs reveals the Beaufont Hunt making a fox kill earlier this month, and itโ€™s undeniable evidence of their despicable crimes against our wildlifeโ€ฆ.

    The Wiltshire Hunt Saboteurs have exposed The Beaufort Hunt numerous times, recording a kill on the Fosse Way in November 2025, on the Dukeโ€™s Badminton Estate in December, and another at Cranmore Farm, Shipton Moyne, in January this year.

    This distressing footage was recorded earlier this month at Commonwood Farm, Luckington. It clearly shows a fox hiding the hedgerow, the hounds doubling to the exact spot where a field rider was waiting, and dragging the terrified fox from the edge of the hedge, tearing it apart. The fox is then killed in front of hunters, who do nothing to stop the attack.

    If this sickens you, the next part of the process is utterly terrible; the cover-up. Whilst they bag the remains of the fox, their terrierโ€‘men and hunt supporters surround the drone, waiting for it to land, in an attempt to steal it, while the sabs rush to protect it. This is now common practice added into their โ€œtraditional country sport.โ€

    The Police were called, and an officer from the Roads Policing Unit took the drone. “He just took it,” The Sabs explained, “he didn’t say what powers and didn’t give a receipt, hence we call it a theft.” Meanwhile, many of the terrier-men, with “registration plates deliberately muddied out,” realising they too were being recorded, fled. Police engaged with the leader, but not with the sabs. A rural crime officer viewed the footage on the drone controller, and another officer from Chippenham Response also attended.

    The Rural Police Unit seized the drone containing vital evidence, but did nothing to stop the hunt, or locate the remains of the fox, disposed of in a bin bag, according to the sabs. The drone was returned to Wiltshire Hunt Sabs, following a weekโ€‘long campaign exposing the circumstances of its seizure. The evidence has now been posted to their social media platforms.

    This leaves me with little faith the new laws will do anything to stop this, if police do not act on them. Because, there was me thinking the objective of the police is to prevent crime, not just punish after a crime is committed? I asked the Wiltshire Hunt Sabs how they feel about these new rules regarding trial hunts, and if they think it will really make a difference?

    โ€œItโ€™s hard to say without knowing what the government will implement,โ€ a spokesperson told me. โ€œAny improvement is welcomed but this is our only opportunity to get rid of the loopholes – and the government must make sure it doesnโ€™t introduce new ones.โ€

    โ€œThe Hunt Saboteurs Association has produced a brilliant booklet detailing the key changes needed to ensure an effective ban on hunting wildlife with proper sentencing deterrents. Currently the Hunting Act allows only for a fine, which isnโ€™t a deterrent or punishment for fox hunters with deep pockets. Landowners and hunt management also need to be held accountable more often too; they are supportive of their law-breaking hunt staff. Trail hunting needs to be banned; it isnโ€™t an activity in itself, it simply exists only as a legal defence. Reckless clauses will certainly hurt them as every defence comes down to โ€œooops, it was an accident!โ€ Itโ€™s nigh on impossible to prove intent – as you canโ€™t hop into anyoneโ€™s mind, even though everyone knows when fox hunters hunt or kill foxes, itโ€™s 100% intentional.โ€

    The continuous scroll of comments on The Wiltshire Hunt Saboteursโ€™ social media posts show the overwhelming support for the organisation’s attempts to prevent this criminal activity, their anger this continues, and criticisms of the seemingly inactions of the Police. Myself? I call the Beaufont Hunt something which rhymes with hunt.

    You can follow Wiltshire Hunt Sabs HERE and support their work HERE.


  • Extended Lineup for CrownFest

    It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentioned it, because the organisers Stone Circle announced that its proceeds will be donated to Wiltshire Hope & Harmonyโ€™s Dementia Choir. I like to tease you during those cold winter months, and get us looking forward to warmer days coming…..

    Now the time is nearly upon us; frosty starts but some glorious sunshine brings a sigh of relief, as spring has sprung. Time to remind ourselves of some of the local festivals on our horizon, but this isnโ€™t about simply regurgitating what weโ€™ve already said about CrownFest, because thereโ€™s been a few updates since, worthy of your attentionโ€ฆ..

    What is new, is that the music will be presented over two stages rather than the single stage. Acoustic acts will be in the marquee, while bigger bands will be soundchecking and warming up on the main stage. This is great news, for continuous entertainment, and youโ€™d have to wonder otherwise, just how theyโ€™d squeeze so many acts into just one day.

    And, before I waffle too far, that one day is the 4th July 2026; closer than you might think!

    Tickets available HERE. A standard adult is only ยฃ32, children are ยฃ10, and thereโ€™s a ยฃ75 family bundle option too.

    So, what Iโ€™ve already told you: Kinishaโ€™s renowned Simply the Best Tina Turner Tribute and Adam & The Ants tribute Ant Trouble headline, closely followed by Wiltshireโ€™s premier indie-pop favourites and winners of six Wiltshire Music Awards, Talk in Code. Purveyors of Irish & Celtic folk The Publicans will also be playing, along with Salisburyโ€™s rock cover band Innovator, rock covers band Tipsy Gypsies, the one and only George Wilding, Mother Ukes, and the blooming marvelous Lucas Hardy.

    And if all that isnโ€™t already enough, what you might not have noticed, is some fantastic additional acts recently added. Firstly, the sublime Ruby Darbyshire is now on the lineup, who is worth the ticket price alone! Young Calne singer-songwriter, Braydon Lee, is a name on everyoneโ€™s lips right now, we fondly reviewed his latest single, and heโ€™s coming too. Eighteen-year-old singer-songwriter, guitarist and pianist Dylan Bratley also made the team; a new name to us but Iโ€™ve just checked out his rather cool Noah Kahan cover on TikTok, looking forward to hearing him live.

    Lastly, is an upcoming Salisbury sixth form band, organiser Eddie Prestidge likened to Nothing Rhymes With Orange, called Five Nights at Adyans. The Salisbury Journal recently mentioned them playing Wiltshire Creativeโ€™s โ€œGlow with the Flowโ€ event for young musicians at Salisbury Art Centre. They revealed โ€œthe band is composed of four boys, Jasper Hill, Owen Morgan, Thomas Clark, and Toby Allen, who are all currently in Lower Sixth at Bishop Wordsworthโ€™s school, and have been friends since they were in Year Seven. The influence behind their name is a play on the famous video game โ€œFive Nights at Freddyโ€™sโ€, combined with the influence from their classmate called Adyan, whom they often bring up on stage.โ€ย 

    This kind of leaves me wondering what Adyan does, if heโ€™s like a young Bez from the Happy Mondays, and if he will show up at CrownFest! Adyan or no Adyan, CrownFest is getting better and better, the latest poster unusually puts the lesser-known acts above the headliners, showing a real dedication to upcoming performers, and thatโ€™s a great look! All roads lead to Bishops Cannings this coming 4th July…. get on one of them!


  • Vox Populi: New Album From Deadlight Dance

    The difference between punk and goth is that as a punk you reject society, as a goth society rejects you. Being society lives mostly online today, that’s probably why my spam filter assumes proposals from exiled middle eastern princes to deposit bitcoin into my bank, and machines to extend oneโ€™s manhood are of interest to a regional entertainment blog, but a local goth duo’s new album should be hidden in a spam folder.

    Algorithms now pressure me into having to rush this out, despite noting on social media, Deadlight Dance are releasing their third album, Vox Populi tomorrow (Friday 20th March), which they launched at The White Bear in Devizes last Sunday. Have Nick and Tim got in the humph with me?!

    They are Eurythmics-covering retro goths after all, who seem to be dealing with the apocalypse with new songs and a spot of gardening. I’ve always been nice about what they do and thought the feeling was mutual! Not at all; seems after a quick Facebook message, the glitch is real, and the email was discovered; and just like the issues Nick and Tim describe, โ€œthe populist rhetoric, the age of the oligarch where the rapid development of A.I. and deepfakery is upending reality, and โ€˜straight-talkingโ€™ chancers who claim to represent the majority are stoking the smouldering embers of fascism,โ€ these are the depressing first world problems which need addressing, and with them in mind, isnโ€™t it overdue to rekindle the era of the goth spirit?

    Recorded as usual at Mooncalf Studio with legendary purple-bearded producer Nick Beere, it feels at times as if Deadlight Dance are canvassing for compassion as humanity gears up to vote for the collapse of civilised society. โ€œItโ€™s dark,โ€ agrees Nick Fletcher, โ€œbut there is hope there. You donโ€™t talk about these things unless you want to do something about it.โ€

    โ€œLight and shade,โ€ says his partner in sound, Tim Emery. โ€œHopefully thereโ€™s something forย everyone. For some people, everything will be for them.โ€

    With all edgy synths blazing, Gloss opens Vox Populi, dramatically and attacking the beauty industry, its harmful lies and unrealistic standards in an era most pop stars are encouraging them. We reviewed this as a single last October, where I vowed to shave my eyebrows off and draw them back on with a Sharpie. The exploitative nature of the cosmetics industry, the first deep and eerie original song of eight, which speak of algorithmic existences; gaslighting by the elite, the paradox of โ€˜humaneโ€™ food production, identities and the preconceptions that can shape them, the corporatisation of the militaryโ€ฆ and gardening.

    โ€œThere are some important horticultural and botanical references,โ€ says Nick, reassuringly. The poisonous evergreen shrub Daphne odora, being an example, as the second tune, a poignant plodding shoegazer and followed by a surprisingly jocund ballad which gracefully reminds of the playful moments of The Cure.

    Red Flags warns of danger, but takes no prisoners, Lachrymal is as dismayed as Fields of the Nephilim, Glass Walls is uptempo, furious and robust by design, an enclosed space frameless and seamless, but perhaps not maximising natural light, for thatโ€™s simply not goth!

    The Theatre of Absurd thuds us back into the dark, with anticipatory anxiety and New Order beats. Followed by the first of two cover songs, Eurythmicsโ€™ Sweet Dreams. Deadlight Dance comforts you here with familiarity and reminiscence, but stamp their own authoritative pounce on this, and the second, Princeโ€™s When You Were Mine, both of which feature guest vocalist Sian and drummer Mike Dymond, the latter of whom first played with Nick and Tim when they were sixth formers.

    Thereโ€™s an underlying retro sensation with all that Deadlight Dance produces, that not all electronica was lost to Stock Aitken Waterman, and neither will it be with smug grinned Simon Cowell. And something wholly satisfying that post punk artists of yore inspired Nick and Tim to form a band, and, acne replaced by wrinkles, thirty years later, amidst a global pandemic and a growing whirlwind of social and political chaos, they felt that the time was right to continue the journey. But what is more, is that younger punk bands, like those gravitating towards DIY labels like Sketchbook, are continuing the theme, and, I reckon, would take Deadlight Dance with similar respect to the aforementioned post-punk artists who inspired Nick and Tim. At least they should if or when they hear this album.

    While there is always a coherent thought process behind them all, their previous releases, 2024โ€™s acoustic covers album The Wiltshire Gothic, and the literature-themed EP Chapter & Verse of the same year, held a running theme more rigidly. The dystopian or unnerving observations of the modern era subjects behind Vox Populi is subtler, and this feels like the fashion of their debut Beyond Reverence, only with the natural progression, experience and diligence of those three years. And it shows, this is a most excellent album, once again.

    Vox Populi is released worldwide to stream, and own as a CD, vinyl LP and download,ย through Ray Records on Friday 20th March. Check out details on their website HERE.


  • Kate X: Swindonโ€™s Best Kept Secret

    Youโ€™re young, stars in your eyes, and you live in Swindon; you are not alone, but you are, unfortunately, up against Kate X! Kate is independently producing contemporary pop RnB of international quality, and sheโ€™s riding it. Kate X should, and I hope and strongly predict she will be, a global success storyโ€ฆ..

    James Threlfall spins her tunes on BBC Introducing, comparing her with Sabrina Carpenter and Zara Larson, and I respect his professional judgement. Her singles No Tears and Touch have amassed over nine thousand streams on Spotify and her latest, fifth single, For One Night had over a thousand plays in the four days after its recent release.ย ย 

    Itโ€™s easy to understand why once youโ€™ve listened. Every element to a viable contemporary pop song is evident in Kate Xโ€™s tunes. Theyโ€™re sassy without being coarse, her mezzo-soprano vocals perfectly fit pop, and Kate has a natural flair for bringing acute hooks to the bridge. For One Night, in particular, has that driving RnB bassline, but as a collection, all of Kate Xโ€™s singles to date make for an impressive portfolio.

    Iโ€™ve been hooked on Touch since Peggy-Sue Ford introduced it to me on her Donโ€™t Stop the Music show on Swindon 105.5 last year, and it hasnโ€™t left my head yet! For One Night clearly shows a natural progression, with a familiar and timeless clandestine lover theme, akin to Dusty Springfieldโ€™s popular cover choice Breakfast in Bed, but a contemporary soul feel more Beyonce than Kylie.ย ย ย 

    She has 670 monthly listeners on Spotify, which for a local indie artist is impressive. She might suggest she can be the object of her desireโ€™s โ€œbest kept secret,โ€ but in my opinion, she should no longer be secret to mainstream media and a worldwide fanbase.ย ย 

    Okay, so there are occasions, and more often than not, when an aspiring wannabe’s judgement obscures the probable reality that theyโ€™re the needle in the haystack and unlikely to progress to stardom in the competitive music business. And someone has the unfortunate task of tying their feet back to the floor. It’s sad, but a common stipulation, and often manipulated by television talent shows for ratings. But when I listen to Kate X’s tunes, compare them to what the mainstream is putting out, and consider she’s independently creating and marketing, this is clearly not the case here. Kate has something really rather special, which is on par with the mainstream commercial output.

    All it takes is for word to spread, and maybe some crossed fingers and toes, but Kate X seems determined, and unquestionably has the potential to be the next big pop star.

    Kate, your songs are simply brilliant, remain steadfast to your goal, mentally prepare for setbacks, obviously, but I reckon, judging on this latest single, youโ€™ve got it in the pocket girl! And we wish you all best of luck with this positively facing journey.ย Follow her journey on Instagram, TikTok, or Facebook.


Very Terry Edwards

The word โ€œvery,โ€ rarely an adjective, as in โ€œit happened in this very house,โ€ or โ€œthis is very Terry Edwards,โ€ but commonly worthlessly used as an adverb, as in โ€œitโ€™s very cold today,โ€ or โ€œthis is the very best of Terry Edwards.โ€ While the album simplifies it to the ambiguous โ€œVery Terry Edwards,โ€ itโ€™s BandCamp page suggests, โ€œThe Very Best of Very Terry Edwards,โ€ which though itโ€™s exactly what it is, itโ€™s also one adverb enough for the most lenient of proof-readerโ€™s red line. Yet, if the usage of very is erm, very worthless, it is the only thing on this album which is.

The multi-instrumentalist, best known for trumpet, flugelhorn, saxophone, guitar and keys, marked his sixtieth birthday last September releasing this three-CD best-of box set, and while I shouldโ€™ve mentioned it last month, between putting batteries in toys and stuffing myself with pigs in blankets things got tardy. Right now, though, I can think of no better outstanding project to kick off our music reviews for 2021. Reason only partly because it ticks all my personal favourite genre boxes, more so because of the range of said genres is far greater than run-of-the-mill best of compilations.

We need to assess Terryโ€™s biography to understand the reason for this variety. Funky punk and second-gen ska most obvious, as from 1980 he was a founding member of Two-Tone signed band The Higsons, after graduating with a degree in music. But around that time Terry also produced and played on the Yeah Jazzโ€™s debut album, of whom, despite the name, were particularly folk-rock.

Terry in 1984

From here the vastness of Terryโ€™s repertoire blossoms, as session musician for a huge range of acts, from Madness to Nick Cave, PJ Harvey and The Jesus and Mary Chain to, particularly notable, The Blockheads. As well as his solo material, with his band The Scapegoats and a stint with dark punk-blues outfit Gallon Drunk, itโ€™s understandable collating this in one reminiscent anthology is a mammoth task and a melting pot. Which is just what youโ€™re getting for your money, a very, as the grammatical disorderly title suggests, worthy melting pot.

โ€œWhen the earliest recording here was made the 18-year-old me couldnโ€™t comprehend being 60,โ€ Terry explained, โ€œyet here I am presenting a triple album containing 60 titles recorded between 1979 and 2020, through thick and thin.โ€ Therefore, it must be more tongue-in-cheek than Iโ€™d suspect Roger Daltreyโ€™s notion now of My Generationโ€™s lyrics that for the opening track he opted for The Higsonsโ€™ โ€œWe Will Never Grow Old.โ€

โ€œYouโ€™d expect an overview of my career to have some odd bedfellows and more than its share of quirks and foibles,โ€ he continued, โ€œbut itโ€™s been compiled to flow musically rather than have a chronological narrative.โ€

That said, the first four tunes from his original band follow, with all their fervent rawness. Terry covered his tracks though, โ€œI immediately break my own rules by starting with The Higsonsโ€™ earliest release and debut single, but redeem myself by following up with the most recent recordings; two ballads recorded with Paul Cuddeford (Ian Hunter, Holy Holy) in February 2020. There is more method than madness; groups of songs which follow a theme or genre are found together regardless of when theyโ€™re from.โ€ Indeed, weโ€™re then treated to three tunes in a matured, mellowing jazz and blues, the latter of which with the vocally perfected Erika Stucky.

Then weโ€™re into rock with The Wolfhounds, and a guitar-twanging Christmas blues song with Robyn Hitchcock, plodding jazz with Knife & Fork, post-punk Big Joan, avant-garde jazz with Spleen and rockabilly styled New York New York. While mostly jazz-related, this first disc graduates through genres with finesse.

Terry is like Georgie Fame with a Mohican, but whatever avenue is explored, you can guarantee quality. The second CD starts with a bang, upbeat mod-jazz with The Scapegoats. Thereโ€™re more known covers here, sublimely executed Herbie Hancockโ€™s Watermelon Man, a superb solo rendition of The Cureโ€™s Friday Iโ€™m in Love, as if Robert Smith wore a Fred Perry, and a hard-rock electronica version of Johnny Kiddโ€™s Shakin all Over with the haunting vocals of Lisa Ronson. Even find an orchestral film score, and a piano solo of the knees-up capitalโ€™s favourite, May Itโ€™s Because Iโ€™m a Londoner.

Yet if both the quantity and quality on offer here is so vast to make me waffle, it doesnโ€™t waiver for the final disc, rather itโ€™s my favourite. A BBC session outtake of a jazzy Voodoo Chile, with altered title to โ€œChild.โ€ Dunno, canโ€™t be a typo, the dedication to attributing to Hendrixโ€™s masterpiece is no easy feat, lest it be known Terry manages it with awesomeness dexterity, with a saxophone!

If the last CD continues with on a jazz tip for two tunes, weโ€™re transported to ska via John Holtโ€™s Ali Baba by Lee Thompsonโ€™s Ska Orchestra and other sundry members of Madness, and Totally Wired by Terryโ€™s โ€œSka All Stars,โ€ and more ska-jazz with Rhoda Dakar. Post-punk follows, featuring The Nightingales with Vic Goddard, Snuff, Glen Matlock and Gallon Drunk. Perhaps my favourite parts being the shouty cover of The Human Leaguesโ€™ โ€œDonโ€™t you Want Me Baby,โ€ by Serious Drinking, and the general dilapidation of seriousness with new wave tunes mirroring the unsubtlety of Ian Dury & The Blockheads.

Hereโ€™s a jam-packed box-set brimming with variety which flows suitably and makes a definitive portfolio of a particularly prolific and proficient musician. For many itโ€™ll hold fond memories, for younger, who think Kate Nash created the cockney chat-rap, or jazz wasnโ€™t the same until Jamie Cullum came along, itโ€™s a history lesson theyโ€™ll never forget!

This 60th birthday, 60 track-strong celebration spans over four decades. A triple CD clamshell boxset with 24-page booklet, but more importantly they say, โ€œVery Terry Edwards is a birthday present to himself as much as anything else,โ€ giving it the impression youโ€™re on a personal journey, like a child sitting on their grandpaโ€™s lap while he recites memoirs, blinking exciting ones!

Buy from Rough Trade: ยฃ15.99 or BandCamp: ยฃ15 or ยฃ8 digital.


Meet Henry, the Hollychocs’ Chocolate Duck Helping Cystic Fibrosis

Poulshot’s Award-winning chocolate studio Hollychocs is proud to launch a heartfelt charity campaign in support of the Cystic Fibrosis Trust UK, with a charming chocolate duck leading the way….. The star of the campaign is Henry Duck โ€“ a handmade chocolate duck crafted from Hollychocsโ€™ signature 45% cocoa milk chocolate and decorated in yellow andโ€ฆ

Various venues in/around D-Town โ€“ Saturday & Sunday 7/8th June 2025

Just How Big Is That Fringe? Or Two Go Myth-Busting Andy Fawthrop Weโ€™ve always held that D-Town is a great place to live, and one of the many reasons is that it punches well above its weight in terms of the arts and cultural events.ย  Just speaking to musicians and artists who visit the townโ€ฆ

Lions, KITT, Moonrakers and a Whiskey River; Sunday Stroll Around Devizes

If it’s good enough for Knight Rider it’s good enough for me. I see the Hoff ditched his Knight Industries Three Thousand on the Green for a stroll around Devizes on Sunday. He probably found a crusade to champion the cause of the innocent in a world of criminals who operate above the law, whereasโ€ฆ

Hotcakes, Wildfire, Shoesโ€ฆ. and Acid!

In the dead of night sounds in a rural environment are resonating singularities, a car in the distance or the farmer calling his herd. In an urban environment itโ€™s a cacophony, a mesh of motorways, trains and factories. Living in either you become accustomed, but to change can take adjusting. To accommodate the increase ofโ€ฆ

One Week Left to Cast Your Votes for Wiltshire Music Awards

Thatโ€™s right, lovers of local live music countywide, you have less than a week now to cast your votes for your favourite acts in our prestigious, one-of-a-kind Wiltshire Music Awards! The closing date for voting is Tuesday the 10th June, so get your thinking caps on and VOTE HERE NOW. Whoโ€™s tickled your fancy theโ€ฆ

Swindon Palestine Solidarity Upcoming Events

Swindon Palestine Solidarity continues to call for a ceasefire in Gaza and for aid to be allowed to enter Gazaโ€ฆ.. Their three recent roadside sign actions generated a lot of positive responses. Itโ€™s an effective way to keep people talking about what is happening in Gaza and these actions will be one of the manyโ€ฆ

Wiltshire Council Ask Gecko For Road-Crossing Song.

Not to make you feel old or anything, but Tufty, the safe road-crossing squirrel turns sixty this year, the Green Cross Code Man is not far behind at 51. Not too long before they’ll need some assistance crossing the road themselves, I don’t doubt!

Popular as retrospection is, Wiltshire Council have rightfully recognised a CJI Tufty makeover might not be best, and the Green Cross Code man is fighting his own conflicting interests between the Sith and Jedi.

How to teach kids to cross the road safely, needs a fresh approach….

They assigned Creative Studios to come up with this little masterpiece of a green cross code safety vid, and I couldn’t think of anyone more apt than the mighty Gecko to produce the song.

Yep, this works on so many levels. “I loved being a part of this project,” Gecko said, “I love the variety that this music life brings.” Well done Gecko, and a great choice by Wiltshire Council.

Just Another Lockdown Festival

JMW Promotions have a free online festival coming this Saturday and Sunday (9th & 10th Jan.)

There’s a lot of names I don’t recognise, which is the best thing about festivals in general, but especially online; local artists without borders. In fact the only performer I have heard of is the brilliant Jess Silk, on Sunday.

Line up looks like this: Just Another Lockdown Festival

Saturday
1pm Sam Draisey
2pm Shotgun Marmalade
3pm Kyle Parsons
4pm BICKERmusic
5pm Harrison Rimmer
6pm Warren Ireland
7pm Brian Stone Music
8pm JollyRoger
9pm Davey Malone

Sunday
1pm ALEX CAVAN MUSIC
2pm michael webster
3pm Have A Go Hero
4pm Doozer McDooze
5pm Sam Tucker?
6pm Maelor Hughes
7pm Ellie Keegan
8pm Brad Dear
9pm Jess Silk

Tune in from the artists Facebook pages which can be found on the event page, or check them out on JMW Promotions or in JMW Promotions Community.

Jess Silk (Image credit: Olver Gray)

Best of luck to JMW and all artists for the weekender, there will be a PayPal bucket linked, please support the artists, you know the drill. I’ll defo be popping in as and when and hoping to hook up with some new talent defo. Might even don my festival jester’s hat, put my cider in a squashy cardboard cup and take a piss behind the sofa!


Latest Posts

Will Lawton’s Rhythm Practice

Local music therapist Will Lawton plans to open a Music Therapy practice in early 2021, based at The Pound Arts Centre in Corsham. The service will help develop a positive change in the well-being of individuals of all ages through the creative use of music, facilitated by trained music therapists. Can you help Will reach his target?

In total, ยฃ8500 is required in order to equip a room with high quality music instruments and equipment. ยฃ6000 of this target has already been pledged by the council and a school, leaving an outstanding balance of ยฃ2500. This final balance must be found in order to unlock the rest of the grant funding to bring this project to life.

Donate here, thank you


No Surprises Living in Devizes; Local Politics Rant Returns!

I want Devizine to be primarily about arts and entertainment, but Iโ€™m often pathetically persuaded by bickering political factions to pass opinion on local politics for petty point-scoring, despite being more Olly Murs than Andrew Marr; trouble, troublemaker, yeah, thatโ€™s my middle nameโ€ฆ… Butter me up with an overpriced burger if you will, but myโ€ฆ

Gender-Queered Production of Shakespearean Classic at Bath’s Rondo Theatre Raises Money for Charities

Photo credit: ยฉ Rondo Theatre Company / Jazz Hazelwood A gender-queered production of William Shakespeareโ€™s classic play, โ€˜The Taming of the Shrewโ€™, will be performed at the Rondo Theatre in Bath this June, as part of Queer Bath and LGBTQIA+ Pride Month, with all profits being donated to charity…… โ€˜The Taming of the Shrewโ€™ isโ€ฆ

Are We Still in Rowde?! RowdeFest 25 Sunny Overview

Images by Hans Shell, Ruth Wordley, Helen’s PolarPix and Bird is the Word If you’re going to write on a subject you must research it, but if you’re going to write well about it you need to get involved in order to understand the details often hidden to outside observersโ€ฆ. I learned this a yearโ€ฆ

@The Southgate

Devizine in Lockdown, again.

Here’s our deal, as I see it given new lockdown restrictions.

We have an annual reach of approximately 50K, over 80% of which are local. Whatever Devizine can do to help you, we will, but you must let me know about what you’re doing and engaged in for me to promote it. I’m unable to spend every moment on social media sourcing your stories.

Advertise your business, school, charity, online event, FREE for lockdown duration. Just send me details. This is available for small local businesses and at the editor’s discretion. We can put adverts on all published articles. We can cover your activities in articles and features, and we will share these across social media.

If you are engaged in any supportive projects, notify me so we can spread the word.

If you’re in creative arts, music, art, sports, and fundraising, whether crowdfunding, help in promoting live streams, recordings, online exhibitions and any other projects, we can and will help.

Please consider, if you can, making a donation to help the site keep running and improving.This you can do at http://www.devizine.com/about

You can email devizine@hotmail.com or message the Facebook page, you can tweet @devizine1 – Together we can pull through this.

Here we go again.

Thanks, Darren.

Oh, an important note I forgot to add, thanks to the edit function here! Please, if I fail to respond to emails and messages, feel free to nudge me. Things do sometimes get missed and I’d dread you to think I’m ignoring you! I don’t view it as impolite to ask if I remembered to do this or that, ask the wife, I can be forgetful!! ๐Ÿ™‚

Devizineโ€™s Review of 2020; You Canโ€™t Polish a Turd!

On Social and Political Mattersโ€ฆ…

For me the year can be summed up by one Tweet from the Eurosceptic MEP and creator of the Brexit Party, Nigel Farage. A knob-jockey inspired into politics when Enoch Powell visited his private school, of which ignored pleas from an English teacher who wrote to the headmaster encouraging him to reconsider Farageโ€™s appointed prefect position, as he displayed clear signs of fascism. The lovable patriot, conspiring, compulsive liar photographed marching with National Front leader Martin Webster in 1979, who strongly denies his fascist ethos despite guest-speaking at a right-wing populist conference in Germany, hosted by its leader, the granddaughter of Adolf Hitlerโ€™s fiancรฉ; yeah, him.

He tweeted โ€œChristmas is cancelled. Thank you, China.โ€ It magically contains every element of the utter diabolical, infuriating and catastrophic year weโ€™ve most likely ever seen; blind traditionalist propaganda, undeniable xenophobia, unrefuted misinformation, and oh yes, the subject is covid19 related.

And now the end is near, an isolated New Yearโ€™s Eve of a year democracy prevailed against common sense. The bigoted, conceited blue-blooded clown we picked to lead us up our crazy-paved path of economic self-annihilation has presented us with an EU deal so similar to the one some crazy old hag, once prime minster delivered to us two years back itโ€™s uncanny, and highly amusing that Bojo the clown himself mocked and ridiculed it at the time. Iโ€™d wager itโ€™s just the beginning.

You can’t write humour this horrifically real, the love child of Stephen King and Spike Milligan couldn’t.

Still, I will attempt to polish the turd and review the year, as itโ€™s somewhat tradition here on Devizine. The mainstay of the piece, to highlight what weโ€™ve done, covered and accomplished with our friendly website of local entertainment and news and events, yet to holistically interrelate current affairs is unavoidable.

We have even separated the monster paragraphs with an easier, monthly photo montage, for the hard of thinking.

January

You get the impression it has been no walk in the park, but minor are my complaints against what others have suffered. Convenient surely is the pandemic in an era brewing with potential mass hysteria, the need to control a population paramount. An orthornavirae strain of a respiratory contamination first reported as infecting chickens in the twenties in North Dakota, a snip at 10,400km away from China.

Decidedly bizarre then, an entire race could be blamed and no egg fried rice bought, as featured in Farageโ€™s audacious Tweet, being itโ€™s relatively simple to generate in a lab, inconclusively originated at Wuhanโ€™s Huanan Seafood Wholesale Market, rather spread from there, and debatably arrived via live bat or pangolin, mostly used in traditional Chinese medicine, a pseudoscience only the narrowminded minority in China trusts.

Ah, inconsistent pseudoscience, embellished, unfalsifiable claims, void of orderly practices when developing hypotheses and notably causing hoodwinked cohorts. Yet if we consider blaming an ethos, rather than a race, perhaps we could look closer to home for evidence of this trend of blind irrationality. Truth in Science, for example, an English bunch of Darwin-reputing deluded evangelicals who this year thought itโ€™d be a grand and worthy idea to disguise their creationist agenda and pitch their preposterous pseudoscientific theory that homosexuality is a disease of the mind which can be cured with electro-shock treatment to alter the mind inline with the bodyโ€™s gender, rather than change the body to suit the mindโ€™s gender orientation, to schoolchildren!

Yep, these bible-bashing fruit-bats, one lower than flat earth theorists actually wrote to headmasters encouraging their homophobia to be spread to innocent minds, only to be picked up by a local headmaster of the LGBTQ community. Hereโ€™s an article on Devizine which never saw the light of day. Said that Truth in Scienceโ€™s Facebook page is chockful with feedback of praise and appreciation, my comments seemed to instantly disappear, my messages to them unanswered. All I wanted was a fair-sided evaluation for an article, impossible if you zip up.

Justly, no one trusts me to paint an unbiased picture. This isnโ€™t the Beeb, as I said in our 2017 annual review: The chances of impartiality here, equals the chances of Tories sticking to their manifesto. Rattling cages is fun, thereโ€™s no apologies Iโ€™m afraid, if I rattled yours, it just means youโ€™re either mean or misguided.

Herein lies the issue, news travels so fast, we scroll through social media unable to digest and compose them to a greater picture, let alone muster any trust in what we read. Iโ€™m too comfortable to reside against the grain, everyoneโ€™s at it. I reserve my right to shamelessly side with the people rather than tax-avoiding multinationals and malevolent political barons; so now you know.

February

If you choose to support these twats thatโ€™s your own lookout, least someone should raise the alarm; youโ€™d have thought ignoring World Health Organisation advise and not locking down your country until your mates made a packet on horseracing bets is systematic genocide and the government should be put on trial for this, combined with fraud and failure of duty. If not, ask why weโ€™re the worst hit country in the world with this pandemic. Rather the current trend where the old blame the young, the young blame the old, the whites blame the blacks, the thin blame the fat, when none of us paid much attention to restrictions because they were delivered in a confused, nonsensical manner by those who don’t either, and mores to the pity, believe they’re above the calling of oppressive regulations.

If you choose to support these twats, youโ€™re either a twat too, or trust what you read by those standing to profit from our desperation; ergo, twats. Theres no getting away from the fact you reep what you sow; and the harvest of 2020 was a colossal pile of twat.


Onto Devizineโ€ฆ. kind of.

For me what started as a local-based entertainment zine-like blog, changed into the only media I trust, cos I wrote the bollocks! But worser is the general obliteration of controversy, criticism and debate in other media. An argument lost by a conformer is shadowed behind a meme, or followed up with a witch hunt, a torrent of personal abuse and mockery, usually by inept grammar by a knuckle-dragging keyboard warrior with caps-lock stuck on; buy a fucking copy of the Oxford Guide to English Grammar or we’re all going to hell in a beautiful pale green boat.

We’re dangerously close to treating an Orwellian nightmare as a self-help guide, and despite fascists took a knockdown in the USA and common sense prevailed, the monster responded with a childish tantrum; what does this tell you? The simple fact, far right extremism is misled and selfish delinquency which history proves did no good to anyone, ever. Still the charade marches on, one guy finished a Facebook debate sharing a photo of his Boris โ€œget Brexit doneโ€ tea-towel. I pondered when the idiot decided a photo of his tea towel would suffice to satisfy his opinion and convince others, before or after the wave of irony washed over his head in calling them Muppets.

I hate the term, itโ€™s offensive. Offensive to Jim Hensonโ€™s creations; try snowflake or gammon, both judgemental sweeping generalisations but personally inoffensive to any individual, aside Peppa Pig. I wager you wander through Kent’s lorry park mocking the drivers and calling them snowflakes rather than tweeting; see how far you get.

So, the initial lockdown in March saw us bonded and dedicated, to the cause. We ice-skated through it, developed best methods to counteract the restrictions and still abide by them; it was kind of nice, peaceful and environmentally less impacting. But cracks in the ice developed under our feet, the idea covid19 was a flash in pan, akin to when Blitz sufferers asserted itโ€™d all be over by Christmas, waned as we came to terms, we were in it for the duration.

Yet comparisons to WWII end there, lounging on the sofa for three months with Netflix and desperate peasants delivering essential foodstuff, like oysters, truffles and foie gras is hardly equivalent to the trench warfare of Normandy. Hypocritical is me, not only avoiding isolation as, like a nurse, my labour was temporarily clapped as key worker in March, I figured my site would only get hits if I wrote something about Covid19, and my ignorance to what the future resulted in clearly displayed in spoofy, ill-informed articles, Corona Virus and Devizine; Anyone got a Loo Roll? on the impending panic-buying inclination, and later, I Will Not Bleat About Coronavirus, Write it Out a Hundred Timesโ€ฆ

The only thing I maintained in opinion to the subject, was that it should be light-hearted and amusing; fearing if we lose our sense of humour, all is lost. Am I wrong? Probably, itโ€™s been a very serious year.

It was my first pandemic-related mention, hereafter nearly every article paid reference to it, no matter how disparate; itโ€™s the tragedy which occupied the planet. But letโ€™s go back, to oblivious January, when one could shake hands and knew where the pub was. Melksham got a splashpad, Devizes top councillors bleated it wasnโ€™t fair, and they wanted a splashpad too. They planned ripping out the dilapidated brick shithouses on the Green and replacing it with a glorious splashpad, as if they cared about the youth of the town. I reported the feelings of grandeur, Splashpad, Iโ€™m all over it, Pal! A project long swept under the carpet, replaced with the delusion weโ€™ll get an affordable railway station. As I said, convenient surely is the pandemic.

So many projects, so many previews of events, binned. Not realising at the time my usual listing, Half Term Worries Over; things to do with little ones during February half-termโ€ฆ would come to an abrupt halt. Many events previewed, the first being the Mayoral Fundraising Events, dates set for the Imberbus, and Chef Peter Vaughan & Indecisionโ€™s Alzheimerโ€™s Support Chinese New Year celebration, to name but a few, Iโ€™m unaware if they survived or not.

March


On Musicโ€ฆ…

But it was the cold, early days of winter, when local concerns focused more on the tragic fire at Waiblingen Way. In conjunction with the incredible Liz Denbury, who worked tirelessly organising fundraising and ensuring donations of essentials went to the affected folk, we held a bash in commemoration and aid down that there Cellar Bar; remember?

It was in fact an idea by Daydream Runaways, who blew the low roof off the Cellar Bar at the finale. But variety was the order of the evening, with young pianist prodigy Will Foulstone kicking us off, opera with the amazing Chole Jordan, Irish folk with Mirko and Bran of the Celtic Roots Collective and the acoustic goodness of Ben Borrill. Thanks also has to go to the big man Mike Barham who set up the technical bits before heading off to a paid gig. At the time I vowed this will be the future of our events, smaller but more than the first birthday bash; never saw it coming, insert sad-face emoji.

We managed to host another gig, though, after lockdown when shopping was encouraged by In:Devizes, group Devizes Retailers and Independents, a assemblage of businesses set up to promote reopening of town. We rocked up in Brogans and used their garden to have a summer celebration. Mike set up again, and played this time, alongside the awesome Cath and Gouldy, aka, Sound Affects on their way to the Southgate, and Jamie R Hawkins accompanied Tamsin Quin with a breath-taking set. It was lovely to see friends on the local music scene, but it wasnโ€™t the reopening for live music we anticipated.

Before all this live music was the backbone of Devizine, between Andy and myself we previewed Bradford Roots Music Festival, MantonFest, White Horse Operaโ€™s Spring Concert, Neeld Hallโ€™s Tribute to Eddie Cochran, and the return of Asa Murphy. We reviewed the Long Street Blues Club Weekender, Festival of Winter Ales, Chris Oโ€™Leary at Three Crowns, Jon Walsh, Phil Jinder Dewhurst, Mule and George Wilding at The White Bear, Skandalโ€™s at Marlboroughโ€™s Lamb, and without forgetting the incredible weekly line-up at the Southgate; Jack Grace Band, Arnie Cottrell Tendency, Skedaddle, Navajo Dogs, Lewis Clark & The Essentials, King Street Turnaround, Celtic Roots Collective, Jamie, Tamsin, Phil, and Vince Bell.

The collection of Jamie R Hawkins, Tamsin Quin and Phil Cooper at the Gate was memorable, partly because theyโ€™re great, partly because, it was the last time we needed to refer to them as a collection (save for the time when Phil gave us the album, Revelation Games.) Such was the fate of live music for all, it was felt by their newly organised trio, The Lost Trades, whose debut gig came a week prior to lockdown, at the Pump, which our new writer Helen Robertson covered so nicely.

For me, the weekend before the doom and gloom consisted of a check-in at the Cavy, where the Day Breakers played, only to nip across to Devizes Sports Club, where the incredible Ruzz Guitar hosted a monster evening of blues, with his revue, Peter Gage, Innes Sibun and Jon Amor. It was a blowout, despite elbow greetings, I never figured itโ€™d be the last.

It was a knee-jerk reaction which made me set up a virtual festival on the site. It was radical, but depleted due to my inability to keep up with an explosion of streamed events, where performers took to Facebook, YouTube sporadically, and other sites on a national scale, and far superior tech knowhow took over; alas there was Zoom. I was happy with this, and prompted streaming events such as Swindonโ€™s โ€œStaticโ€ Shuffle, and when PSG Choirs Showed Their True Lockdown Colours. Folk would message me, ask me how the virtual festival was going to work, and to be honest, I had no idea how to execute the idea, but it was worth a stab.

One thing which did change, musically, was we lowered our borders, being as the internet is outernational and local bands were now being watched by people from four corners of the world, Devizine began reviewing music sourced worldwide. Fair enough, innit?

The bleeding hearts of isolated artists and musicians, no gigs gave them time on their hands to produce some quality music, therefore our focus shifted to reviewing them, although we always did review records. Early local reviews of 2020 came from NerveEndings with the single Muddy Puddles, who later moved onto an album, For The People. Daydream Runawaysโ€™ live version of Light the Spark and Talk in Codeโ€™s Like That, who fantastically progressed through lockdown to a defining eighties electronica sound with later singles Taste the Sun and Secret.

We notified you of Sam Bishopโ€™s crowdfunding for a quarantine song, One of a Kind, which was released and followed by Fallen Sky. Albums came too, we covered, Billy Green 3โ€™s Still in January, and The Grated Hits of the Real Cheesemakers followed, With the former, later came a nugget of Billy Greenโ€™s past, revealing some lost demos of his nineties outfit, Still, evidently what the album was named after.

Whereas the sublime soul of Mayyadda from Minnesota was the first international artist featured this year, and from Shrewsbury, our review of Cosmic Raysโ€™ album Hard to Destroy extended our presence elsewhere in the UK, I sworn to prioritise local music, with single reviews of Phil Cooperโ€™s Without a Sound, TheTruzzy Boysโ€™ debut Summertime, Courage (Leave it Behind), a new single from Talk in Code, and for Daydream Runawaysโ€™ single Gravity we gave them an extensive interview. This was followed by Crazy Stupid Love and compiled for an EP, Dreamlands, proving theyโ€™re a band continuously improving.

April

Probably the most diverse single around spring though was an epic drum n bass track produced right here in Devizes, featuring the vocals of Pewseyโ€™s Cutsmith. Though while Falling by ReTone took us to new foundations, I ran a piece on the new blues sounds locally, as advised by Sheer Musicโ€™s Kieran Moore. Sheer, like all music promoters were, understandably, scrambling around in the dark for the beginnings of lockdown, streaming stuff. It wasnโ€™t long before they became YouTube presenters! The Sheer podcast really is something special, in an era leaving local musicians as dry as Ghandiโ€™s flip-flop, they present a show to make โ€˜em moist!

Spawned from this new blues article, one name which knocked me for six, prior to their YouTube adventures, was Devizes-own Joe Edwards. I figured now I was reviewing internationally; would it be fair to local musicians to suggest a favourite album of the year? However, Joeโ€™s Keep on Running was always a hot contender from the start, and despite crashing the borders on what we will review, I believe it still is my favourite album of the year.

Other top local albums, many inspired from lockdown came flowing, perhaps the most sublime was Interval by Swindonโ€™s reggae keyboardist virtuoso, Erin Bardwell. The prolific Bardwell later teamed with ex-Hotknive Dave Clifton for a project called Man on the Bridge.

Perhaps the most spacey, Devizesโ€™ Cracked Machineโ€™s third outing, Gates of Keras. Top local singles? Well, George Wilding never let us down with Postcard, from a Motorway, and after lockdown reappeared with his band Wilding, for Falling Dreams and later with a solo single, You Do You. Jon Amor was cooking with Peppercorn, which later led to a great if unexpected album, Remote Control.

There was a momentary lapse of reason, that live streaming was the musical staple diet of the now, when Mr Amor climbed out onto his roof to perform, like an ageless fifth Beatle. Blooming marvellous.

Growing up fast, Swindonโ€™s pop singer Lottie J blasted out a modern pop classic with Cold Water, and no one could ignore Kirsty Clinchโ€™s atmospheric country-pop goodness with Fit the Shoe.

Maybe though it wasnโ€™t the ones recorded before, but our musicians on the live circuit coming out with singles to give them some pocket money, which was the best news. I suggest you take note of Ben Borrillโ€™s Takes A Little Time, for example.

I made new friends through music, reviewing so many singles and EPs; Bathโ€™s Long Coats, and JAYโ€™s Sunset Remedy. Swindonโ€™s composer Richard Wileman, guitarist Ryan Webb, and unforgettable Paul Lappin, who, after a couple of singles would later release the amazing acoustic Britpop album The Boy Who Wanted to Fly. Dirty and Smooth and Atari Pilot too, the latter gave us to cool singles, Right Crew, Wrong Captain, and later, Blank Pages. To Calne for End of Story and Chris Tweedie, and over the downs to Marlborough with Jon Vealeโ€™s Flick the Switch. I even discovered Hew Miller, a hidden gem in our own town.

May

But we geographically go so much further these days, even if not physically much more than taking the bins out. Outside our sphere we covered Essexโ€™s Mr B & The Wolf, Limerickโ€™s Emma Langford, Londonโ€™s Gecko, and from the US, Shuffle & Bang, and Jim White. Johnny Lloyd, Skates & Wagons, My Darling Clementine, Micko and the Mellotronics, Typhoidmary, Frank Turner and Jon Snodgrass, Mango Thomas, Beans on Toast, Tankus the Henge; long may the list continue.

Bombino though, the tuareggae artist really impressed me, but I donโ€™t like to pick a favourite, rather to push us onto another angle. I began reviewing stuff sent via my Boot Boy radio show, and covered a ska scene blossoming in South America. But as well as Neville Staple Bandโ€™s single Lockdown, The Bighead, the Bionic Rats, and Hugo Lobo teaming up with Lynval Golding and Val Douglas, we found reggae in Switzerland through Fruits Records, the awesome Cosmic Shuffling and progressive 808 Delavega.

So much music, is it going on a bit? Okay Iโ€™ll change the record, if you pardon the pun, but not until Iโ€™ve mentioned The Instrumental Sounds Of Ruzz Guitarโ€™s Blues Revue, naturally, Sound Affectsโ€™ album Ley Lines, Tunnel Rat refurbing their studio, and Bristolโ€™s freshest new hip hop act The Scribes. Ah, pause for breath.

Oh, and outside too, we did get a breather from lockdown and tiers, all Jamies for me, Mr R Hawkins was my first outing at the Gate and followed by Jamie Williams and the Roots Collective. Sad to have missed Two Man Ting and when The Big Yellow Bus Rocked the Gazebo, but hey, I thought we were out of the deep water.

June

Splashed straight back in again; โ€œtiersโ€ this time, sounds nicer than lockdown. Who knows what 2021 will bring, a vaccine, two vaccines, a mesh of both despite being ill-advised by experts? Just jab me, bitch, taxi me to the nearest gig, if venues still exist, by spring and Iโ€™ll shut up about it.


On Artsโ€ฆ..

Bugger, Iโ€™m going to need Google maps to find my local boozer. But yeah, they, whoever they are, think weโ€™re all about music, but we cover anything arts and entertainment, you know? We previewed Andy Hamilton coming to Swindonโ€™s Wyvern, Josie Long coming to Bath, The Return of the Wharf Theatre, and the county library tours of Truth Sluth: Epistemological Investigations for the Modern Age. Surely the best bit was being sent a private viewing of a new movie, Onus, by the Swindon filmmakers who gave us Follow the Crows.

I shared poems by Gail Foster, and reviewed her book Blossom. Desperate for subject matter I rewrote a short story Dizzy Heights. I featured artists Bryony Cox and Alan Watters, both selling their wares for the NHS, Ros Hewittโ€™s Glass Art open studio, Small Wonders Art Auction in aid of Arts Together and Asa Murphy published a childrenโ€™s book, The Monkey with no Bum! I dunno, don’t ask.

July


On Foodโ€ฆ

Despite my Oliver Twist pleads, we never get enough on the subject of grub. January saw us preview Peter Vaughanโ€™s Chinese New Year dinner party in aid of Alzheimerโ€™s Support and with music from Indecision, we covered DOCAโ€™s Festival of Winter Ales, and looked forward to the Muck & Dunderโ€™s Born 2 Rum festival, which was cancelled.

From here the dining experience reverted to takeaways, and I gave Sujayโ€™s Jerk Pan Kitchen at big shout, and thought it best to wait until things reopened before singing Massimos’ praise, but I guess for now I should mention their awesome takeaway service next.

The Gourmet Brownie Kitchen supplied my welcomed Father’s Day gift, even nipped over to Swindon, in search of their best breakfast at the Butcher’s cafe, and recently I featured vegan blogger, Jill. Still though I need more food articles, as restaurants should take note, theyโ€™re extremely popular posts. Sadly, our while self-explanatory article, โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ did quite well, at third most popular, the earlier โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all; giving a sombre redefining of the term, dying to go out.

Back to my point though, food articles do so well, Iโ€™m not just after a free lunch, or maybe I am. But here, look, the fourth most popular article this year was our review of New Society, which was actually from 2019. Does lead us on nicely to the touchy subject of stats this year.

August


On Stats, Spoofs and the Futureโ€ฆ.

As well as an opportunity to review what weโ€™ve done over the past year and to slag off the government, I also see this rather lengthy article which no one reads till the end of, a kind of AGM. It should be no surprise or disappointment, being this is a whatโ€™s-on guide, and being nothing was actually on, our stats failed to achieve what we hit in 2019. Though, it is with good news I report we did much better than 2018, and in the last couple of months hits have given me over the stats I predicted. Devizine is still out there, still a thing; just donโ€™t hug it, for fuckโ€™s sake.

I did, sometime ago, have a meeting with the publishers of Life In, RedPin. You mayโ€™ve seen Life in Devizes or various other local town names. The idea to put Devizine into print is something Iโ€™ve toyed with, but as it stands it seems unlikely. My pitch was terrible, my funds worse. If I did this it would cease to be a hobby and become a fulltime business, Iโ€™d need contributors, a sales department, Iโ€™d need an expert or ten, skills and a budget for five issues ahead of myself, and I tick none of those boxes. A risk too risky, I guess that’s why they call a risk a risk, watching the brilliant Ocelot reduced to online, publications suffer, the local newspaper house scrambling for news and desperately coming up with national clickbait gobbledygook, I know now is not the time to lick slices of tree with my wares.

So, for the near future I predict trickling along as ever. Other than irrational bursts of enthusiasm that this pandemic is coming to an end, Iโ€™ve given in updating our event calendar until such really happens. And it will, every clown has a silver lifeboat, or something like that.

September

Most popular articles then, as I said, desperation to return to normal is not just me, โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all, whereas โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ came in third. Nestled between two foodie articles our April Fools spoof came second. As much as it nags me, I have to hold up my hands and thank Danny Kruger for being a good sport. He shared our joke, Boris to Replace Danny Kruger as Devizes MP.

We do love a spoof though, and given a lack of events, I had time to rattle some off, A Pictorial Guide to Those Exempt from Wearing a Facemask, Guide to Local Facebook Groups pt1 (never followed up) The Tiers of a Clown, Sign the Seagull Survey, Bob! and Danny featuring again in The Ladies Shout as I go by, oh Danny, Whereโ€™s Your Facemask?! all being as popular as my two-part return of the once celebrated No Surprises columns, No Surprises Locked Down in Devizes.

Perhaps not so popular spoofs were The Worldโ€™s Most Famous Fences! and Worst Pop Crimes of the Mid-Eighties! But what the hell, I enjoyed writing them. 


On Other News and Miscellaneous Articlesโ€ฆ…

I was right though, articles about lockdown or how weโ€™re coping were gratefully received, and during this time, a needed assurance we werenโ€™t becoming manically depressed or found a new definition of bored. Devizes together in Lockdown, After the Lock Down, Wiltshire is not Due a second Lockdown, the obvious but rather than bleating on the subject, how we celebrated VE Day in Devizes & Rowde, the Devizes Scooter Club auctioning their rally banner for the NHS, Town Council raising ยฃ750 to support the Devizes Mayorโ€™s Charities, DOCA Announce Next Yearโ€™s Carnival & Street Festival Dates, DOCAโ€™s Window Wanderland, and a Drive-In Harvest Festival! to boot. Town Council making Marlborough High Street a safer place, all came alongside great hope things would change, and pestering why not: The State of the Thing: Post Lockdown Devizine and How We Can Help, Open Music Venues, or Do They Hate Art? Opinion: House Party Organiser in Devizes Issued with ยฃ10,000 Fine.

 If Who Remembers our First Birthday Bash? Saw me reminiscing, I went back further when raves begun to hit the news. Covered it with Opinion: The End and Reawakening of Rave, and asked old skool ravers Would you Rave Through Covid? But we also highlighted others not adhering to restrictions With Rule of Six and Effects on Local Hunting and Blood Sports, it was nice to chat with Wiltshire Hunt Sabs.

October

Controversy always attracts a crowd, but couldnโ€™t help myself highlighting misdoings. From internet scams, like The Artist Melinda Copyright Scam, tolocal trouble, Rowde Villagers Rally in Support of Residential Centre Facility, for instance, Sheer Musicโ€™s MVT Open Letter to Government, Help Pewsey Mum on her Campaign to free her Children from Abduction, important stuff like that. We try to help where we can, honest.

Most controversial though, me thinks, was our poor attempt at coverage of the international BLM issue. Iโ€™ve been waffling enough already to get into how I feel personally; been writing this โ€œsummaryโ€ for what feels like eons, time to shut up and advise you read these articles yourself, because no matter how you fair on the argument, xenophobia affects us all, even in the sticks. We therefore had a chat with BLM in the Stix and did a three-part look at the issue, the third part a conclusion and the middle bit, well, that came in light of Urchfont Parish Council turning down a youth art display; what a pompous notion highlighting the issue on a local level.

But campaigns and fundraising came in thick and fast, despite nought cash in anyoneโ€™s pockets to follow them up. I understand, but we featured Go Operation Teddy Bear, Devizes Wide Community Yard Sale, Hero Wayne Cherry Back in Action! Lucieโ€™s Haircut Fundraiser for the Little Princess Trust, Crusader Vouchers, Juliaโ€™s House Gameathon, Devizes for Europe launching โ€œSay #YES2ARealDealโ€ campaign, and of course, our superheroine Carmellaโ€™s ongoing campaigns.

November


In conclusionโ€ฆ.

It has, in conclusion, been a hectic year, without the need for live music reviews, though some mightโ€™ve been nice! Hereโ€™s to a better day. We reserve our right to support local arts, music, and business, whatever the weather, and pandemic. We offered you, on top of the aforementioned; Fatherโ€™s Day; Keeping Ideas Local, Floating Record Shop Moored on Kennet & Avon, Devizes Town Band Comes to You for Remembrance and Zoom Like an Egyptian: Wiltshire Museum Half-Term Activities! to name but a few in the wake of our move to online events, although theyโ€™ll never stream as effectively as being pissed in a pub alcove unable to find the loo.

We also did our easy-reading list type features which are the trend; Top Twenty Local Music CDs For Christmas and Fairy-Tale of New Park Street; And Better Local Christmas Songs! I went on my Devizine Christmas Shopping Challenge, and tried to tweak the website to include podcasts to fund our musicians.

Yeah, that one is put on hold, I couldnโ€™t do it as I saw able to, but it needs work and Iโ€™ve another plan up my sleeve, just takes a bit of planning is all, which I guess is why they call it a plan in the first fucking place! You did blag a Free Afro-Beat, Cumbia and Funk Mix out of the deal. Maybe I could do more, but upwards and onwards, Devizine is now operating as both international music zine and local affairs. I maybe could separate them, but this means building a new audience and starting over. I like it as it is, and besides, Iโ€™m open to feedback, love to hear what you reckon, and will promise to act on suggestions, which is more than I can say for this fucking, cockwomble-led government; just leave it there shall we?!

The only gripe is that I ask that you have to believe in what Iโ€™m trying to do and supply me with the news, what youโ€™re doing, creating or getting narked about, else I donโ€™t know about it; hacked off with Face-sodding-Book, see?

Sure, you could put your trust in a real journalist through all their generalizations and unbiased writings, and grammar errors, or you could try here, where we deliver more than just a pint of semi. Look now at the going back to school debate, you know, I know, we all fucking know, senior school kids can stay at home because they can look after themselves while parents go to work, whereas primary kids can’t, so have to go back to school. It has nought to do with the spread of the virus, and everything to do with what’s best financially, and that, my friends, is not only the way this government have applied regulations throughout, but also not the kind of truths you’ll be reading in the newspapers.

All hail Devizine then, please do; I’m trying my fucking best amidst the wankology of Britain’s governing regime. Iโ€™m planning to rock on for another year, trapped in Blighty with flag-waving, panic-buying tossers until weโ€™re queuing for bread or waging war on France like the good old days, namely the dark ages, letโ€™s see where it gets us; with or without loo roll.

No, I’m not bitter; just slightly narked at the difficulties made in making people laugh by these idiots, so I find it apt to aim my satirical guns at them.

December

Chris TT Live at Trowbridge Town Hall 2017

Catching up with more stuff on a quiet(ish) Sunday, this got pushed towards the bottom, Iโ€™ve no valid excuses. Taking you back to April 2017, Brightonโ€™s misfit leftist comic poet-acoustic performer performed at Trowbridgeโ€™s Town Hall for Sheer Music. It would be a gig on his last ever tour. After twenty years Chris announced he was giving up his music career, and finalised it with an autumn farewell concert in London.

The recording was released on Chrisโ€™ Bandcamp page at the beginning of the month. Itโ€™s a pay-what-you-like and he waivers all fees to the Music Venue Trust.

Since 2014 the registered charity MVT, was setup to protect the UK live music network by focussing its support on grassroots venues, but since lockdown itโ€™s understandably become essential. Grassroots venues play a crucial role, nurturing local talent, providing a platform for artists to build their careers and develop their music and their performance skills. We need them back; we need them open. Hearing this album helps you to understand why, makes you remember what youโ€™re missing.

Itโ€™s easy to hear the influence of upcoming artists like Gecko, as Chris weaves unrelated subjects like an observational stand-up comedian, and also, with the same comical timing. His guitar picking is quality and together it makes for a highly entertaining show. Stabs at the establishment come thick and fast, songs randomly seriatim through motorways, anti-hunt rants, gorilla gardening, his own self-worth and musical talent, even a jab at Trowbridgeโ€™s political demographic in Love me, Iโ€™m Liberal. Thereโ€™s a beautifully played out winter portrayal, Tunguska, and more intelligently drafted thoughts to boot.

This is folk upfront, with woven narrative and amusing rudiments, chronicles the now, and highlights the passion of the simplest gig, man with thoughts and guitar.    

On the night he was supported by Phil Cooper, and Kyle D Evans, the show recorded by Bromhamโ€™s Owlโ€™s soundman Gareth Nicholas. Makes me wish I was bobbing about on the scene at the time, but Devizine was a year behind in the making. Still, albums got a picture of Trowbridge on it, any monies you can give helps a charity, but most of all, this is just the enjoyable and proficient performance weโ€™ve come to expect from Sheer.


ScreamLiteโ€™s New Hero Sounds for NHS Charities Together

Perhaps one of the biggest surprises in music reviews for me this year was Typhoidmaryโ€™s Death Trans back in October. Genre-wise, everything about it suggested it wasnโ€™t going to be my cup of tea, but realigning myself, I delved deeper into its emotive and distressing ambiance, and found fondness in its exquisitely dark portrayals, as it progressed thrash metal, gave it a newfound edge of sentiment.

It was released by Gloucester-based unprejudiced universal rock, metal, punk and folk label ScreamLite Records. And now theyโ€™ve sent us news of a colossal compilation album which will drop on their Bandcamp page as soon as Big Ben hits midnight on New Yearโ€™s Eve, likely making it the first new release of 2021. Better say a few words about it now, then. Constructing words into comprehendible sentences is tricky enough for me at the best of times, let alone New Yearโ€™s Eve.

While itโ€™s going to be one long runaway review to critique it track by track, being itโ€™s a mahoosive 65 tracks strong, itโ€™s worth mentioning some key facts about New Hero Sounds. Most importantly this album will be a varied range of the genres and styles on offer at Scream Lite, and their friends, being as itโ€™s 50% made up of artists signed to the label, and the other half independently contributed from upcoming artists under parallel genres. Thus, making it the perfect sampler to open you up to the world of contemporary punk, nu-metal and folk-punk. Though, there’s much more on offer here and certainly too much to pigeonhole.

PLUS, as well as introducing you to a truckload of upcoming talent, thereโ€™s a worthy cause it fundraises for. ScreamLite Recordsโ€™ Director Chris Bowen said, โ€œwe’ve all had a tough year, and we decided we should give something back to the frontline NHS staff that have been tirelessly working this year to keep us safe and well.โ€ New Hero Sounds is a charity album in aid of the NHS Charities Together, and all artists have contributed freely.

Broadminded with one eye focused on variability is what youโ€™re going to need to take this one on, even my eclectic self was bowed by the assortment on offer here. MadaMercy gets as trip hoppy as Morcheeba, yet is a rare genre on offer. In addition to an aforementioned Typhoidmary track, ScreamLiteโ€™s roster offers nu-metal and punk, such as Stolen Dead Music, or Burning Memories, which can be in your face at times, but at others smoother, like the Clay Gods and Foxpalmer, both of which I enjoyed. Taking the rough with the smooth thereโ€™s something for everyone with a taste for indie; which is nice.

Giving credit to upfront festival boom of Venture, the flamenco folk style of Cut Throat Francis, acoustic rockabilly of Joshua Kinghorn, and the delicate angelic vocals of Forgotten Garden. Thereโ€™s eighties electronica indie with Conal Kelly, post-punk with Jack Lois Cooper, and Gypsy Pistoleros are described as โ€œflameco sleaze glamโ€ revealing multi-genre in just one tune. But, thereโ€™s too much to sum this compilation up easily; a Now Thatโ€™s What I Call Music for misfits, but for a good cause too.

Hereโ€™s the track listing with links, then, so you can make up your own mind and follow the ones you likeโ€ฆ..once youโ€™ve sampled them from this crazy and full compilation, which is coming on New Year’s Even, here, remember?!

https://screamliterecords.bandcamp.com/album/various-artists-new-hero-sounds

1. Jonah Matranga: Everyday Angels (OG Home Demo)

Written, Performed & Recorded at home by Jonah Matranga

http://www.jonahmatranga.com https://jonahmatranga.bandcamp.com/

2. Spice & The Readies: Sway A Little Closer

Written & Performed by Tom Spice, Becky Doyle, Tomasz Williams & Jack Quance

Recorded at University Of Gloucestershire

https://www.facebook.com/tomspicemusic

3. Clayton Blizzard: Sad Music Is Uplifting

Written & Performed by Clayton Blizzard

Taken from One, Two, Three, Home

https://claytonblizzard.bandcamp.com/

4. Chris Webb: Blind

Written by Chris Webb

Performed by Chris Webb & Jack Cookson

Taken from Bungalow

http://www.chriswebbmusic.co.uk http://www.chriswebb.bandcamp.com

5. Venture: This Oneโ€™s For You

Written & Performed by Lucy Burrows, Miles Burrows, Thom Mutch, Josh Fairhurst & Mike

Hargreaves

Recorded at Jaraf House Studios & Released by ScreamLite Records SCLRRCDS003

Taken from This Oneโ€™s For You

https://www.facebook.com/VentureMusicOfficial

https://screamliterecords.bandcamp.com/track/venture-this-ones-for-you

6. 1 In Five: Evolve

Written & Performed by 1 In Five

Taken from Evolve

https://www.1infive.com/ https://1infive.bandcamp.com/

7. Grandmother Corn: Brighton Mule Blues EXCLUSIVE

Written & Performed by Grandmother Corn

Recorded at Haukivuori, Finland

https://www.facebook.com/grandmothercorn/ https://grandmothercorn.bandcamp.com/

8. Alien Stash Tin: The Man In The Tin Foil Hat

Written & Performed by Jon Wisbey, Jon Gould, AJ Pearse & Bruce Morgan

Taken from Bonfire Of The Sanities EP

Recorded at Attic Attack Studios, Bristol

https://www.facebook.com/alienstashtin https://alienstashtin1.bandcamp.com/

9. Anhfren: Nefoedd Un Uffern Lall

Written & Performed by Anhfren

Published by Rhys Mwyn Publishing

Released on Anhfren Records, 1985

10. Stolen Dead Music: Raison Dโ€™Etre

Written & Performed by Jimi Trimmer, Issak Patterson, Lewis Patterson & Keith Halpenny

Recorded at Heart Studios, Gateshead & Released by ScreamLite Records SCLRRCDS011

Taken from Raison Dโ€™Etre

https://www.facebook.com/realStolenDeadMusic

https://screamliterecords.bandcamp.com/album/stolen-dead-music-raison-detre

11. GagReflex: Facedown

Written & Performed by Stuart Hawkins & Seb Goffe

Taken from What We Owe To Each Other

https://www.facebook.com/gagreflexmusic https://gagreflex.bandcamp.com/

12. Grief Ritual: Dysphoria

Written & Performed by Grief Ritual

Taken from Moments Of Suffering

https://www.facebook.com/griefritual https://griefritualmusic.bandcamp.com/

13. Panic Switch: Lethal Intent

Written & Performed by Panic Switch

Taken from Lethal Intent

https://panicswitchofficial.com/ https://www.facebook.com/officialpanicswitch

14. Alkanes: Death Or Glory

Written & Performed by Alkanes

Taken from Death Or Glory

https://www.facebook.com/Alkanesband

15. Lemonade Kid: Deep Velvet Red EXCLUSIVE

Written by Dom Lack, Performed by Dom Lack & Jarrod Jones

Recorded in Shrewsbury & Rushden

https://www.facebook.com/LemonadeKidMusic https://lemonadekid.bandcamp.com/

16. Timid Deer: The Shallows

Written by Naomi Henstridge & Tim Milne, Performed by Naomi Henstridge, Tim Milne, Tom Laws,

Matt Jackson & Jason Allen

Taken from Melodies Of The Nocturnal Pt. 1

https://www.facebook.com/TimidDeerBand https://timiddeer.bandcamp.com/

17. Forgotten Garden: Broken Pieces (Natural Mix) EXCLUSIVE

Written & Performed by Danny Elliot & Ines Dias Rebelo

Recorded at Braeriach Studios, Grantown On Spey

https://www.facebook.com/ForgottenGardenBand

https://screamliterecords.bandcamp.com/album/forgotten-garden-broken-pieces

18. Jack Louis Cooper: Bite Too Big

Written & Performed by Jack Louis Cooper

Taken from A Slow But Sure Corner

https://www.facebook.com/jacklouiscoopermusic

19. Roger Gomez: I Will Call Heaven Home

Written & Performed by Roger Gomez

Taken from Behind Cloud Nine

Recorded at Soundfield Studios, Perth, Australia

https://www.facebook.com/rogergomezmusic

20. The Twitchers: Nothing In Particular

Written & Recorded by The Twitchers

Recorded at White Beart Studios, Manchester

https://www.facebook.com/TheTwitchers

21. Mr. Bewlay: Her Name Is Juniper

Written & Performed by Mr. Bewlay

Taken from Her Name Is Juniper

https://www.facebook.com/mrbewlay

22. MadaMercy: Animosity

Written & Performed by MadaMercy

23. Down Not Out: Wild

Written & Performed by Jo Oliver, Char Lewis, James Maxwell & Ryan Stewart

Recorded at Sound Shack Studios, Cheltenham & Release by ScreamLite Records SCLRPEP006

Taken from Worse For Wear

https://downnotout.co.uk/ https://screamliterecords.bandcamp.com/album/down-not-out-worsefor-wear

24. Lightblue: Far Gone

Written & Performed by Lightblue

Recorded at The Ranch Production House, Southampton

Taken from Paradise Lost

https://www.facebook.com/lightbluecru

25. Curse You Damn Kids: Breadline

Written & Performed by Chris Bowen, Annie Kelleher, Hallam Crafer, Jenny Ollerenshaw & Ross

Ollerenshaw

Recorded at Dockside Studios, Bristol & Released by ScreamLite Records SCLRPEP001

Taken from Sorta Like An Epiphany

https://screamliterecords.bandcamp.com/album/curse-you-damn-kids-sorta-like-an-epiphany

26. Blacklist: The Replacer

Written & Performed by Saul Blease, Elliott Tottle & Joe Webb

Recorded at Factory Studios, Bristol

Taken from

https://www.facebook.com/blacklistukband

27. Homer Junior: Short Term, No Anchor

Written & Performed by Jack Higgins, Thomas Muddle & Sam Roberts

Taken from Short Term, No Anchor

https://www.facebook.com/homerjrband https://homerjrband.bandcamp.com/

28. Franklin Mint: Gretaโ€™s Sweater

Written & Performed by Franklin Mint

Taken from Bristle

https://www.facebook.com/franklinmintband https://franklinmint.bandcamp.com/

29. Me & Munich: Toxic Wings

Written & Performed by Jan Petersen, Marco Bรธgehรธj & John Nicholas Marx Oโ€™Sullivan

Recorded at Output Lydstudie, Denmark & Released by ScreamLite Records SCLRREP005

Taken from Knives Of The Sun EP

https://www.facebook.com/meandmunichband

https://screamliterecords.bandcamp.com/album/me-munich-knives-of-the-sun

30. Midnight In England: Two Hands

Written & Performed by James Chuster, Sam Caswell-Midwinter, Daniel Lowen-Grey & Sam Morgan

Taken from Real Cinema

https://www.facebook.com/MidnightinEngland

31. Borrowed Body & Abstract Man: Smokescreen EXCLUSIVE

Written by Niall Hill & Tom Johnstone, Performed by Niall Hill, Tom Johnstone & Phil Howell

https://screamliterecords.bandcamp.com/album/borrowed-body-the-rising-sea

32. Lightleaver: Close To You

Written & Performed by Emma Saxon

Taken from Close To You

33. Tom Spice: Lifeโ€™s Breath EXCLUSIVE

Written & Performed by Tom Spice

https://www.facebook.com/tomspicemusic

34. Marie Virginie Pierre: I Will Try Again (This Christmas)

Written & Performed by Marie Virginie Pierre

35. Joe Buckingham: Jamesโ€™ Song EXCLUSIVE

Written by Joe Buckingham & James Holliday, Performed by Joe Buckingham

36. Howlinโ€™ Anton Bleak: His Mistressโ€™s Voice

Written by Howlinโ€™ Anton Bleak, Performed by Howlinโ€™ Anton Bleak, AP Clarke & โ€œBelterโ€ Jim Lacey

Released ScreamLite Records SCLRRA004

Taken from Stranger Country

https://www.facebook.com/howlinanton

https://screamliterecords.bandcamp.com/album/howlin-anton-bleak-stranger-country

37. The Slow Pianos: In The Right Place (Featuring Petravita)

Written & Performed by Oliver Weikert & Brandon Landis

Taken from In The Right Place

https://slowpianos.bandcamp.com/ https://www.facebook.com/PetravitaMusic

https://petravita.bandcamp.com/

38. Greengage: I Wanna Be Near Trees

Written & Performed by David-Gwyn Jones

Taken from I Wanna Be Near Trees

GKXpGnlL4

39. Grownuplife: Donโ€™t Look Back In Manga

Written & Performed by Charlie Baxter

https://www.facebook.com/charliebaxtermusic https://grownuplife.bandcamp.com/

40. Cut Throat Francis: Iโ€™m Not Ready

Written & Performed by Cut Throat Francis

Recorded at Stage 2 Studios, Bath & Released by ScreamLite Records SCLRFEP002

Taken from Ghosts (Extended Edition)

https://www.facebook.com/cutthroatfrancis

https://screamliterecords.bandcamp.com/album/cut-throat-francis-ghosts-extended-edition

41. Longcoats: October

Written by Ollie C Shape & Performed by Ollie C Shape, Arthur Foulstone, Norton Robey & Kane

Pollastrone

Recorded at Riverbank Studios, Chippenham & Released by Wise Monkey Music

Taken from October

https://www.facebook.com/longcoatsband https://longcoatsband.bandcamp.com/

42. The More You Know: Bridging The Gap (Featuring Sakura Mei-Sasaki Spice) EXCLUSIVE

Written & Performed by Chris Bowen, Claire Mitchell-Brown, Julio Da Mata, Jo Oliver & David

Richards. Additional Piano written & performed by Sakura Mei-Sasaki Spice

Recorded at University Of Gloucestershire Studios, Engineered, Mixed & Mastered by Tom Spice

https://www.facebook.com/tmykband

43. Around7: Breakthrough

Written & Performed by Around7

Produced at Strait Up Studios, Dundee

Taken from Breakthrough

https://www.facebook.com/Around7UK

44. Burning Memories: Ignition

Written by Annie Kelleher, Performed by Annie Kelleher, Hallam Crafer & Nick Holder

Recorded at Stage 2 Studios, Bath & Released by ScreamLite Records SCLRRCDS001

Taken from Ignition

https://screamliterecords.bandcamp.com/album/burning-memories-ignition

45. Typhoidmary: bobbi EXCLUSIVE

Written & Performed by Mary Lovatt

https://www.facebook.com/typhoidmaryuk https://typhoidmary.bandcamp.com/

46. Slow Down World: Promised Land

Written & Performed by June Stevenson, James Dishart, Twig Mayhew, Olly Peters & Woody

Woodson

Recorded at PMC, Plymouth

Taken from Promised Land

https://www.facebook.com/SlowDownWorld https://slowdownworld.bandcamp.com/

47. Zobb: Scrapheap Generation

Written & Performed by Jon Wisbey, Nick Hurley & Brice Herve

Recorded at Lโ€™Abri Dโ€™Argen, Bristol

Taken from Scrapheap Generation

https://www.facebook.com/zobb.punk

48. Clay Gods: Cabin Fever

Written by Gavin Jones, Performed by Gavin Jones, Tom Saunders, Charles Paxford & Max

Ganderton

Recorded at 340 Studios, Cheltenham & Released by ScreamLite Records SCLRRCDS004

Taken from Cabin Fever/Looking For Jerusalem

https://screamliterecords.bandcamp.com/album/clay-gods-cabin-fever-looking-for-jerusalem

49. All To No Avail: The Call

Written & Performed by All To No Avail

Taken from The Call

https://www.facebook.com/AllToNoAvailOfficial/

50. Bleak: Ebb & Flow

Written & Performed by Howlinโ€™ Anton Bleak, Rachel Woodworth & Yvonne Okoduwa

Released by ScreamLite Records SCLRRA002

Taken from Dig Two Graves

https://www.facebook.com/BleakBlues https://screamliterecords.bandcamp.com/album/bleakdig-two-graves

51. George Royale & The Snowflake Band: Thatโ€™s When The Tears Start Rolling Down

Written & Performed by George Royale & The Snowflake Band

52. Holding Tides: Paraffin

Written & Performed by Chris Bowen, Annie Kelleher, Hallam Crafer, Ben Dalton & Rob Blake

Recorded at Dockside Studios, Bristol & Released by ScreamLite Records SCLRREP001

Taken from Last Of The Small Town Heroes

https://screamliterecords.bandcamp.com/album/holding-tides-last-of-the-small-town-hereos

53. Das Speculoos: Crowdsurfer (grimALKin Mix)

Written & Performed by Das Speculoos

Taken from Crowdsurfer

https://dasspeculoos.bandcamp.com/

54. NFU: In The Details

Written & Performed by Jeremy Pitcoff, Dan De Filippo, Rob Masterson & Frank Dโ€™Agostino

Recorded at Suffolk Recording Studio, New York & Released by ScreamLite Records SCLRREP003

Taken from Treason

https://www.facebook.com/NYNFU https://screamliterecords.bandcamp.com/album/nfu-treason

55. Foxpalmer: Forever EXCLUSIVE

Written by Fern McNulty, Performed by Fern McNulty, Mat Dal Pos, Andy Payne & Pauline

https://www.facebook.com/foxpalmer.band

https://screamliterecords.bandcamp.com/album/foxpalmer-locked-in-memory

56. Darklight Horizon: Oxide EXCLUSIVE

Written & Performed by V. Celso, R.C. Paxford, J. Waterman & J. Twinning

https://www.facebook.com/DarklightHorizon

57. William Mawer: Take Me To A Time

Written by William Mawer, Performed by William Mawer, Jazzy Lily Heath, Ryan Nicklin, Ed

Livingstone & Dominic Watton

Recorded at University Of Gloucestershire Studios

Taken from Take Me To A Time

https://willmawer.bandcamp.com/

58. Joshua Kinghorn: Party Queen

Written & Performed by Joshua Kinghorn

Recorded at University Of Gloucestershire Studios & Released by ScreamLite Records SCLRFEP003

Taken from Bits & Pieces

https://screamliterecords.bandcamp.com/album/joshua-kinghorn-bits-pieces

59. Gypsy Pistoleros: Soho Daze, Just Another Friday Night

Written & Performed by Gypsy Pistoleros

Taken from The Mescalito Vampires

http://www.gypsypistoleros.com/ https://www.facebook.com/GPistoleros

60. Connor Begley: Comedown

Written & Performed by Connor Begley

Recorded at University Of Gloucestershire Studios

61. EllJay Goldstone: Putting On That Smile

Written & Performed by EllJay Goldstone

Recorded at University Of Gloucestershire Studios & Released by ScreamLite Records SCLRFEP001

Taken from Long Time Coming

https://screamliterecords.bandcamp.com/album/elljay-goldstone-long-time-coming

62. Chameleon: Itโ€™s Not Quite Me Now

Written & Performed by Chameleon

Recorded at Platform Studios, Reading

Taken from What Are We Waiting For?

https://www.facebook.com/bandchameleon https://bandchameleon.bandcamp.com/

63. Conal Kelly: In My Head

Written & Performed by Conal Kelly

Taken from In My Head

https://www.facebook.com/conalkellymusic

64. Spoons & Saucepans: Sing With Thanks

Written by Ceinwen E. Cariad Haydon & David Gwyn-Jones, Performed by Spoons & Saucepans

Taken from Sing With Thanks

65. Afterlite: Below The Lights (Reprise)

Written & Performed by Luke Beesley

Recorded at Ruby Studios, Bristol & Released by ScreamLite Records SCLRMA001

Taken from Eden Abandon

https://screamliterecords.bandcamp.com/album/afterlite-eden-ab

Human Traffic; Richard Davies & The Dissidents

Gaining rave reviews and a new European audience, particularly in Spain, I confess Iโ€™m a little late for the party. How can I excuse myself, turkey-stuffing, abundance of toy packaging, putting batteries in gadgets and other Christmassy eggnog shenanigans? Nevertheless, Bucketfull of Brains Records released this album, Human Traffic by Wiltshire-based Richard Davies & The Dissidents back in June. Iโ€™ve only just caught wind of its timeless rock n roll splendour, anthemic and emotive, and Iโ€™m letting you guys know, if you didnโ€™t already.

Not to be confused with a movie about welsh clubbers, Human Traffic is pure road-driving rock. Maintaining a regressive, tried-and-tested rock formulae it never strides into experimentation but rides the eternal recipe with bells on. Iโ€™m getting UK-Americana crossover, the classic smooth eighties rockers, of Steve Winwood, Springsteen in all his Darkness/Born in the USA glory, Traveling Wilburys and particularly, Tom Petty & the Heartbreakers.

Thereโ€™s also a subtle hint of English punk, Heartbeat Smile exemplifies this though upbeat and jubilant, one cannot ignore a rawness of the Clash. My valuation overall comes to a head with Way of The Wild, probably the most beguiling, but this ten-track strong album rarely comes up for air, and never diverts off its chosen path. Ergo, if confident, driving, ageless rocking out is what you want, itโ€™s double-strength concentrate.

If clichรฉ abound doesnโ€™t matter, lyrical subjects matches the music, with long road to hearts, wild ways, getting under oneโ€™s skin etc. Yet maintaining the fashion is good, and they do it so, so well; it worked for Clapton, et all. This is why I think you, you with your black band t-shirt in the loft and memories of friendship bracelets up the arm, will love this album, perhaps even more than me. Because it flows, doesnโ€™t jolt metal unexpectedly at you, or push an unwanted genre down your throat with that one oddity, tentative track.

Thereโ€™s deffo something moreish about this, we want guitarist Richard Davies front and centre again, after years as a collaborator, gun for hire and band member, most notably with London bands The Snakes and Tiny Monroe, this is debut as lead vocalist and principal songwriter, but his background paid off. Also, the perfect band-gel of these โ€œdissidents,โ€ the backing of Daviesโ€™ friends, drummer Chris Cannon of Mega City Four and The Snakes, and bassist Tim Emery of Case Hardin and Last Great Dreamers, of whom Iโ€™ve not met since our schooldays. Fortuitously, itโ€™s nice to be reviewing something inspiring with a local connection, thatโ€™s the principal reason for blogging here.

โ€œRecording this album was something that Iโ€™d always wanted to do but never really got round to doing until now,โ€ Richard explained. โ€œSome of the songs are about me, some of them are about other people, but they all capture reality as I see it. I wanted to record an album that was about real life and with all the highs and lows that go with itโ€.

Richard began his career playing guitar for indie band Tiny Monroe in the 90s, recording several singles, an EP and an album for London Records, touring with The Pretenders, Radiohead and Suede and appearing at the Glastonbury, Reading and T in the Park festivals along the way. Following this, Richard recorded three albums with The Snakes: Songs From The Satellites, Sometime Soon and The Last Days of Rockโ€˜nโ€™Roll , as the band became major players on the UK Americana scene, picking up mainstream national airplay from the likes of Bob Harris and Mark Lamarr.

Chilly Gonzales Vs Toddla T with Jarvis Cocker; A Very Chilly Christmas Mixtape

Following the release of Chillyโ€™s new album โ€˜A Very Chilly Christmasโ€™, platinum selling UK producer Toddla T has put his very own spin on the record, The Coldest Crimbo out today (16th Dec.) Featuring help from friends Nadia Rose, Serocee, Coco and Deli OneFourz, and even Jarvis Cocker features, Toddla T and Chilly Gonzales delight with this tongue-in-cheek hip hop โ€œvery festive mixtape.โ€

Itโ€™s an amusing quarter-of-an-hour of naughtiness seasonal rap, like a nativity gone bad. Chilly Gonzales may revisit old carols and the new pop standards on his album, but it wouldnโ€™t be Christmas without friends and family, so Gonzo has assembled his gang to celebrate the holidays in his playful and intimate style.

A Very Chilly Christmas Special gives old-school TV Christmas variety shows a 2020 makeover. โ€œSanta Claus, like all of us, has had a challenging year,โ€ Chilly says, โ€œand has decided to go to therapy.โ€

A very chilly christmas special, with guests Feist, Jarvis Cocker and more, streams December 23. Details and ticketsย here.ย 

808 Delavega; Contemporary Dancehall, Swiss Style.

Not to be confused with Howard Rosen and Jerry Gordonโ€™s American jazz and blues record label of the same name, Evidence Music is a prolific contemporary reggae label with their recording studio in Geneva, Switzerland, but franchising and presenting many upcoming Jamaican artists. Ergo, while Iโ€™ve mentioned before the Swiss valuing archaic origins of reggae, with ska, rock steady and roots subgenres through labels like the fantastic Fruits Records, Helvetia also has a penchant for modern styles of Jamaicaโ€™s musical outpourings.

A decade prior to Bob Marley & The Wailers playing Zurich as part of their final Uprising tour, the presence of reggae was oven ready, in the seventies popular Swiss band Rumpelstilz produced Kiosk, with a definite reggae influence. Nowadays, the international market blends their own brand and traditions into reggae, and the Swiss are of no exception. Local artists Dodo and Jo Elle perform in the native tongue, and Zurichโ€™s Rote Fabrik club plays a key role in promoting reggae.

Still though, back across the ocean reggae is never stagnant and rarely dabbles in retrospection. Itโ€™s progressive. I look now to Wellington Smart, aka selector Freddy Krugerโ€™s Boot Boy Radio show after my own, to hear the latest trends via his label, Drop Di Bass and what I do hear is similar to Evidence Musicโ€™s DJ and producer 808 Delavega, on his self-titled debut album.

In tune with said progression, weโ€™ve come along way from the nineties divide between dancehall and lovers, through the millennial cross-over inclination to include dancehall toasting in US RnB and hip-hop tracks, and we find ourselves today with a sound almost void of offbeat and one-drop riddims antiquatedly associated with the reggae of Marleyโ€™s heyday. An era where Damien Marleyโ€™s anthological dancehall is more important than his fatherโ€™s. 808 Delavega embraces this, he’s passionate about hip-hop as well as dancehall, and founded Derrick Sound in the 2000s.

With Nicolas Maรฎtre and Nicolas Meury of Little Lion Sound, Derrick Sound was the mainstay for the formation of the Evidence Music label and it fast become Switzerlandโ€™s leading urban label. There the team involve themselves in a multitude of projects, 808 Delavega produces popular Jamaican artists such as Sizzla, Capleton, Morgan Heritage and Danitsa. Reflecting back on his excursions to Jamaica, he focussed on the innovative subgenres of afrobeat and trap to produce this fresh debut, and itโ€™s certainly that.

Iโ€™m not going to suggest this is for everyone, our retrospective preconceptions of reggae persist, Iโ€™m suggesting forward-thinking youth, maybe already partly allied via current pop trends in dancehall which seen Sean Paul featured on a Little Mix track, et all. But in essence this is diverse, experimental, and underground, pulling the boundaries of RnB grind and dancehall even tighter. There can even be intros here which ring of eighties electro and electronica, and relics of garage house; imagine David Morales producing dancehall and youโ€™re somewhere in the light of this interesting blend. How I think this works so well is the splinters of afro-beat, a beguiling genre Iโ€™m personally hot under the collar about.

Always held a penchant for dancehall too, though accepting the sparseness of the beats and uncompromising patois can sound alien to European and American audiences. 808 Delavega plays this down. The jargon is not misconstrued, and once the beat kicks in youโ€™ll hear nothing of the of scarcity of millennial dancehall, but riddims which ride along smoothly, like RnB. Dancehall artists established and upcoming feature, yet even when legendary Beenie Man toasts on the subject of election violence, it adopts this ambiently slick tenet. It may be rather glossy but this breaths wide-appeal, beyond reggae aficionados.

Charly Black offers possibly the sparsest track, Eesah perhaps the most sensual. Throughout though it never frenzies and takes it mellowly and euphorically. So yeah, I like it (despite it makes mi waistline feel old!) for its innovativeness, and freshness.

808 Delavega album backlinks

Sound Affects Find the Ley Lines

Make no mistake, we love Swindon folk-rock duo Sound Affects here at Devizine. Ergo Iโ€™m prepped with some fond words and in high expectations prior to listening to their new album out today (13th Dec) Ley Lines. Itโ€™s been over two years since reviewing Everyday Escapism, their previous nugget of wonderful. And if I praised them for the honest folk songs then, Ley Lines is an immense enhancement for acute subject matter, and is lyrically grafted with more passionate prose. The result is sublime, as I anticipated, but that smidgen more.

From the off Gouldy and Cath compose with significance, and these eleven tunes donโ€™t simply drift over you aimlessly with acoustic goodness, though they have that. They stand as testaments to the tenet of injustices of modern social and political issues. Upon faced with the political reformist opening song, One Man Army, you know thereโ€™s an aim to reinforce the lost ethos of political standing in a song, as is the direct influences they often cover as their band, The Daybreakers; of power-pop, new wave post-punk, eighties garage and mod. Though as a duo, Sound Affects are strictly folk-rock, only maintaining the ethos of their inspirations in lyrics.

The second tune projects like a musical of an Alan Bleasdale play, thereโ€™s certain bitterness in the broken dreams and prewritten fate of folk in the decay of modern poverty, and Gouldy nails it akin to Ken Loach, with No Means to Pay. What follows is a Kafkaesque, revolutionary dream, but if you felt this is all liberal point-scoring, King for a Day has more acquitted associations similar to the drifting and euphoric sounds of Everyday Escapism.

Windmills drifts similarly, gorgeously, and is naturally Edenic. While shards of the aforementioned bitterness are subtle now, replaced with an idyllic moment, you consider if theyโ€™re losing the edginess of the opening tunes. Then Cathโ€™s flute takes us back to a tender era with Giving Something Back, and Gouldy sings, perhaps the most simplistic chorus, but genius song here, it opens a clear nod to his love for the narrative of Irish folk; itโ€™s a working-class ideology, and you can effectively visualise the labours leaving for home on a dark winterโ€™s eve, with the backdrop of a cold red-bricked factory. Thereโ€™s something acutely Levellers, but a sprinkling of Springsteenโ€™s Nebraska about it.

Typically, romance with a twist is a not forgotten subject, but played well, in Say it to my Face, and it returns with ponderings of conspiracy and dogmatic hierarchy. Unanswered Questions has overtones of a missing girl, without mentioning the McCann family, thereโ€™s connotations of a similar tragedy, and itโ€™s heartbreakingly candid. Yet throughout any dejection in theme, Sound Affects always ascertain a joyful euphoria through the sublimeness and effortlessness of their sound; acoustic guitar and flute, fiddle; tried and tested formula to hold a pub gig spellbound, as they recurrently do.

Together what you have is a numinously uplifting, wandering and softened euphoric album which drifts on rancorous and sometimes acrimonious subjects many modern musicians might steer away from. Itโ€™s folk alright, but with a bygone bite and righteous morals. More importantly, itโ€™s so damn good, itโ€™s essential.

Skates & Wagons EP

Fashionably late for the party, this Oxford duoโ€™s self-titled debut EP was released on White Label Records at the beginning of the month; what can I say for an excuse? Glad to catch up though, as Skates & Wagons are well worth it.

Thereโ€™s retrospective grandeur on offer here; even down to the bracketed song titles, as was common at the time, of these four diligently composed tunes of sixties-fashioned mod psych-pop. Itโ€™s as if weโ€™d not progressed from the era of The Kinks or Small Faces, The Spencer Davis Group and The Troggs at all. And to hear this makes one wonder if it was ever progress anyway.

Yeah, the dawn of the beatnik epoch, developed from the blues and soul inspired pop of Merseybeat is formulated, tried and tested, and anyone who mimics it is dependant on the only element left to ensure it’s respectable, the quality. Skates & Wagons set such a benchmark, taking a big chunk of the influence from this aforementioned style, but with a fresh approach rather than a shoddy and aged tribute, paling by comparison to its original.

Weโ€™ve seen this youthful blast of retrospection recently with the awesome blues detonation of Little Geneva, least to suggest this is more the pop of the fab decade, it also expands to classic electric rock, and is immediately beguiling via its wonderful musings. Skates & Wagons have long established themselves on the live circuit in Oxfordshire and beyond, but the EP is something precured over time like a fine wine. Initially they started working on it as far back as 2011, and completed it earlier in 2020, a testament to that old adage, you canโ€™t rush art.

Opening borderline glam, Just Because you Can (Doesnโ€™t Mean you Should) is possibly the most progressive, early Genesis fashioned, and vocally thereโ€™s harmony parallel to Gabriel and Collins. Itโ€™s as if Skates & Wagons regress through time as it goes on. Spin my Wheels is decidedly backdated in sound from the opening song, mid-Kinks period of their โ€˜66 album, Face-to-Face.

A nuanced approach to sixties-indebted structures, all four songs drip with instant fascination, as if you mayโ€™ve heard them on a classic radio show. The third tune is perhaps the most sublime, Tender (is the Night) is affectionate acoustic guitar-led emotive mellowness, to slip into a Who rock opera unnoticed. Itโ€™s an epic, seasonal-spanning romance themed masterpiece.

Yet, the final tune, Law As I Am True plays-out with the thump of pre-psychedelia sixties pop, but itโ€™s got the kick of how The Jam re-enacted the sound, and itโ€™s catchy because thereโ€™s subtle hints and swirls of the imminent next move to flower-power. Together hereโ€™s four memorable tunes which would have undoubtedly sailed to the Top of the Pops during that golden era, yet somehow completely original and uniquely fitting for the now.

If weโ€™ve seen a relived trend with scooterists and mod culture recently, these guys are a hot contender to front such a movement. Though I caution them, thereโ€™s often a dispelling, or more, overlooked aspect with the current trend, in the interesting and natural progress to the late-sixties beatnik and flower-power movements, and while thereโ€™s nothing so โ€œway-outโ€ as Zappa on offer through Skates & Wagons, it does reflect those initial, optimistic changes of the mid-sixties. And in this notion, is what divides the duo from the bulk standard; yeah, fab, love it!


Fairy-Tale of New Park Street; And Better Local Christmas Songs!

It was Christmas Eve moi lover, outside Carpet Right, an old man without facemask said to me, won’t be seeing another one, and then he yelled a song, Shaky Stevenโ€™s Merry Christmas Everyone, I turned my face away, and puked all over youโ€ฆโ€ฆ

Okay, Iโ€™ll hold my hands up, thatโ€™s all Iโ€™ve got when it comes to writing a Christmas song. Time to call in the pros, because without venues many of our local musicians are so bored, theyโ€™ve produced some great Christmas songs! As ever Iโ€™ll list them alphabetically, not to prove I know my a, b, c, but because whenever I do these โ€œlistyโ€ type articles some of you assume itโ€™s a top ten countdown. This isnโ€™t Top of the Pops, but we do have some nice tunes for you:


Ben Borrill – (untitled?)

Colm McCarthy – Christmas Time – 2020 Remix

Gecko – Last Christmas’ sung by a sad bird

Illingworth – Yes It’s Christmas!ย 

Peloton – Father Christmas Won’t Be Long

Pete Lamb & Colette Cassin – I Remember Christmas

Sound Affects – Taking Back Christmas

Splat the Rat – 2020 you Arse (Ho Ho its Xmas)

Will Lawton – Have Yourself A Merry Little Christmas

Did we miss you out? I’m sorry, tell me quick and I can add it!


Tankus the Hengeโ€™s Luna Park

Londonโ€™s Tankus the Hengeโ€™s third studio album is released today (4th Dec.) Tis a quixotic rockโ€™nโ€™roll fable, a utopian realm of wonderment with ingenious prose and the composition of a variety performanceโ€ฆ.

Picked on this new release to scribe a few words about based upon Devizes Arts Festival organiser Margaret Bryantโ€™s thrilled expression when she leaked booking Tankus the Henge for the 2020 line-up, that sadly never was. Yet, sadder is the reality of the era, where so other many events didnโ€™t happen either, and the decline of live music venues. Such is the subject of this inimitable London-based groupโ€™s Luna Park, an album out today.

If the pandemic has been a catalyst for music production, and often the theme too, from all Iโ€™ve heard it generally focuses on the virus itself. Although Luna Park centres around the decline of music venues, an allegory for what is happening on Londonโ€™s Denmark Street and all across the UK, one should note while it may resonate of lockdown fever, it was actually recorded during the winter of 2019.

Though nothing comes across melancholic with Tankus, itโ€™s all clouts of glam-rock and funk wrapped in a showy, big top magnificence. They describe their sound as โ€œfive-wheeled, funk fuelled, open top, custom paint job, rock โ€˜nโ€™ roll jalopy that comes careering around the corner on a tranquil summerโ€™s day, ruining the silence and disturbing the bats.โ€ While rock n rolling songs blast, thereโ€™s refined moments, as with The only Thing that Passes Here is Time, but it’s gawdy big band fashioned horn-blowing. Picking it apart thereโ€™s so much on offer here, like a variety performance in one album, and for this, despite Iโ€™m grinch for glam, itโ€™s ingeniously composed and addictive.

Glitterlung, is borderline downtempo โ€œPortisheadโ€ triphop, for example, while the incredible Susie Sidewinder comes across as if Lloyd Cole and the Commotions wrote Sgt Pepper. Of course, it relies heavily on the glam side of rock n roll, but thereโ€™s rudiments of everything; Deacon Blue to Zappa is showing a bit shoulder here. Each influence it throws into the melting pot is taken with a pinch and is wholly fun. Particularly noted for the amusing element, Staying on the Side of the Dirt was the tune which swayed me, itโ€™s terribly Dennis Waterman theme tune fun, and I mean this is a good way! Chas n Dave are legends, given electric guitars and told to work with Noddy Holder, you might get something along similar lines.

During listening I pondered if this rock opera, and decided more on rock circus. I usually reserve that fairground comparison for the two-tone sound of groups akin to Madness, but it applies here too. Itโ€™s not a concept album as such, more a vision. A fantasy of a realm where creativity is celebrated and live music thrives. A place where venue closures are a thing of the past, and corporate gentrification is a non-entity. A refuge from greed and capitalism, and the salvation of independent music, free thought and good-times, packaged in dark, wry satire with a neon glow.

Speaking about the underlying themes at play, frontman Jaz Delorean said, โ€œI donโ€™t think the public knows the entire truth when it comes to the hardships and thin margins of running a venue, and most of the time we donโ€™t want them to. They go out to have a good time and forget about life for a while. Thousands of people work all hours to keep venues, and festivals alive, and at the moment all of it is under threat. The ripples will be felt in every household eventuallyโ€ฆ We learned and started honing our skill in Denmark Street, in clubs like 12 Bar Club and Alleycat, both of which have closed. Jamboree, Passing Clouds, The Peel, 14 Bacon Street, Madame Jojoโ€™s. All these venues were haunts of ours and are now closed permanently too.  We need to support these small venues so much more.โ€

Yet Luna Park is more then the sum of its parts, thereโ€™s gorgeous portrayals and the well-grafted, thoughtful characters of a novel, in disordered or decisive situations. If anything twisted my opinion on flares and glitter itโ€™d be this very entertaining scrapbook of sounds.

https://www.tankusthehenge.com


Top Twenty Local Music CDs For Christmas

Bag yourself some of our recommended long players for your friends, family or even yourself this Christmas and help a local musical talent.

Look at him, Grumpus Maximus, slouching on his sofa-throne investigating the inside of his y-fronts with one hand and clasping a tinnie with the other. Heโ€™ll need Google maps to find his local watering hole when things return to normal, and if he has to endure Kirstie Allsopp for one more half-hour episode heโ€™ll threaten to relocate to his shed for the yule. What do you get for someone like pops this Christmas, or anyone whoโ€™s lost the will of independent thought due to the modest inability to enjoy the odd fellow and guitar down their pub of choice, for that matter?

How about this suggestion; buy a CD from a local hero? Because not only will you cheer the old bugger up enough for him to consider shaving once a week, but youโ€™ll be putting your hard-earned shekels into the hands of a local independent creative sort, who, without revenue from standing in a draughty pub alcove singing the blues, really needs some pocket money right now.

Itโ€™s not my idea, I say let them scavenge for dead flies on their filthy windowsills while insanely mumbling a ditty about minute pixies invading grassroot venues. Thanks to our reader, George for this suggestion. Of course, this is the 21st century, or so Iโ€™ve been informed, and nowadays next to nothing is physical. Much as we find the online format or download accessible, you canโ€™t wrap an online stream up with a pretty bow and put it under your tree. So, our list is restricted to the ones putting out a CD copy; thatโ€™s a compact disc to youngsters, or even, dare I say it, vinyl, you know, some archaic listening format.

But how, ye cry. Iโ€™m going to provide links where I can, but another shot is your local indie record store; for if they care one iota for music, theyโ€™ll stock a range of locally sourced sounds. If they donโ€™t tell them to, without swearing.

Hereโ€™s an ideal template to use: โ€œthe brilliant, one and only Vinyl Realm Music Store in old Devizes town stocks many local artist discs, so I suggest if you want to be half as good as them, youโ€™d consider it.โ€ And that, is one good place to start; open the yellow door on Northgate Street, turn to your right and by the window thereโ€™s a stand with some local outpourings on. If you get lost ask one of the owners, they bite but not hard. I know, shopping is beneath you, be aware they have an online service and will deliver, cos theyโ€™re nice like that.

Am I waffling now? I tend to tangent, like to, did you come here for that, or are you looking for some music options? Very well, sit quietly, or stand noisily if you like, and I shall beginโ€ฆ. hopefully before Boxing Day. But oi, bear in mind this isnโ€™t a top twenty countdown, I just used that as the title for clickbait. Iโ€™ve not put these in any kind of hierarchy or rank, just listed alphabetical by artist name, to prove I know my A, B, C!

Billy Green 3: Still

Released at the beginning of this year, Devizes post-Britpop trio produce a beguiling sound that couldโ€™ve come straight from indieโ€™s finest hour. Itโ€™s scooterist, with a taste of mod and soul, but itโ€™s passionately scribed and delivered proudly. Review. Buy@ Vinyl Realm.

Chris Tweedie: Reflections

Affectionately reviewed at the beginning of the month, Melksham-based monarch of chill, Chris Tweedie has produced a mind-blowing album. If you like Mike Oldfield, Crosby, Stills and Nash, or George Harrison, you need to check this one out. Review. Buy.

Cracked Machine: Gates of Keras

Hometown space-rock has never been so good. This is the outfitโ€™s second album, and its journey of spacey rock like no other. Fans of Pink Floyd or the Ozrics will relive every minute of their misspent youth and clamber to the loft to find their fractural posters and chillum! Review. Buy.

Erin Bardwell: Interval

This year, without his Collective, Swindonโ€™s rock steady keyboard virtuoso blessed us with this unique lockdown inspired bundle of distant memories over sparse two-tone and reggae beats. If you think this genre can be samey, youโ€™ve not heard Erin Bardwell. This album is one of a kind. Review. Buy.

George Wilding: Being Ragdollian

Let the arguments begin, this 2013 EP is the definitive George Wilding. One not to collate tracks to an album, the EP may only contain three songs, but their brilliance makes up for at least ten mediocre ones. You can grab this at Vinyl Realm.

Joe Edwards: Keep on Running

Whilst itโ€™s had glowing international reviews, locally I feel this is severely unacquainted. Though I did say at the time of review Iโ€™ll be hard pressed to find another โ€˜album of the year,โ€™ back in May, this still stands. This is melancholic Americana played out with utter perfection, and I will never tire of its authentic and sublime stories. Review. Buy.

Jon Amor: Colour in the Sky

Though we fondly reviewed Jonโ€™s latest album just yesterday, like I said, thatโ€™s one which is only on download at the moment. Take his 2018 masterpiece of quirky electric blues as red, red as his telephone; this is the must-have album for every fan of local music. You can buy this in Devizes Books as well as Vinyl Realm, or you can buy online. Hereโ€™s a review from all those heavenly years ago, when Devizine was funny.

The King Dukes: Numb Tongues

Out in 2018, if you like your music with a taste of old-timey soul and blues, The King Dukes of Bristol do this with bells on. Numb Tongues is lively and memorable. Review. Buy.

Little Geneva: Eel Pie

Freshly produced and lively sixties mod-blues-rock done supremely, Little Geneva are Bristol-based but the Docherty brothers have the Devizes connection, enough to debut this down the Bear’s Cellar Bar a few years ago, and boy, was it a sweaty and memorable night! Buy.

Mr Love & Justice: Watchword

Mr Love himself, Swindonโ€™s Steve Coxโ€™s 2009 album is a must, a classic, even though I havenโ€™t reviewed it, because itโ€™s dated, its gorgeous acoustic goodness extends beyond atypical country-rock sounds and branches into many genres, even bhangra at one point. You can find this in Vinyl Realm for a mere fiver.

Mr Tea & The Minions: Mutiny!

Oh my, this chunk of energetic Balkan-ska influenced Bristol folk is breathtakingly good. I reviewed it last year, havenโ€™t gotten over it yet! Review. Buy.

Paul Lappin: The Boy Who Wants to Fly

Breezy Britpop acoustics shine throughout this ingeniously written debut from Swindonโ€™s Paul Lappin. Highly recommended and all-round good vibes. Review. Buy.

Phil Cooper: These Revelation Games

Trow-Vegas legend, Phil Cooper really gives it some with his latest offering, rocking out the lockdown. Review. Buy.

Ruzz Guitarโ€™s Blues Revue: Live at the Louisiana

No list would be complete without a bit of Ruzz Guitar and the gang; guitar by name and nature. This album captures his skill where he does it best, live. Rock n roll the night away as if you were there; this is a must have album for blues and rock n roll fans. Review. Buy.

Sound Effects: Everyday Escapism

Self-penned Irish-fashioned folk at itโ€™s most divine, Swindon duo Cath and Gouldy classic here. This is sweet and thought-provoking. Review. Buy.

Strange Tales: Unknown to Science

Iโ€™m unsure how old this is, but I do recall Pewsey singer Sally Dobson running back to her car to get me a copy at the long-lost Saddleback Festival. With Paul Sloots, Strange Tales are a wonderful if occasional electronica gothic-rock duo, and Unknown to Science is a spookily glorious album. Review. Buy or at Vinyl Realm.

Talk in Code: Resolve

True, Swindonโ€™s darlings of indie-pop have come along way since this 2018 album, fashioned closer each time to retrospective eighties electronica, Resolve stands as a testament to their dedication, but more importantly highlights their roots in indie-rock. Review. Buy.

Tamsin Quin: Gypsy Blood

Man-about-Devizes, surely, youโ€™ve a copy of this already? Tamsin Quinโ€™s debut 2018 debut album is something kinda wonderful, eight self-penned nuggets of goodness introduces you to the now one third of the Lost Trades and personifies anything that was awesome about our local music circuit. A local classic. Review. Available in Vinyl Realm, or online.

The Lost Trades: EP

When three of our most loved local musicians officially bonded, debuting at the Pump just prior to lockdown, it was clear all their talents combined into this one project and could only ever be a winner. We highly anticipate the debut album, but for now, this five track EP will whisk you to a better era of folk harmonies. All original songs, thereโ€™s a taste of Phil, Jamie and Tamsinโ€™s song writing talents, though each track wouldnโ€™t look out of place on the Oh Brother Where Art Thou? soundtrack. Review. Buy.

Ya Freshness & the Big Boss Band: Knockout

Boots and braces time, get skanking to the loud and proud ska sound of Ya Freshness and the Big Boss Band. This is joyful, fun and chockful of ska and rock steady riddims from 2018. We eagerly await a new double-album promised from these Bristol misfits of ska, but for now, this is great. Review. Buy.


No way is this list exhaustive; Iโ€™ve basically run this off adlib and will no doubt suddenly think, โ€œoh bugger, I forget this or that.โ€ But Iโ€™ve nailed it down to twenty, which was tricky. Do feel free to add a comment on something I might have overlooked, and apologises if I did. Remember, it should be available as physical copy. This is an interactive article!

Message my advice line if youโ€™re still in the dark for a pressie for Dad. Helpful hint, look through his old records. If you see one of a pig floating above Battersea power station, or a plain black album with a spectrum shining through a triangle, try Cracked Machine. If you see lots of black and white chequered patterns or a naked girlโ€™s torso with Tighten Up written across her abdomen, try Erin Bardwell or Ya Freshness. And if you see a rather splendidly busty woman carrying a hosepipe and various decorating equipment, try The Lost Trades; best of luck!


Jon Amorโ€™s Remote Control

Pop is pop for a reason. Without sounding like a government soundbite, what I mean is, pop, as in the music, is popular for good reason; the catchiness often in the simplicity, which consequently sells. And if it sells, itโ€™s pop, regardless of the many subgenres and youth cultures which an era carries pop along, itโ€™s always continued this ethos. Itโ€™s only a particular โ€œgenreโ€ for the time being. I use the term as loosely, then, as it should be used. Feel free to shudder at modern commercialisation, but thatโ€™s been building for decades and you shouldnโ€™t let it put you off; youโ€™ll miss something special because you preconceive its popularity is a hallmark from a polluted industrial mechanism.

The above annotation I write because I donโ€™t want you to run off with the idea, Iโ€™m talking contemporary chart hits when I use the term pop. Out of the assortment Devizesโ€™ legendary bluesman Jon Amor offered on his last major album two years ago, Colour in the Sky, I tended to cherry-pick those deviating from his traditional electric blues style, and they promptly became the standout tracks, Illuminous Girl and Red Telephone. He need not appease his devotees; they follow this modification with bells on. Because, fundamentally itโ€™s more โ€œpop,โ€ in so much as itโ€™s appealing for this beguiling ease.

This transitory, perhaps, shift for Jon was stamped on the last single, the incredibly addictive Peppercorn, a lively upbeat and Elvis Costello fashioned rock, without the leftist post-punk political angle of yore. Now the single has been followed up with an album, Remote Control, impulsively launched without the need for the usual pe-hype. All the tunes follow the aforementioned style of Peppercorn, the penultimate track on the collection. Dammit, this is good, but you knew it would be.

News of it literally arrived via Facebook post yesterday, โ€œthis year,โ€ Jon posted, โ€œIโ€™ve been spending a lot of my weekends recording some songs, and I appear to have made an album.โ€ And as if by magic, today (27th November) itโ€™s a thing. So, was it as spontaneous as it sounds, a result of lockdown?

โ€œI suppose initially it was the result of lockdown,โ€ Jon replied, โ€œyeah, I was working all week and had nothing to do at weekends!โ€ If there’s only one good thing to come out of all this, I noted, thinking Erin Bardwellโ€™s Interval album in particular, is that artists have had the time to write and create, and there’s good material flowing from all genres. Then I waffled some similarities in a piece I was reading about the great plague, where it modernised and revolutionized both folk and classical music, possibly gave birth to the renaissance.  

โ€œI think a lot of people embraced the spare time and the isolation and turned it into a positive,โ€ Jon added. โ€œNow Iโ€™m picturing video conference calls and zoom quizzes in the 1600s…โ€

While Jon is clearly experimenting, dabbling this more pop sound with Remote Control, itโ€™s also temptingly raw and punchy. There are some retrospective glances, the opening tune Song and Dance is a catchy three-minute Merseybeat blast, whereas If a Million is demarcated Curtis Mayfield funk. 03 57961 (Thatโ€™s my Number) bounces like a quirky ZZ Top, whereas Robot Skin follows, using the guitar like white noise, overridden with a Gecko styled rap.

Iโ€™m intrigued now, wondering where this will take me next, and even if Next plays out the downbeat trip-hop style, akin to Portishead meeting Costello, it remains definitively Jon Amor. Just a Bomb booms power pop, with a singable chorus after just the one listen. Weโ€™re one track down before Peppercorn, youโ€™d be mistaken by the title that this is locally-themed, Moonraker, is Bowie spacey and maybe a reference to the Bond movie rather than a Devizes pond fable.

Image by Nick Padmore

The finale rings with everything weโ€™ve suggested at the start, this is poptastic for catchiness. Do Bop-Bop is staunchly irresistible. Exotic bongos, Californian beatnik surfer goodness; ideal daydream for wintertime locked down in England!

In conclusion, I need not convince Jonโ€™s lifetime fans, they will buy it and love the fact they have. For others, this is an interesting progression with great prose, itโ€™s joyful and quirky and explores styles without selling-out or shifting the central pivot point, which is Jon Amor, da man rocks! All the above basically adds up to; this is highly entertaining on the ears and persuasive on the feet to tap.

     


Beans on Toast Knee Deep in Nostalgia

If growing up in Witham meant Braintree appeared to be Shelbyville to our Springfield, I should go no further. The Prodigy are undoubtedly Essexโ€™s finest musical export in the last three decades, next to Colchesterโ€™s Blur, and what did Witham give us? Olly Murs, thatโ€™s who.

Though if Jay McAllisterโ€™s hometown evokes my own childhood memories, his forthcoming album, Knee Deep in Nostalgia will for all. Itโ€™s released, as all his annual studios albums are, on his birthday, the 1st December. Yet whereas Braintreeโ€™s Prodigy were sovereigns of progression, thereโ€™s nothing particularly ground-breaking about Jay, from the same Essex community, whoโ€™s tongue-in-cheek stage name, Beans on Toast suggests. But it makes up for it in highly entertaining folk songs which doesnโ€™t take themselves too seriously.

As with Frank Turner, who incidentally guested on and produced previous Beans on Toast albums, I jumped on the chance to review this on the endorsement from Sheer Musicโ€™s Kieran Moore, and just as before, perhaps more so, he didnโ€™t let me down. For as a folk singer-songwriter Iโ€™d evaluate Beans on Toast isnโ€™t Tammy Wynette, or Willie Nelson, of whom he takes a nod to in a song on this album, but he is the best thing at least since the sliced bread in his namesake. He is Beans on Toast, indefinitely, and I love beans on toast. you can add cheese, you can add little sausages, but as it remains, none matter, simplicity is key; just beans, on two slices of toast, it works.

Aptly, just as the dish, his style is simple but effective and immediately likable. He drafts songs from the heart, served with a side-order of cheeky Essex humour, the reason why heโ€™s played every Glasto since his first, and Boomtown, recorded with and shared the stage with many legends, recorded in Kansas with Truckstop Honeymoon, opened for Kate Nash and Flogging Molly, and aforementioned Turner on his sell-out Wembley show. Why havenโ€™t I cottoned on about his brilliance before? Itโ€™s an age thing; old dog, new tricks. But that, in a nutshell, is the theme for this album, as the name suggests, but not without both sentimental and humorous prose.

For this whippersnapper contemplates his looming fortieth, which, if I get the honour of you reading this, Jay, Iโ€™ll confirm it gets no better. And with it reminisces his past. One concerning the thrills and pitfalls of gigging in Camden, but most poignant are those which go back to childhood; being frightened on Halloween, inspirational teachers, family discos at a village hall, and one which ingeniously sums up the whole shebang of daydreaming about the past.

Knee Deep in Nostalgia isnโ€™t going to wow you with technological advances in sound, it isnโ€™t going to whisk you to a fantasy world. Iโ€™d even say thereโ€™s sometimes clichรฉ with the subject matter, but when done itโ€™s done uniquely, insightfully reflective. Thereโ€™s ingeniously uncensored meagre material here, offering a range aside the general theme of nostalgia, particularly the upbeat and carefree Coincidence, which rings almost on a level of Madness for fairground joy.

The gem is precisely in its simplicity, Beans on Toast reflects and rebounds onto the listener, acknowledging their own life in his words. You may have known a crazy Australian dude, as depicted here, you may giggle at your own fondness for Finderโ€™s Crispy Pancakes, or when the streetlights coming on was a signal to go home, and the other everyday juvenile cultural references. And for this, and more, I bloody love this album.

There is a particular nugget which knocked me head-over-heels, and itโ€™s when Beans on Toast get sentimental. Reminiscing often spawns from watching your own children, and interacting with their joy and innocence at discovering the world again. Tricky to pinpoint why having kids is overwhelmingly fantastic, being they poo on your hand, launch their dinner in your face, cost you a kingโ€™s ransom, belittle you and grow to ignore your every word, but with a simple leitmotif Beans on Toast nails it. Again, even when semimetal, nothing is psychologically challenging, itโ€™s just the premise of The Album of the Day, which touches the heartstrings; sharing a moment with his daughter, as with alongside other memorable doings, he temps her musical taste with choices from his record collection. It sounds sickly, but I promise you, as I did earlier, this guy can pull it off with bells on.

That said, kids grow, and the fragile years, when theyโ€™d take heed and listen to Bob Marley, Dire Straits, Paul Simon, or whoever inspired you, are too short. Theyโ€™ll find their own way, and you have to allow them to, as your house turns into a bass funnel and you metamorphize into your own misunderstanding parents; itโ€™s unavoidable no matter how you might think when they were inspired by your likes, and in this, is the brilliance of the song.

I mean my offspring, they donโ€™t even like beans on toast, right, which I think is abnormal; all kids like beans, it should be enforced! Such should this album. And it comes with an accompanying album, The Unforeseeable Future, which I could only speculate about, as the title suggests, as they didnโ€™t send that. On the basis of this one though, Iโ€™m musically smitten.

Knee Deep in Nostalgia is out on 1st December; Pre-order it here.


You Do You, George

A message goes ping from that George Wilding, heโ€™s got a new single out since when we reviewed his band Wildingโ€™s last outing. Are they building up to an EP? I asked, and got the reply, this is a solo one. Then, nought, despite saying if you send it, Iโ€™ll bless it with some words. Thatโ€™s our George, never too hot on a press release, and if I criticise myself for being a technophobe, Iโ€™m Zuckerberg by comparison! So, I gotta go find it on these blasted streaming sites, but you know, and he does too, Iโ€™m going to, even if Dave Franklyn got in before me with a super review. Blinking Loreal; he’s worth it!

I take the chance not to read anything Dave has written prior to scribing something myself, if itโ€™s on the same subject. Such an expert with words, my penmanship pales in contrast. Still, I got to say a little something, George being such a popular charismatic and approachable guy, aside his natural flare and virtuosity, musically. ย ย ย ย ย 

Encouragement and reassurance for a falling star, practically rather than spiritually, seems to be the subject for You Do You, a delicate resonance in such a fashion only George could execute. Perhaps the most melancholic yet, opposed to the bouncy country acoustic of some of his earlier classic bombasts, it contains no skilfully-placed vulgarity, itโ€™s mellowed, inspired and stunning. Itโ€™s crying out for an emotional upsurge, yet whispered with sincerity, the key to a great song, and George nails it, unsurprisingly.

The kind if performed live it would suspend the whole venue in awe, as if time suddenly stopped and nothing mattered other than counselling this lone girl. Everything moral spells this character needs help, yet by natural testosterone, perhaps her beauty distracts; a perpetual cycle of bad karma. Like any truly-written masterpiece, thereโ€™s obviously a private connection with the author, yet the listener identifies by conjuring a similarity to a particular own experience, in this case be it a girl, your mind locates the ideal suspect. Yeah, I know that chick, you contemplate, least one too close for comfort!

Every need then, to check it out for yourself. George Wildingโ€™s You Do You is out now, across all streaming platforms.

https://open.spotify.com/embed/album/3PQr8HIQjtQBv6f9WsC7hb


Tunnel Rat Refurb their Studio for Social Distancing Recordings

Unaware of their sound until now, but Iโ€™ve heard only good things about South Wiltshire duo Illingworth. Via this video you can hear their worth, a wonderfully executed rock power ballad, โ€œSing it.โ€ High time to review their September debut album New Normal based on this, me thinks, but for now weโ€™re here to mention the recording studio, as thatโ€™s what the video is promoting.

In a friendly, rural setting Tunnel Rat Studios is based in Haxton, near Salisbury, and only opened last year, but since had clients such as professional opera singer, Deborah Mansi, singer-songwriters Paige Dobson and Emma Burton, as well as aforementioned Illingworth. The news is though, they have just had a major refurb. โ€œIs this to enable better social distancing measures?โ€ I asked engineer and producer Eddie Prestige, one half of studioโ€™s pair, with Jolyon Dixon, each of whom have over thirty years proven experience in the industry.

โ€œYes,โ€ he replied, โ€œit was mainly for social distancing measures. However, we have upgraded our equipment too.โ€

Tunnel Rat Studios can now offer fantastic quality recording in a larger, covid19 secure environment, with experienced professional engineers and session musicians available in house to help. There are separate performance and engineering rooms, with full line of sight between the two.

Their comfortable live room is plenty big enough for up to four people to play together. The control room, which can record up to sixteen channels of audio simultaneously, and have high-end outboard equipment, like the Manley Voxbox channel strip, and itโ€™s accessed by a separate door. Containing a 2020 iMac, running Logic pro X with many of the latest software instruments and first-rate plug-ins, including Waves bundles and Celemony Melodyne studio 5, a Black Lion audio analogue to digital converters, mind-print DTC channel, and Kemper profiling amplifier, and Peluso 2247le (Tube U47 clone) Lauten audio Clarion (FET Condenser) microphones. There are a matched pair of Miktek C5 (small diaphragm condensers) and 2 MXL Lundahl edition R77 ribbon mics. They also have all the usual dynamic mics like shure SM57 (x2) shure SM91 (x2), and for monitoring they use genelec 8020 speakers and Event Opals.

Now, you see, that technical jargon is all double-Dutch to me, sounds good though and Iโ€™m certain if youโ€™re a musician into getting sound production perfection, considering Tunnel Rat might be an option, they promise itโ€™ll be an affordable one. Theyโ€™ve even a unique Christmas gift package, a voucher for the aspiring singer or musician, offering studio time vouchers from as little as ยฃ125, valid for a whole year from purchase. Each voucher entitles the recipient to studio time at Tunnel Rat, and they encourage you to get in touch for more details or to discuss any special requirements you may have.

Here is their website.


Shiine Weekender Festival 2021

Imagine, a festival. Right now, imagining Joe Bloggs from the down the road clonking the ivory and singing a ditty down your local is wishful thinking. Itโ€™s hard to envisage an autumn a year away, and I accept, not ideal to invest in a ticket until you are sure this fiasco is blown over. However, if we donโ€™t least assume it will have and buy advance tickets for events, there will be nought sorted for when we can and are itching to go out.

While festivals, for me, are something of a past reality, I just know Iโ€™m going to aching to get out as much as feasible. So, we have to tip our hats at those ambitious organisers trying to arrange bonza events on the hope things will return to relative normal. Hereโ€™s a blinding example, the Shiine On Weekender at Butlins Minehead. Itโ€™s not due until November 2021, when if it hasnโ€™t blown over by then, I think weโ€™ll be clinically insane! Check out the knockout line up.

The festival returns for itโ€™s sixth year, with Feeder, Cast, Peter Hook & The Light, The Coral, Black Grape, Glasvegas and The Bluetones all headlining. Plus 808 State, Asian Dub Foundation, Sice Boo & The Radleys, Nedโ€™s Acoustic Dustbin, Jim Bob, Chameleons, The Pigeon Detectives, Milltown Brothers, Neville Staple Band, and more. Ding dong, I say, tickets are on sale now.

The rest of this piece Iโ€™m copy and pasting direct from the press release, save a bit of typing! Go knock yourselves out.

Staking its place as a stalwart of the UKโ€™s Winter festival scene, the Shiiine On Weekender returns for its sixth instalment on the 12th, 13th and 14th November 2021 and boasts an unbeatable crop of indie and dance as always.

Taking over Butlinโ€™s Minehead Arena for a long-weekend escape of music and mayhem, the fest will be hosting a trio of legendary headline acts of the highest order…

Getting the festival underway in style, Friday night headliners FEEDER will see dynamic duo Grant Nicholas & Taka Hirose blasting through over 20 years of hits, from โ€˜Buck Rogersโ€™ to โ€˜Just A Dayโ€™ and airing cuts from their revitalised comeback LP of 2019: โ€˜Tallulahโ€™. Marking the 25th anniversary of their seminal โ€˜All Changeโ€™ album, Saturday night will see CAST top the bill with their electrifying live show to remind us just why they were crowned โ€˜The Who of the 90sโ€™; expect a healthy dose of classics in a confirmed Greatest Hits set too. PLUS, closing-out the Shiiine On Weekender with a Sunday showdown of pure substance: PETER HOOK & THE LIGHT will bring a set brim-full of Joy Division and New Orderโ€™s very finest moments.

Giving plenty of reasons to get down the front early, there will be superior supporting sets across the weekend from some long-established festival heroes. Merseyside psych-pop sorcerers THE CORAL (Friday), Shaun Ryderโ€™s rabble-rousers BLACK GRAPE, plus a long overdue return from Scottish shoegazers GLASVEGAS (Sunday), will throw down the gauntlet to the headliners each night.

And of course, the mainstage is just the tip of the iceberg. Revealing its full and complete billing today, the Shiiine On Weekender will pack the holiday park with incendiary indie acts from all eras….

Thereโ€™ll be sets by Brit-Pop powerhouses like THE BLUETONES who will be arriving for an all-guns blazing greatest hits slot; PLUS, a Shiiine On 2021 festival exclusive set from SICE BOO & THE RADLEYS, which will see Sice reunited with the Boo Radleys rhythm section Tim Brown and Rob Cieka to โ€˜Wake Up, Boo!โ€™ and their many dormant classics at long last. There will also be sets from The Seahorsesโ€™ CHRIS HELME, JAMES ATKIN (of EMF), REPUBLICA, BENTLEY RHYTHM ACE, MOLLY

HALF HEAD, THE CLONE ROSES, and THE SPACE MONKEYS will all be flying the flag for that seminal era of British music.

Elsewhere, 21st Century alternative torchbearers like HUMANIST, THE PIGEON DETECTIVES and GOLDIE LOOKINโ€™ CHAIN will be showcasing their own tried-and-tested modern festival anthems.

Showing the kids how itโ€™s done, vintage indie veterans including: CHAMELEONS, NEDโ€™S ACOUSTIC DUSTBIN, JIM BOB (of Carter The Unstoppable Sex Machine), THE MILLTOWN BROTHERS, and the JAMES TAYLOR QUARTET will be bringing timeless tunes and experience to the fest.

And with a packed programme of music day and night, the entertainment wonโ€™t stop when the mainstage lights go up. Throwing their doors open from 10pm – 4 am, the Shiiine On Weekenderโ€™s Centre Stage and Reds Stage promises to be the-place-to-be for top tunes late into the night. Full live sets from proven party starters inc. Acid House innovators 808 STATE, original rude boy NEVILLE STAPLE BAND (ex-The Specials), plus an unmissable closing party set from Electronic/Dub overlords: ASIAN DUB FOUNDATION. In addition, late-night slots from ALISON LIMERICK, DUB PISTOLS, SHADES OF RHYTHM, SUNSCREEM, plus DJ sets from SLIPMATT, JON DASILVA (Hacienda), RHODA DAKAR (Bodysnatchers), radio legends STEVE LAMACQ (BBC 6 Music) and CLINT BOON (XS Manchester / Inspiral Carpets) will ensure thereโ€™s good reason to keep the candles burning at both ends.

Announcing nearly 80 artists and performers today, the Shiiine On Weekender can also confirm a huge array of new and established acts who will also be making tracks for the seaside resort come this November. Across the weekend, look out for: ELECTRIC SOFT PARADE, DEJA VEGA, TOM HINGLEY, MARTIN BLUNT, ANDY BUSH, HOLY APES, MATT McMANAMON, THE WALTONES, SECTION 25, THE CHESTERFIELDS, MIDWAY STILL, THE CLAUSE, THE SHAKES, PSYCHO COMEDY, DERMO, DJ MILF, PHIL SMITH, LEO STANLEY, SHADER, UKE2, OASIS (UK), TAM COYLE, DIRTY LACES, CUT GLASS KINGS, THE ROOM IN THE WOOD, THE JACQUES, CROSS WIRES, THE IDLE HANDS, THE MALAKITES, GOOD MIXER, TRAPPSY, DAN FULHAM, WELSH LEE,  LEE HOWE,  DJ STARKEY, DAVID DUTTON, MISFIT MAN, ALEX LIPINSKI, NIRVANALOT, and STEVE ADJ; all of whom will be making the festival’s sixth edition its biggest and best yet.

Itโ€™s not all just about the bands either. The Shiiine On Weekender will also be throwing one big holiday park house-party to rival the best, crammed end-to-end with even more entertainment inducing: CLUB NIGHTS, POOL PARTIES, LIVE COMEDY, CINEMA SCREENINGS, a SOCIAL RECLUSE EXHIBITION and much, much more. 

TICKET DETAILS

Taking place 12th, 13th, 14th November 2021, tickets and packages for the SHIIINE ON WEEKENDER 2021 at Butlinโ€™s Minehead Arena, Somerset are on sale now. All packages include 3 nightsโ€™ accommodation on-site at the Butlin’s Minehead Holiday Resort. (A deposit scheme is also available for customers who wish to pay by instalments.)

PURCHASE TICKETS HERE:

EXCLUSIVE EARLY BIRD DISCOUNT

** PLUS, early bird customers who use the promo code NCB10 will also be offered a discounted rate. This is an 18+ event only. For more T&Cs please visit the website.


1/2 Dove – 1/2 Pigeon with Micko and the Mellotronics

Had to chuckle to myself, trying to find this album stored on my phone I kept thinking about Mike & The Mechanics! Just, No, leave it; nothing of the sort, Londonโ€™s Micko and the Mellotronics debuted last year with the single The Finger, the accompanying album 1/2 Dove – 1/2 Pigeon is due for release Friday (27th November.)

Weโ€™ve come so far since Televisionโ€™s Marquee Moon, neo-avant-garde anarchism comes across cleaner this decade. You Killed My Father, now you must die, is a tune lesser aggressively executed than you might imagine from the lyrics. Thereโ€™s a fairground, vaudeville style to Micko & The Mellotronics, wrapped in wryness, at times; which you donโ€™t get with Sonic Youth, but unpredictably often spawned cringeworthy from the Velvet Underground.

Melancholic free, though; thereโ€™s nothing retrospective on offer, this is post art-punk, a distant cry from Talking Heads, feistier, it floors the vox, elevates to high-fidelity and fires on all four cylinders. At times it shadows Pulp, and at others Blur creeps in, but throughout, itโ€™s fresh and exhilarant. Welcome to the eccentric and individual biosphere of Micko Westmoreland, actor and creative, hitherto renowned for solo releases and material as The Bowling Green.

The Mellotronics initially began playing out as a three-piece with founding member Nick Mackay (drums) and the enigmatic addition of Vicky Carroll (band โ€œwicket keeperโ€ and bass player). In 2018, the band were joined by revolutionary guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) who also adds his flare to their upcoming debut.

A stellar array of special guest musicians feature too, including The Specialsโ€™ bassist Horace Panter (a friend & collaborator who has worked with Micko on an annual charity record alongside Rat Scabies for the last 7 years), horn impresario Terry Edwards (PJ Harvey/Madness/Nick Cave) and alternative violinist in excelsis Dylan Bates (Waiting On Dwarfs/Penge Triangle), plus the late Monty Python/The Rutles/Bonzos great: Neil Innes. Early videos for featured singles โ€˜The Fingerโ€™ and โ€˜Noisy Neighboursโ€™, have also seen the band working with actors Paul Putner (Little Britain) and Susy Kane (The I.T. Crowd, Gavin & Stacey) respectively.

ยฝ Dove – ยฝ Pigeon is elated trialling, chockful of historical and philosophical references, palpably paranoid of a modern apocalypse and merged in citations to pop-culture, at times rocking, others a tad unnerving. But while power-driven guitar impediments contribute to the discomforting moments, off-kilter horns counteract it with this sardonic glee.

Contradictory this arrangement puts your defences up, akin to walking into a modern art gallery not knowing what to expect. I wanted at times not to like it, as tracks like The Fear does what it says on the tin, but Good Friend is having-it joyously and bought me around. If I remain undecided itโ€™s due to my own personal preference, and have to tip my hat at the ingeniousness of the writing and composition. It took me some adjusting to fully appreciate, yet I feel those leaning harder to post-punk rock and emo-indie will take Micko & The Mellotronics as new idols.

This is especially true of the next single released from it, Psychedelic Shirt. A coming of age theme, eighties set, when the culturally cool was at loggerheads with Thatcherite careerism, and tribalism was rife on the dancefloors of the local disco. Micko sums his notions, โ€œPsychedelic Shirt tells the story of venturing to an out of hours school disco in a dishevelled scout hut in Leeds. Where Top Man flick heads had seized upon my newly procured paisley shirt and sought about destroying it. Iโ€™d taken it off because I was too hot, left it on a peg in the boyโ€™s loos. Later, I found the article, โ€˜mopped up in the fluid, screwed up in a ballโ€™ on the lino floor as the songโ€™s lyrics state. I was forced to make a choice between victimhood or empowerment but left contemplating shades somewhere in betweenโ€ฆโ€

Itโ€™s one slick album, razor-edged rockโ€™nโ€™roll meets avant-garde pop-art meets satirical Edgar Allan Poe short story, but in a cracker of fun.

PRE-ORDER HERE: Facebook: Twitter:


Youโ€™ve Been Mangoed; With Mango Thomas!

Vast developments in the later days of breakbeat house saw a split in the blossoming rave scene. Techno-heads being directed away from the newfound UK sound found solace in a subgenre dubbed โ€œhappy hardcore,โ€ whereas the trialling occurred in the dawn of drum and bass, or โ€œjungleโ€ as it was known at the time. Yet it was still underground and reserved for the party. No one considered a concept album, myself included, until I heard A Guy Called Geraldโ€™s Black Secret Technology. I bought it on a memory tip-off, I loved the late eighties acid house anthem Voodoo Ray. It was like splinters of drum n bass over an ambient soundscape, and wasnโ€™t for everyone, but while I was still gulping about it, Goldie released Timeless and the rest is history.

Creative outpourings too radical or experimental for the time are commonplace, and perhaps our necessity to pigeonhole excludes Manchesterโ€™s Mango Thomas. He emailed with a list of rejections from specific music blogs and radio shows, being if one part did, the rest of his new EP โ€œGoes De,โ€ out today (22nd Nov) didnโ€™t fit their restrictive agenda. Thereโ€™s part of me which says I donโ€™t blame them, this is a hard pill to swallow, juxtaposed randomly at breakneck speed, itโ€™s a roller-coaster alright; you have no control where itโ€™ll take you.

Mango Thomas throws every conceivable psychedelic genre of yore into a breakcore melting pot, and pours you a jug; if you take a sip you might as well down the whole thing, for it works fast, itโ€™s a trip and youโ€™re in it for the duration. You have to be, if only to wonder whatโ€™s coming next. And in that, it has to be one the most interesting things Iโ€™ll review here for a while. Yeah, it uses contemporary breakcore, but at times nods back to drum n bass of yore, but it funks too, it rocks, unexpectedly, and if you thought you could be shocked no more, it even mellowly bhangras at the finale, as if Ravi Shankar wandered in.

There are so many elements to contemplate in this hedonistic frenzy of chaos, yet with crashing hi-hats, stripped down rhythms, sonic belters, echoes and reverbs, it primarily relies on dub techniques absorbing industrial metal and hardcore. Imagine an alternative universe where the Mad Professor is remixing Bootsy Collins, but in this realm Bootsy actually fronts a thrash metal band, and Frank Zappa peers over the mixing board putting his tuppence in; something like that, but more bonkers.

Picking it apart, at times youโ€™ll contemplate Mango Thomasโ€™ location and hear shards of the Madchester scene, other points will wobble you over to the Butthole Surfers, for if it is industrial hardcore skater, itโ€™s done tongue-in-cheek. But it doesnโ€™t come over dejected, as such a genre archetypically does, rather showy and egotistical like a funkmaster general. The man himself explains the effect will leave you โ€œmangoed,โ€ Iโ€™ve a tendency to agree.

Itโ€™s four major tracks with reprises and clippits between, often Bonzo Dog Doo-Dah Band fashioned, bizarre, amusing or deliberately belligerent to the mainstream, in true counter culture fashion. Do I like it, though, thatโ€™s what you want to know, isnโ€™t it? Damn you and your demands, fuck, I donโ€™t know. Itโ€™s always going to be something you have to be in the mood for, certainly not drifting Sunday afternoon music to take a snooze to after a roastie. A younger me would lap it up, as it twists so unexpectedly. Any psychedelia gone before doesnโ€™t touch it for cross-genre experimentation, and for that, in my artier moods, I give it full points. A sensible somebody as Iโ€™d prefer to strive for might suggest itโ€™s too far out there. But it entertained me for sure, so it has its place.

Can I suggest you throw caution to the wind, listen and see how long you can bear to hold out for? If you like Tim Burton, Zappa or Lee Scratch Perry youโ€™ll be partly prepared. Try though, as the finale is something quite astounding and as an erratic mishmash it mirrors A Guy Called Geraldโ€™s Black Secret Technology for pushing new boundaries, but it mirrors Sgt Peppers, the Doughnut in Granny’s Greenhouse and Bitches Brew too.


Arcana & Idols of the Flesh: Ambience and Chamber-Prog with Swindon Composer Richard Wileman

One portion my nostalgia rarely serves, and thatโ€™s my once veneration for spacey sounds, apexed through the ambient house movement in the nineties, but not comprehensively; we always had Sgt Pepper, Pink Floyd and Hendrixโ€™s intro to Electric Ladyland. Iโ€™ve long detached myself from adolescent experimentation of non-licit medications, lying lone in a dark bedroom chillaxing to mood music, and moved onto a full house of commotional kids; progress they call it.

Incredibly prolific, Swindonโ€™s composer Richard Wileman might yet stir the memories, if these headphones drown out the sound of a nearby X-Box tournament. Best known for his pre-symphonic rock band Karda Estra, there is nothing vertical or frenetic about his musical approach. Idols of the Flesh is his latest offering from a discography of sixteen albums. Yet far from my preconceptions of layers of decelerated techno, as was The Orb or KLF, or psychedelic space-rock moments of my elders, which our own Cracked Machine continue the splendour of, Richardโ€™s sounds with Karda Estra bases more orchestrally, neo-classical, as if the opening of a thriller movie. Though, so intense is this sound you need no images to provoke you.

Idols of the Flesh is dark and deeply surreal, with swirls of cosmic and gothic hauntings which drifts the listener on a voyage of bliss. Nirvana is tricky to pinpoint in my household, but with my ears suctioned to my headphones I jumped out of my skin upon a tap on the shoulder, daughter offering me some sweets! Momentarily snapped back in the room as if Iโ€™d surfaced from a hypnotistโ€™s invocation, but aching to fall backwards into it once again.

Agreeably, this is not headbanging driving music, neither does it build like Leftfield for those anticipating beats to start rolling after a ten-minute intro, it simply drifts as a soundscape, perhaps coming to its apex at the eloquently medieval church organed Church of Flesh, one of two named tunes out of the six on offer, the others given part numbers. Then, with running water, the final part echoes a distant chant of female vocals as if a wind blowing across a sea for another eleven minutes, itโ€™s stirring, incredibly emotive and perfected.

Along a similar, blissful ethos Richard Wileman served up Arcana in September this year, a third album this time under his own name. While maintaining a certain ambiance, itโ€™s more conventional than his Karda Estra, more attributed to the standard model of popular music. Itโ€™s an eerie and spectral resonance, though, with occasional vocals which meander on divine folk and prog-rock; contemporary hippy vibes, rather than timeworn psychedelia. Released on Kavus Torabi’s Believers Roast label, a sprinkling of Byrds and Mamas & Papas ring through with an unmistakable likeness to a homemade Mike Oldfield. When vocals come into effect, with one guest singer Sienna Wileman, itโ€™s astutely drafted and beguiling.

Select anything from the bulging discographies of Karda Estra or Richard Wileman and youโ€™re onto a mood-setting journey, composed with expertise and passion. If ambient house is lost in a bygone era, this is reforming the balance of atmospheric compositions with modernism, so mesmeric it remains without the need for intoxication. Now, where did I stash my old chillum?! Probably in a dusty box in the loft with my Pete Loveday comics and some Mandelbrot fractal postcardsโ€ฆ.



Dirty and Smooth Seed to the Spark

That moment after a message from a local band, when you click on their Facebook page to find eleven friends already โ€œlikeโ€ them, and not one of them told you! Yeah, Iโ€™m talking, but I ainโ€™t saying anything new; does everyone know Malmsburyโ€™s The Dirty Smooth, except me?!

If not, you should. Since their debut single five years ago, The Dirty Smooth are no strangers to the festival circuit, gaining a reputation for playing original, anthemic pop songs. On top of numerous live appearances, they helped organise the Minety Music Festival in 2017. Shortlisted at the UK Festival Awards it has become a well-established festival, hosting acts like Toploader, Republica and Chesney Hawkes. Over the past two years, but setback by lockdown, theyโ€™ve been working towards a forthcoming album, Running From The Radar, due to be released in February. Theyโ€™ve a very worthy teaser from it, a single you should check out, Seed To The Spark; itโ€™s certainly convinced me.

With a sonic booming bass intro, itโ€™s as it suggests on the tin; dirty. Yet itโ€™s got that perfect pop blend in melody, which draws in many influences. Central vocal hooks of eighties rock, punky attitude, but beguiling backing female vocals and funky rhythmic grooves of soul-related pop, ah, the smooth part. Iโ€™m left thinking if Simple Minds met Deacon Blue, or Roxette. Though Iโ€™m contemplating they met today, for nothing is left completely to retrospection with The Dirty Smooth, thereโ€™s vibrant freshness to the sound too. Thing is, itโ€™s aching with confidence and undoubtedly brewing with potential. The ingredients are all there and being unified by some musical Michelin star chefs, who clearly love their cuisine.

Few local bands aim for the stadium sound, knowing a pub circuit is more workable. Here, as with Swindonโ€™s Talk in Code, is something which needs some big stage festival airing, it has that range, it has that wide appeal. As with the apt band name, Dirty and Smooth righty word their single, you get the sensation this is far from their opus-magnum, for if it is just a seed to a spark youโ€™ll want to be there when that bomb drops.


Rocking Steady For Some Cosmic Shuffling?

Righty, a pop quiz question prior to todayโ€™s review, if youโ€™re game? Look at the three people pictured below, which one of them influenced reggae music the most, A, B or C?

Answer: A. Did you guess right? Probably, because you know me well enough to know it was a trick question! C is Jamaican National team footballer, Allan โ€œSkillโ€ Cole, though as a close friend of Bob Marley he became the Wailers tour manager and was credited in co-writing some songs. And B is just Brad Pitt with a Bob Marley makeover for a biopic which has yet to see the light of day!

On the other hand, A is Sister of Mercy, Sister Mary Ignatius Davies, a teacher of Kingstonโ€™s vocational residential school, Alpha Cottage School, a school for โ€œwayward boys.โ€ A devotee of blues and jazz, she operated a sound system at the school and tutored many of Jamaicaโ€™s most influential musicians. As a musical mentor for graduates she dubbed โ€œthe old boys,โ€ would later make up the backbone of The Skatalites, producer Coxsone Doddโ€™s inhouse band which shaped the very foundation of ska at Studio One.

The Skatalites in 1964

Here is the unrivalled benchmark of Jamaican music, as well as a plethora of instrumental ska classics, just like Booker T & the MGs were the inhouse band of Stax, The Skatalites backed more memorable singles from too many singers to sensibly name here, yes, including Bob Marley.

To suggest a ska band isnโ€™t as good as Studio Oneโ€™s Skatalites is not an insult, rather a compliment to even be mentioned in the same sentence. Itโ€™d be the rock equivalent of saying that guitarist isnโ€™t as good as Jimi Hendrix. For all intents and purposes, Cosmic Shuffling are not a new Skatalites, but to find anyone to come close nowadays, you need not look further than Switzerland; yeah, you read that right.

Ska in Switzerland usually abbreviates Square Kilometre Array, the forefront organisation of fundamental science, with a mahoosive universe-scoping telescope. Yet Iโ€™ve discovered some stars of my own, creating some sublime ska music. While Skaladdin are strictly ska-punk, and the amazing Sir Jay & The Skatanauts are majorly jazz-inspired, there is a scene blossoming. Geneva based combo Cosmic Shuffling are ones to watch. With a penchant and dedication to the authentic golden age of Jamaican sounds, Cosmic Shuffling deserve a comparison to Skatalites more than anyone else I could roll off, even to note, theyโ€™re Fruits Recordโ€™s inhouse band.

After a few scorching singles on Fruits Records, Cosmic Shuffling release an album, Magic Rocket Ship, tomorrow, 13th November. Nine tracks strong, this is mega-ska bliss. Without the usual ethos of speed being the essence, this lends perhaps closer to rock steady, but prevalent horns give it that initial changeover between styles, when ska was slowing, due to curfew in Jamaica and a particularly sweltering summer. Rock Steady mayโ€™ve been short-lived but was reggaeโ€™s blueprint, skaโ€™s successor and arguably the most creative period of Jamaican recorded music history.

If youโ€™ve even a slight fondness for traditional ska and reggae, I cannot recommend this enough. At one point I felt the English lyrics slightly quirky, with wonky connotations perhaps lost in translation, albeit with a tune stimulated from a Dr Seuss character, namely The Cat in the Hat, I guess seriousness is not on the agenda. Neither are vocals wholly on show here, but the โ€œtightnessโ€ of the band, making the composition of every tune simply divine. I canโ€™t fault it, only jump and twist to it like it was going out of fashion! Which, by the way, in my world, it never will.

Magic Rocket Ship is both a tribute to Jamaican music and a breakthrough into the innovative world of the sextet. Recorded in the aesthetics of sixties sound; ribbon microphones, magnetic tapes and analogue saturation, by extraordinary Spanish producer Roberto Sรกnchez, itโ€™s a delight to listen to. From itโ€™s opening vocal title track, which doubles up as an explanation to the band name, to the fantastic instrumental up-tempo finale Eastern Ska, every tune is a banger.

Perhaps with Anne Bonny as the most subject worthy, Short Break the most romantically inducing, and Night In Palermo being the most sublimely jazzy, itโ€™s clear with Magic Rocket Ship vocalist Leo Mohr, with Loรฏc Moret on drums, backing vocals and percussion, Mathias Liengme on piano, organ, backing vocals, percussion, Basile Rickli on alto saxophone, backing vocals, Anthony Dietrich Buclin on trombone, backing vocals and bassist Primo Viviani. With guest guitarists Roberto Sรกnchez, Josu Santamaria and Tom Brunt, Gregor Vidic on tenor saxophone, William Jacquemet on trombone and trumpeters Thomas Florin, and Ludovic Lagana, Cosmic Shuffling have set a new benchmark, mimicking those legendary Skatalites, without the help of a nun. At least, I donโ€™t believe there was a nun involved!


Tune into my show on http://www.bootboyradio.co.uk every Friday night, 10pm GMT till midnight

Shake a Leg this Christmas in Swindon with The Tribe, Showhawk Duo, and Brother From Another

With the beguling blend of hip hop and reggae, Swindon’s pride The Tribe are a force to be reckoned with. Always a lively show, they team up with a most original act you’ll see this millennium, the Showhawk Duo. Recreating rave classics acoustically, yes you read that right, they’re super amazingly awesome.

And not stopping there, local purveyors of funky reggae, the ever-entertaing Brother From Another are also invited to the Christmas Shake a Leg party at Swindon’s Meca.

It โ€™s been a crazy year to say the least and we all need a good olโ€™ knees up so weโ€™d like to invite you to the Shake A Leg Christmas Party on 12th December.

This could be just what you need to liven up this terrible year.

Full production for the show; Amber Audio & Patch are providing sound, IC Lighting will be bringing the stage to life with a lighting show and OT Films will be streaming the event live.

Adhering to restrictions, thereโ€™s a limited capacity and table service for the show. Tables of up to five are ยฃ33. Over 18’s only.

Frank Turner and Jon Snodgrass; Still Buddies

Ten years ago, Frank Turner and Jon Snodgrass recorded an album that became a cult favourite among fans: โ€˜Buddiesโ€™. Here comes the long awaited follow up…

Right, Iโ€™m gonna try. Without Google, it goes: Hartnell, the guy with the black combover, Pertwee, Baker, Davidson, Sylvester McMonkey Mcbean…I think, Bernie Ecclestone, wee David Tennant, Matt Smith and erm, Forrest Whitaker.

Somewhere near close, I reckon. But when Davros, least the guy who played him, leaned over a table at a comic con and asked me what my favourite Dr Who episode was, Iโ€™m like, wha? I dunno, pal, you want me, what, to roll off an exact series and episode number like an overweight geek in a Buffy tee? I can barely recall all the actors, or what I just ate.

Similar to another occasion when a fanboy’s jaw hit the deck at a comic con upon my confession, I hadnโ€™t read Maus. I have now, for the record, thinking my life might depend on it, but at the time, no, I hadnโ€™t. Iโ€™m not Denis Gifford for crying out loud into a Millennium Falcon, Iโ€™m not intending to draft a history of comics. I was only there to punt my stoner comic, for want of a next meal. Still, I get narked by the expectance Iโ€™m supposed to know everything about everything, to have read every piece of literature in the developed world, to have listened to every album, and seen every film, because I write reviews. Especially being Iโ€™m partial to occupying a hefty percentage of my time daydreaming through a closed window.

Still I worry Sheer Musicโ€™s Kieran will kill me, or least tell big Mikey Barham, whoโ€™ll hunt me down, if I say Iโ€™ve a Frank Turner album to review, and this is the first time I have listened to him. Itโ€™s nothing personal, Frank, just an oversight on my part, I could apologise, but Davros takes priority.  Fact is prog-rock is not my bag, I slipped headphones on with only minimal caution, being Mr Moore hasnโ€™t failed me yet. Prolific Hampshire punk and folk singer, Frank Turner begun as vocalist for post-hardcore band Million Dead, and pursued an acoustic solo career in 2005, after the bandโ€™s breakup, accompanied by The Sleeping Souls, his backing band.

Apparently, a decade past saw Frank team up with Missouri-born alternative-country musician, Jon Snodgrass of the Armchair Martian, Scorpios, and Drag the River bands to drink whisky and record Buddies, a 10โ€ split album that became a cult favourite among fans. Written in four hours, recorded the following day, itโ€™s an experimental project proved popular and now followed up with โ€œBuddies II: Still Buddies,โ€ out this Friday 13th November.

Under similar premise as the original, the sequel was written in just one day, albeit via the internet due to lockdown. Iโ€™m going in blind, but informed they were able to flesh out the album with more time on their hands, and recruited the aid of Descendents/ALL drummer Stephen Egerton and Todd Beene of Lucero, Chuck Ragan and Glossary, on pedal steel. Blind is good though, as I was pleasantly surprised, completely unexpectedly entertained. For itโ€™s more podcast than album, they chat like a comical zoom meeting and bounce off each other while adlibbing their next song.

A musical Whose Line is it Anyway, where straight-man Frank, akin to Ernie Wise replaces Eric for Cheech or Chong, Jon sounding like the Californian beatnik, the guys amusingly chinwag on all manner of random subjects: having children, their travels across the States, and name-checking other songwriter โ€œbuddiesโ€ like they did on the original, but with lockdown prose. Musically it contrasts they desired genres, getting heavy and thrash at times via Frankโ€™s ideas, or country with Jonโ€™s, who often attempts to slip in a kazoo! Yet the opening tune, a parody theme tune sounding uncannily like Randy Newmanโ€™s Toy Story โ€œYouโ€™ve got a Friend in Me,โ€ is decidedly novelty ska-punk, and thereโ€™s a promise of a third Buddies album with the prospectus of an even funnier marine theme.

Frank explains, โ€œlockdown has been such a blow to the music industry, and such a drag that we were all looking for things to do. Jon and I have been buddies a long time, and I noticed the 10-year anniversary of our collaborative album was coming up. Technology is such that we were able to reprise the writing method remotely, and indeed it turns out we’ve got a lot better at it in the intervening decade. I’m really, really proud of the record.โ€

And Snodgrass adds, โ€œBUDDIES II was somehow even more fun to make. It even sounds better too! Frank mixed it & we enlisted Todd Beene & Stephen Egerton. So yeah, 2 more buddies. Itโ€™s twice as good, imo. I canโ€™t wait until 2030! Itโ€™s gonna be three times better & weโ€™re gonna do it at sea!!โ€

If improv Facebook feeds from novice jokers are becoming tiresome in these times, I believe many of the more memorable will become a testament to era, and Buddies is perhaps the best Iโ€™ve heard, but as an album itโ€™s not what Turner fans might expect, but will be delighted by the variance. It entertained me, that is, Iโ€™m not about to be die-hard fandom, but it placed both Frank and Jon on ones not to be missed out again.

Out on Xtra Mile Recordings this cheerful reflection is out on Friday 13thย  November. If unlucky for some, itโ€™s certainly not for Frank Turner fans. Oh, and Patrick Trouton was Doctor with the black hair, and I canโ€™t imagine how I ever forgot about Peter Capaldi.


Who Remembers our First Birthday Bash?

Proof you donโ€™t know whatโ€™s around the next corner, I put off doing a second birthday bash last year as weโ€™d run a few fundraising events, in favour for doing a mahossive one this year. As it stands any third birthday celebration for Devizine would constitute me, with a cup of tea, sitting at the computer. Two years ago, though, to the day, our birthday bash was monumental, personally, as it made Devizine feel actual, a real โ€œthing,โ€ so much more than me, with a cup of tea, sitting at the computer!

Still, I can reminisce and remember how so many of us come together at Devizes Conservative Club, made it such a fantastic night, and raised close to four-hundred smackers for the Devizes branch of Cancer Research. But it was down to a Facebook messenger chat with Dean Czerwionka, who now organises Devizes Family Club at The Cavalier. If memory serves me right, unusually, I was unable to draft anything, suffering a hangover. Rapping with da man, I merely suggested the possibility of putting on a charity event, and before I knew what was what, tickets were being sold online.

Such was the nature of the evening, throughout. Dean and Cons Club staff worked hard to make it such a great event. Those fantastic Daybreakers arrived early despite being the grand finale, and set up the system, organised the other acts. My wife prepared a buffet and son helped arrange it on the table. Ben Borrillโ€™s mum Beverly, who had told me about her famous hamsters but neglected to tell me of her musically talented son, made a Black Forest gateau. Local poet Gail Foster entertained intervals between acts. Matthew Hennessy and Nick Padmore snapped the photos and Nickโ€™s wife Joy made an effective bouncer on door duty! Even Resul of the Turkish Barbers gave me a free trim, and Tamsin Quinโ€™s niece Erin rounded up everyoneโ€™s loose change for the bucket collection. All the while I swanned around talking toilet, propping up the bar and taking all the credit!

It should be bought to attention, now time has passed and any argument could be condensed to water under the bridge, that it wasnโ€™t really Devizineโ€™s birthday at all! I started it back in the September the previous year, it just took us a while to sort it out and get news out there. In that, it taught me a hell of a lot about putting an event on, all of which I now haveโ€ฆ. erm, forgotten.

But it makes me proud to look back at our acts. Lottie J was only fifteen at the time, is now a star, off to music school, and producing some amazing pop. She jammed with the next act, the sadly disbanded Larkin, despite never having met. Sam Bishop of Larkin is studying music in Winchester, and has produced some great singles, solo, and with a new band. Martin of The Badger Set tipped me off he has something new up his sleeve. Then musical partner, Finely Trusler has since worked on solo projects, with his cousin as the duo The Truzzy Boys and now donned a Fred Perry and fronts the ever-awesome Roughcut Rebels.

We had, of course, our darlings, The Lost Trades, collaborating with each other, long before they were the Lost Trades. Jamie joined after an eleventh-hour cancelation, which I was overjoyed to have fit him in. Tamsin wasnโ€™t feeling so good, but still performed to her usual higher than high standard anyway. Cutting her slot short, as things became quite a squeeze, Phil Cooper followed and really shook the place up. Still performing solo, but ever helping each other out, as The Lost Trades theyโ€™ve set a precedence on a national scale despite debuting just a week prior to lockdown.

Everyoneโ€™s favourite, George followed, with added Bryony Cox for a few numbers. After a move to Bristol, Mr Wilding set up a highly accomplished namesake band, Wilding, of which talents are boundless. Bryony continues working as a fine artist, with a penchant for landscapes.

Aching to get on and get everyone dancing, The Daybreakers did their lively covers thing. A change in line-up, they continue to do so today, composing their first original song recently. Yet really, theyโ€™re no strangers to writing and composing, Gouldy and Cath as an original duo are Sound Affects, and they sneaked in a slot at our Birthday Bash too.

It really was a great night in the end, if there was an end, I cannot recall, and Iโ€™m eternally grateful to everyone for their help, particularly proud to hear how much theyโ€™ve progressed and how far weโ€™ve all come. Itโ€™s a crying shame we cannot yet replicate it, but I sure would like to when we reach that better day. So, look at for our fourth birthday bash, all things well by that time. Hereโ€™s some photos to get me teary-eyed.

Devizes Town Band Comes to You for Remembrance

Had everything gone to plan, Devizes Town Band would have been taking their places right now, to perform another sell-out Poppy Concert, raising funds for the Royal British Legion’s Poppy Appeal.

Sadly, that was not to be.

We are in a second lockdown, so things are slightly differentโ€ฆ

โ€ฆ As you can’t go to them, they’ll come to you!

Sit back and enjoy their latest video; a compilation of a recordings from their last rehearsal in the Wyvern Club and other pieces! Due to the social distancing restrictions on space, some of their musicians joined in via Zoom. Which I always marvel at the harmony of without timekeeping together in one place.

Our wonderful town band are still collecting funds for the Poppy Appeal; they would be very grateful if you would click on the link provided below to make your donation. The band give a huge thank you!

We Will Remember Them.

https://fb.watch/1FmaUORIFr/

Would you Rave Through Covid?

In view of recent illegal raves in Wigan and Bristol, I’ve a theoretical question which is twisting my melon, making me contemplate my past, my attitude at the time weighed against my moral judgement of adulthood.

My art college gave me an ultimatum, return at the end of the summer break having redone three pieces, and on their merit my application for the second year of the course will be based. My young life hinged on this challenge. But what was on my mind as I walked out of the meeting? Iโ€™ll tell you, it was, where this weekendโ€™s party would be.

It was the summer of 1991, the peak(y blinder) of my rave honeymoon, partying was not a treat, it was a necessity, a way of life. If we had this pandemic, and consequent lockdown restrictions, would it have stopped me from going raving? Thatโ€™s the conundrum sliding a wedge between the hypocrisy of my matured moral standards if I fancied following sheep and bleating on social media about youth attending recent events, and my own prerogative and carefree attitude during that era. I quiver at deciding if I should therefore blame todayโ€™s youth for their ignorance toward these modern boundaries, be they for safety or a judicious excuse for control.

And if I did throw caution to the wind, as I suspect the most likely, would it be possible to adhere to social distancing measures, given our brand of intoxication caused the type of enhanced euphoria one simply had to share? Effusive embraces were routine, sharing of accessories from hand-to-hand and mouth-to-mouth commonly accepted, hugging random strangers all part of the joyous moment.

Of course, itโ€™s hindsight, and our generation should thank our lucky stars we didnโ€™t have something along these lines to prevent us. Still, unresolved, I called to help opinions of members of a Facebook group, โ€œDOCU: FREE PARTY ERA 1990-1994 – WERE YOU THERE?โ€ Taking as red by its very title, affiliates were indeed there, when rave culture was at its peak in the UK, and by their want to join the group, might just be capable of recalling at least fragments of it!

In contradiction to my rampant hugging observation, one member figured social distancing was possible at a rave, provided there were no marquees. โ€œBecause free festivals and outdoor free raves never had singular big stages,โ€ they pointed out, โ€œthere was always plenty of space.โ€

The overall consensus was, 79% said yes, they do think they would have still attended raves in spite of the pandemic, against 14% saying no, and 7% unsure. I requested thoughts rather than stats, and thus where grey areas and interesting points occur. I stated shouting โ€œfuck yeah!โ€ wasnโ€™t really supplying constructive assessment, but many, I guess, are still partying too hard! Palpable comments flooded in, such as โ€œIโ€™d have given no fucks and partied on regardless,โ€ โ€œIโ€™d have dropped everything an jumped in a motor if was going to Bristol party on Saturday but Iโ€™m sitting here feeling gutted, reading reports on news of what Iโ€™ve missed; Iโ€™m 56 by the way!โ€ and โ€œI wouldnโ€™t of given a flying fuck,โ€ which balanced against frankness I secretly wanted to hear, like, โ€œto be honest, in 1991 I donโ€™t think anything would have stopped me going out.โ€

Pop Quiz: where were you heading if you had one of these?

Some thoughtful estimations came with a twist or satirical stab, like โ€œbut hey, send ya kids to school, thatโ€™s fine!โ€ and โ€œIโ€™ve seen three covid deaths; all had underline health issues. With that in mind I wouldโ€™ve stayed at home until it was safe, however, it seems there are a few laws that pushed through that are total designed to stop the dance. If these total draconian laws arenโ€™t removed after covid then I will be at the base of Nelsonโ€™s Column with 40k ready to fucking roll and dance, as this total gets my wick!โ€ And therein lies a common accord, bringing the restrictions, or punishments into question, rather than prevention of spreading a virus. โ€œDo I blame the kids? No. Do I think less of them for raving? No. Do I worry about them spreading covid? Yes. Do I think covid is a real issue? Yes. Do I think that the Tories are using it to their full advantage? Yes.โ€

By the early ninetiesโ€™ businesses sought profit from legal raves, be clubs or outdoor events, but rave rose from the ashes of the free festival scene, its fundamental roots was illegal, many faced persecution from the law and anger towards authorities are imbedded eternally. Itโ€™s fathomable to question the motives of lockdowns. โ€œAs it was right in the middle of the Criminal justice act and freedom to party marches,โ€ one said, โ€œIโ€™d likely have been full blown cospirytard and thought it all to be another way for the cops and government to stop us having a good time, would have gone anyway, stuck my fingers up and hoped it was fake, or that the amount of chemicals in my system killed Covid before it killed me!โ€

โ€œThey are not anti-rave laws,โ€ one protested, โ€œthey are anti-people rules, temporary measures, as none of them have passed through a white paper in parliament so cannot be ratified by the Lords, ergo, NOT A LAW!โ€

Hunt Emerson shows us one method of social distancing; you need this comic in your life…https://largecow.com/

Others calmly suggested similar, without the need of caps-lock. โ€œSeems to me they were brought in to stop raves, but had the benefit of also stopping other social gatherings with >6 people. Nothing the Tories do is ‘the will of the people’ – they just get on with shafting us whether we like it or not.โ€ Adding, โ€œmy comment was only trying to express what a minefield this topic is, and that it is okay to have what might appear to be contradictory views because the whole thing is a mess.โ€ I know, thatโ€™s why Iโ€™m raising it; always spoiling for a rumble! But letโ€™s not forget here, no one is condoning the actions of the modern kids raving through a pandemic, merely pondering what they themselves might have done under the circumstances.

Ah, social distancing circa; 1991

And there were moments of conformed clarity, โ€œlives are at risk here – the kids going to lockdown raves might not get any symptoms, but they could easily pass it on to somebody else who dies or suffers long-term damage. Kids will be kids and their thoughts are probably not with the greater good. I even understand that they just want to hang out with their mates and have a good time… but I still worry about what will come of their actions, and part of me thinks they could just hold off having 700-strong raves in warehouses for a little while.โ€

And others in denial, โ€œI wouldโ€™ve carried on going to free parties regardless of some non-existent virus!โ€ Or completely oblivious, โ€œI was tripping so much I doubt Iโ€™d have noticed, just presumed it was Sunday or bank holiday for 3 months!โ€

Some brilliantly imbalanced professionally considered thoughts with fond reminiscences, โ€œwe were the lucky generation. Would I have partied back then with Covid? Most certainly. I feel sorry for my teenage daughter and generation who arenโ€™t able to know what freedom to party was all about. Hell, they canโ€™t even have normal rights if passage anymore. We need to be careful, as there will be a generation growing up scared to go out into the world. Itโ€™s happening already. Working in mental health, Iโ€™m seeing already what could happen to a whole generation if this carries on for too long. My fear is, it will.โ€

And โ€œafter being locked indoors for months, young people are going stir crazy and I don’t blame them. At 22 I didn’t need to shield anyone and really only thought of my needs. My 50-year-old self however is sensible and won’t even go to the pub.โ€

So, the general mood was either, โ€œI would like to think my younger self would be wise enough to not do raves in a pandemic, but I doubt I would have been. So, can neither applaud them or condemn them,โ€ or โ€œI would go, but I have never been very responsible.โ€ With the added notion, โ€œit’s very difficult for me to say whether that might have changed if someone I knew or loved died of the virus.โ€

….or maybe not….

Yet punters aside, thereโ€™s no party if thereโ€™s no one to organise it. Perhaps irresponsibly, the ten grand fine dissuaded organisers, rather than spreading a virus.  โ€œFines might have made me think twice about trying to put anything on,โ€ one suggested. Back then, least post-Criminal Justice Act, police had powers to confiscate the PA, hence their point. โ€œLosing your rig is one thing, getting stung for ten grand, is quite another.โ€ Though another pointed out inflation, โ€œa 10k fine in 2020 wouldโ€™ve probably been about 2k in 1990 so the risk wouldโ€™ve been different.โ€

Specifically, a shareware notion was given, โ€œat RTS, Stop the City, CJB, police asked โ€˜who owns the rig?โ€ The crowd reply they all do. A ten grand fine could be met if everyone put a percentage in. โ€œFight them at their own game…. with smarty pants on.โ€

Whereas an owner of a sound system professed more consideration, โ€œas to whether I would have run a rave this year – no. Iโ€™ve chosen not to go to any events this year, although I think Bath and Branwen were โ€˜acceptableโ€™ – they were outside of the main lockdown periods, they were outside, so ventilated, and people were able to social distance. I don’t think that Halloween or NYE indoor parties are a good idea, and in fact are pretty irresponsible in the current times and situation. But as was said, to lambast them could be hypocritical. We were all young once, and our irresponsibility levels probably exceeded what we like to think they would be looking back with our rose tints on.โ€

Another who begun their party outside Perth in the mid-seventies, proudly still going, โ€œbasically if thereโ€™s a party going on, weโ€™re in the van, rig loaded,โ€ still offered caution. โ€œNow weโ€™re in a whole different kettle of sardines. I know of too many deaths of this pandemic, so I ainโ€™t partying anywhere indoors and, deffo keeping my distance if I do go anywhere, and wearing a mask. So those that went to the party at Yate, itโ€™s only your loved ones youโ€™re gonna hurt.โ€

In conclusion, maturity develops responsibly, we didnโ€™t allow time for it in youth. Yet, thereโ€™s a notion these regulations are implemented deceitfully and with a tyrannical agenda. The point of suspending events and pubs whoโ€™ve gone to great lengths to ensure safety, when schools and universities remain open, despite the improved technology of providing online tuition, feels draconian to many, and consequently a backlash is a nature course.

Thereโ€™s two ways of reacting to a pandemic. The archetypal social order of medieval Europe completely disintegrated during the Black Death. People felt death was inevitable, but had a unique way of handling it. Some desperately sought refuge, others braved the disease, laughed in its face, and partied. They cossetted themselves in the finer aspects of life, alcohol, music and, of course, disorderly parties, causing a flourishing new era of music and art, like the virelai, ballade, and rondeau.

Anyone got any Veras? The Dance of Death (1493) by Michael Wolgemut, from the Nuremberg Chronicle of Hartmann Schedel

One member of the group pointed out, โ€œno one stopped partying during the 2000/2001 flu epidemic in the UK. The virus was ‘only’ killing old people and the medically vulnerable. Most people didn’t know it was happening. 22,000 people died in a very short period in the UK.โ€ They also believed there was a pandemic going on during Woodstock Festival. Though this proved to be a slightly ambiguous urban myth by Reuters factchecker, who states, โ€œWoodstock took place months after the first season of the Hong Kong flu had ended in the United States. Although there was to be a second wave in the U.S. the following winter, it is misleading to say it happened in the middle of a pandemic.โ€

and then this happened in someone’s back garden…. Castlemorton 1992.

What is clear though, no generation can be blamed for irresponsibly in youth, and the need to party is naturally paramount. Whether or not it is correct to do so under these conditions is debatable, but while you are, for many, the show must go on. Question is, can you blame them, if you once liked to blow your whistle and wave your hands in the air, like, I dunno, you just didnโ€™t care?

Tuareggae; Bombino is the African Hendrix

In conventional record shops of yore, albeit some survived, youโ€™d find the mainstream alphabetically presented, and itโ€™d be a dare on to yourself to venture to separate genres. They were usually labelled thus; Reggae, Classical, Easy Listening, and World, perhaps Blues too. While some conveniently slip into a standardised genre, others must have had grey areas. But, surely the most diverse was โ€œWorld,โ€ as if every remaining country in the world except the one you live in, and probs America, sounds the same, and furthermore, youโ€™d be some kind of beatnik pseudoscientist weirdo to even contemplate browsing there.

Itโ€™s all so vague, and without the music industry pushing, a minefield of guestimation. I was fairly young when I figured thereโ€™s a world of music weโ€™re not exposed to, pop was the tip of an iceberg. I dipped my head under, but it was freezing with typecasts, impossible to know where to search to find something affable.

Today, and thank goodness, the internet is a universal reference library, there are no excuses for not thinking outside your geographical sphere. But with anything foreign to your ears, you need to unlearn your ingrained judgements, and listen with an open mind. Rarely something comes along so exclusive and diverse, but with a familiar element to comfort you.

On November 27th Partisan Records will release, Niger-born Tuareg guitar virtuoso Bombinoโ€™s first live album as a solo artist, Live in Amsterdam. Iโ€™ve had this unique marvel on play for a while now, and if youโ€™re put off by the presumption any African music never relates to our rock music, this could be the introduction to a world outside said sphere.

The ingenious part of this album, other than the atmospheric quality of a live performance, and Bombinoโ€™s sublime proficiently with a guitar, is the rich musical palette. It rings with genres youโ€™re accustomed to, shards of funky soul and reggae, which often come into play in African music, but the man, I swear to you now, is the African Jimi Hendrix, so bluesy rock is prominent.

Tuareggae is his self-penned, totally unique genre to define it. The โ€œTuarโ€ part derives from his own people, the Tuareg people, a Berber ethnic confederation of nomadic pastoralists, which populate the Sahara in a vast area stretching from far southwestern Libya to southern Algeria, Niger, Mali and Burkina Faso. So, what we have here is principally a fusion of these accepted European and American genres with this brand of North African folk.

Just as a bhangra-pop hybrid now appeases western ears, Bombino has something which will placate any preconditioned aversion of African musical styles. In fact, the untrained ear might liken it something Eastern, or middle eastern at least, as it is spoken in Bombinoโ€™s native tongue. Note though, his on-the-record fans includes Keith Richards, Stevie Wonder, and Robert Plant, and if itโ€™s good enough for themโ€ฆ…

This album will not only challenge your presumptions, itโ€™ll do so while drifting you on gorgeous a journey of musical greatness akin to any known bluesman. Bombino knows precisely what buttons to press to evoke a mood, it can drift down a river at times, it can explode into up-tempo funk, but its ambience is awe-inspiring throughout.

Recorded in November of 2019, while Bombino and his band were touring behind his acclaimed latest studio album Deran. Live In Amsterdam is dedicated to the loving memory of long time Bombino rhythm guitarist and vocalist Illias Mohamed Alhassane, who sadly and suddenly passed away in September. The recording, then, features Illias in his final performance with his โ€˜brothersโ€™ in Bombinoโ€™s band. Yet, you need no background, not really, if youโ€™re looking for something different, but with shards of something familiar, if you like either blues, reggae, rock or funk, or if you want to be taken on a musical journey beyond your usual perimeters, Bombino is your newfound gem. You donโ€™t have to thank me, but you will; Iโ€™m here all week.


Chris Tweedieโ€™s Reflections

With over three decades experience writing music and composing songs, Melksham-based Chris Tweedie acknowledges on his website he can sing, but disparages his ability to limitations, inquiring of other singers for possible collaborations. While timorousness is common when self-assessing the worth of your own output, especially for musicians, thereโ€™s an argument that no one can express your own words better than you. While the many whoโ€™ve taken on songs of Dylan, who letโ€™s face it, isnโ€™t the most accomplished vocalist, may well have manufactured a better sound, but lack the sincerity and emotion of the written word coming from its author. ย ย ย ย ย 

First impressions last, Iโ€™m only a few songs into Reflections, his debut album released yesterday, (6th Nov) and Iโ€™m drifting into its gorgeous portrayals, meditative and knowing his notion is modesty. The vocals are apt for this wandering, sublimely ambient twelve uniformed tunes. And anyway, Tracy Whatleyโ€™s beautifully grafted vocals with a country twinge feature on the one tune, Virtuous Circle, and the title tune is an instrumental finale to make Mike Oldfield blush. The rest are self-penned and executed with vocals, mellowly with acoustic goodness, reminding me of the posthumous Nick Drake.

With poetic thoughtful prose, these are exceptionally well-written songs, performed with passion and produced under the ever-proficient Martin Spencer at the Badger Set Studio. His website and the CD inlay has text of said lyrics, to pick one entirely at random; โ€œYou are the thousand winds that blow, You are the diamond glints on snow, You are sunlight on ripened grain, You are the gentle autumn rain,โ€ taken from You are the Stars, are not the exception, theyโ€™re all this serenely stunning.

Itโ€™s Sunday sunrise music, sitting by a stretch of water, and we all need this once in a while. The album cover of such a scene sums it up in one image.

The relaxed attitude hardly drifts to anything of a negative narrative, perhaps with the exception of Slow Down, which suggests oneโ€™s life is moving too fast. The majority on offer is uplifting, perhaps reaching the apex at the seventh song, aforementioned You are the Stars, which is enriching, period.

โ€œThere are various musical influences that come through in my music,โ€ Chris says, citing rock, pop, country and folk. โ€œThe direction this mix has taken my songs is still fairly mainstream with a leaning towards the West Coast path and an element of Americana in places.โ€ I certainly agree, thereโ€™s hints of the Byrds, of Crosby, Stills and Nash, but majorly its definingly English, think George Harrison, not to hype but to compare the style of. Thereโ€™s experimentation at work here, but the experience shines through, Chris Tweedie could chill out Donald Duck!

Buy Chris Tweedie’s Reflections here


Bionic Rats, Alive in Dublin

A superb new live album from Dublin’s finest ska-reggae outfit, The Bionic Rats….

Thereโ€™s some wonky logic in the character Jimmy Rabbitteโ€™s bemusing outburst in The Commitments film, โ€œThe Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So, say it once and say it loud, I’m black and I’m proud!โ€ Persecuted before the slave trade, there are some intelligible contrasts between the oppressed races.

Still, the thought of Dublin conjures rock legends to outsiders of every decade, be it from Thin Lizzy to Skid Row and U2 to The Script. Diverse as any city though, if you thought the idea of music of black origin was the stuff of films, think again.

Far from a retrospective regression going through the motions of a bygone Two-Tone era, The Bionic Rats are an exciting, energetic reggae and ska six-piece from Dublin with a building collection of original and stimulating material. Even their band name, I suspect, is taken from a Black Ark tune, Lee Scratch Perryโ€™s renowned studio. Yesterday they released a dynamic album doing their thing where they do it best, on stage, in their home city.

In a conclusively roots reggae inspired track, Red Gold and Green, frontman, Del Bionic lays down a chorus not so far fled from the Commitments quote, โ€œreggae is talking about the things I bear witness to, on and off the Liffey quays. Iโ€™m not Jamaican, Dublin born and bred, I don’t wanna be a natty dread,” Though a bulk of the material here is upbeat ska, if it relates to a modern ska era, it borrows extensively from Two-Tone, particularly for itโ€™s no bullshit attitude and social commentary. A component definingly reggae, or correlated to any plight of poverty and societal righteousness in general. It rings out the enduring message, reggae is universal.

Reggae often takes on board regional folk roots, be it influenced by, or using traditional instruments of that area, the recent surge in Balkan ska for example. Yet, the only local element the Bionic Rats take is said Irish bitter repartee and attitude within their subject matter.

Their sound is beguiling and directed towards the very origins of Jamaican pop music, and skanks to any highest region! The very reason why theyโ€™re a force to be reckoned with, internationally, having shared the stage with their mentors, Madness, Bad Manners, Horace Andy, Israel Vibration, Johnny Clarke and their aforementioned namesake, Lee ‘Scratch’ Perry, also opening for Damien Dempsey and Imelda May. A hit with the crowds at the One Love Festival in Sussex, London International Ska Festival, theyโ€™ve made the frontpage of eminent Do The Dog Skazine, Doc Marten’s used their song Dear John for an online campaign and they continue to skank the crowd at Dublinโ€™s longest running reggae night โ€˜The Sunday Skankโ€™ in the Temple Bar.

Ironically the 2009 debut album was titled Return of The Bionic Rats, and since three more albums have followed. The good news is, wonderful as their studio albums are, we can all now pretend weโ€™re in the crowd of a Sunday Skank with this beauty of a recorded live show, and boy, do they give it some.

The premise is simple, as it is with ska. Lyrics often minor compared to offbeats and horns. Subject matter slight; between girls, lust, dancing, record buying and being rude, the Rats offer sentiments on prejudges, tyranny and oppression, but seldom will romance be on the cards. You may not be enchanted by The Bionic Rats, who describe this release as โ€œperfectly capturing The Bionic Rats in all their sloppy greatness,โ€ but your waistline will get a darn good workout.

While weโ€™re tempted by the simplicity of the upbeat ska sound in danceable tracks like Annie Oakes, the sweary Bad Garda and the particularly well grafted tale of obsessive record buying, Hooked on 45s, thereโ€™s roots, like aforementioned Red, Gold & Green, and rock steady numbers such as prejudice themed Dear John. Thereโ€™s no end of expected banter and comical themes, such as the English Beat sounding Girl with Big Hands. Then thereโ€™s that contemporary third-gen fashioned ska-reggae but wrapped in a no-bars-held cussing, of which titles speak for themselves; Twisted Little Bitter Little Fuckers, for example.

Such is the expected acrimonious nature of an Irish ska band; lap it up, itโ€™s refined rudeness. Done too, with experience, The Bionic Rats rose from the ashes of Dublin-based reggae band, King Sativa, who were active on the scene from 1998 until their breakup in 2005. Their guitarist Graham Birney, and drummer Anthony Kenny moved over to the Bionic Rats. Like them, or not, Iโ€™m convinced they probably donโ€™t give a toss, but going on this superb live album, you certainly canโ€™t ignore them.

Alive in Dublin, out now, here.

Singer, Del Bionic also does a live streaming set every Sunday from Facebook at 9pm (GMT) well worth tuning in to: https://www.facebook.com/thebionicratspage/live/


Adverts and Stuff

Join me every Friday night from 10pm to midnight GMT for a fun two hours of ska, reggae and anything goes!

My Darling Clementineโ€™s Country Darkness

My Darling Clementine’s new album Country Darkness vividly reimagines twelve hidden gems from the Elvis Costello repertoire, in the duetโ€™s definitive, dark country-soul fashion with original Attractions keyboardist, Steve Nieve.

As a ska DJ youโ€™d be forgiven for assuming the Two-Tone 7โ€ rarity, I Canโ€™t Stand up from Falling Down, would be my introduction Elvis Costello & The Attractions. Rather embarrassingly, the one-shot liable recording which was given away at his gigs was not, rather the one true comedic genius of Hi-Di-Hi was. Sue Pollard stood flustered but ever-spontaneous with odd shoes behind the stage at Live Aid. Interviewer Mark Ellen asked her if sheโ€™d seen Elvis. An expression of shock overcome her, as Ellen expanded with the performers surname. โ€œOh, I thought you meant Presley, I was gonna say, poor thing, resurrected!โ€

I found this amusing a kid, as most of her witticisms were. Yet, I didnโ€™t know much about the man in question. Like a DC Thompson artist unable to sign his comic pages, I never knew who did R. White’s Secret Lemonade Drinker Elvis impersonation; Costelloโ€™s father, and young Elvis, or then plain olโ€™ Declan, as backing. Was it this which swayed Stiff Recordsโ€™ Jake Riviera to suggest he used Elvis as a forename?

However it did come to pass, if his renowned namesake is the king of rock n roll, Costello surpassed him in at least one avenue, diversity. Beginnings as a new wave punk Buddy Holly, Costello stretched beyond pigeonholes and always strived to cross the streams, and country music was a mainstay. Take the derisive warning on his 1981 country covers album Almost Blue; โ€œthis album contains country and western music, and may cause offence to narrow minded listeners!โ€

As new wave as you thought he was, an American country ensemble residing in England, Clover, would attend his backing for the debut album. Members later joined Huey Lewis and the News and the Doobie Brothers. Costello would go onto record many a country cover and use the genre as a blueprint for his own song writing. His obvious love of country is bought to an apex by a new release today, 6th November, from My Darling Clementine, of which Royal College of Music dropout, Steve Nieve joins with familiar husband-wife pairing, Michael Weston King and Lou Dalgleish to vividly reimagine twelve hidden gems from the Elvis Costello repertoire, in the duetโ€™s definitive, dark country-soul fashion.

But for want of prior knowledge of the songs, note, Steve Nieve dropped out of college in 1977, to join the Attractions as pianist. The man was there when Costello released his first major hit single, โ€œWatching the Detectives.โ€ Why is he called Nieve, pronounced naรฏve? Youโ€™d have to have asked Ian Dury.

While the first single released from Country Darkness, The Crooked Line is taken from the album, Secret, Profane & Sugarcane, Costelloโ€™s later folksy-era, the adaption is surprisingly electric and upbeat, a tantalising precedent for an album typically leaning more toward country, even if the track being revised is not originally inspired from Costelloโ€™s country passion. This intricate then is interesting, while My Clementine has judiciously measured the retrospective repertoire, taken on hidden gems throughout Costelloโ€™s career, including tracks from his Imposters and Attractions eras, solo efforts and his collaborations with the likes of Paul McCartney and Emmylou Harris, it doesnโ€™t mean all tracks were selected because of their closeness to country.

While his Heart Shaped Bruise from the Imposters album Delivery Man, for example, is acoustic goodness the country tinge is slight, the Darling Clementine version leans heavier on the genre, is more gothic americana, outlaw folk. Whereas That Day is Done almost rings gospel on the original, thereโ€™s something definitively Nashville about this version. In such, you need not be a fan of Elvis Costello to relish the country splendour on offer here, rather a Tammy Wynette devotee.

The album is sublime, without doubt, akin to an artist stripping back to accentuate the attention of song-writing ability, the nimble expertise of narrative which flows through a country legend, like Wynetteโ€™s or Partonโ€™s, can be seen, full-colour within Costelloโ€™s writing. Yet through the eyes of another, there is even more scope for alternative angles and interpretation.

โ€œMaking these recordings took me back to my 19-year-old-self,โ€ Michael Weston King explained, โ€œout buying a copy of โ€˜Almost Blueโ€™ during my lunch hour. It was Elvis and Steveโ€™s making of that album which set me, and I think many others of my generation, off along a country path to discover more about this form of music previously only viewed with suspicion. For me it became something of a pilgrimage, a vocation, even a โ€˜career.โ€™ So, this feels like the completing of a musical circle of sorts; to record a selection of some of mine and Louโ€™s favourite EC country songs with the added thrill of performing them with Steveโ€.

Steve Nieve

The award-winning partnership of King and the awe-inspiring vocals of his wife, Lou Dalgleish is prevalent, theyโ€™ve scored four albums previously, co- written a stage play/audio book with best-selling crime writer Mark Billingham, played over 800 shows worldwide, and collaborated with a wide variety of major artists including Graham Parker, Kinky Friedman, The Brodsky Quartet, and Jim Lauderdale. Their harmonies reflect the strength of this rรฉsumรฉ, making this a win-win for country music fans and Elvis Costello fans alike.

The Country Darkness album compiles all the tracks featured across a set of three EPs, released over the last year, with a bonus track called Powerless, of which I can find no reference to the original. To web-search Elvis Costello Powerless is to find recent articles plugging his latest album, in which he offers โ€œI was trying to make a rockโ€™nโ€™roll sound that wasnโ€™t like anything Iโ€™d done before,โ€ and comments how he was โ€œpowerlessโ€ to prevent his young children viewing the horrors of news broadcasts. Yet they paint the picture of the once new wave, angry performer who rampaged through his youth, sardonically mocking imperialistic politicians, despotic fascists and firing expressive verses at punk fashionistas, as a now suave jazz and country music raconteur. But here with My Darling Clementine, the country side to Costello is bought to a western American mountainy summit.

My Darling Clementineโ€™s Country Darkness will be available on CD and digitally on 6th November 2020, via Fretsore Records. https://mydarlingclementinemusic.co.uk/store/


Dreamlands; New EP from Daydream Runaways

In fairness to you readers, Iโ€™ll come clean, the new EP from Daydream Runaways, Dreamlands, is a collection of three pre-released singles, Fairytale Scene, Light the Spark, and the latest, Crazy Stupid Love. Each of which if you click on, youโ€™ll see Iโ€™ve reviewed already, here on Devizine.

So, what do those demanding guys want from me this time?! Except to say I canโ€™t praise the band or these songs enough. Making the opportunity to announce the release imperative, suppose, but forgive me for not running back over the same notions in said reviews.

So, I figured Iโ€™d catch up with them, harass them for few more questions I overlooked when we interviewed them last. Notably, when Cameron Bianchi enlightened us that, โ€œwe brought back two older songs and reworked them, as they fit really well next to the lead single Crazy Stupid Love.โ€

Ah, cool ,this progressive young band have reworked them. I supposed itโ€™s good to have the singles on one EP. โ€œAnd those three are among our oldest songs so it felt right to release them,โ€ Cameron continued. โ€œThen Brad had an opportunity to record us for his Final Year Project at Uni and an EP seemed like a great project to take on.โ€

Out on the 13th November, the releaseโ€™s title I was asked to keep it under my hat, for a โ€˜guess the name of the EPโ€™ competition was to be announced. The title got me to pondering the name Daydream Runaways. So, I asked them how they came about it.

Frontman Ben Heathcote replied, โ€œCameron came in with the name suggestion after numerous discussions and almost instantly we knew that was it. It seemed to describe us and have a connection immediately to our sound. We all daydream and get lost running away in our minds, our dreamsโ€ฆโ€

Cameron added, โ€œWe spent quite a while trying to work out a name that suited us, actually. We were looking for something that sounded hopeful and had a sense of escapism about it. Ben remembers that I brought it to a practice one evening, I think Iโ€™d been reeling off loads of names that the boys didnโ€™t love. Then one day my fiancรฉe had been playing lots of Ben Howard and he used those two words in a few of his songs and I just liked the way the sounded when merged together.โ€

Shame, I adopted the guesstimation Cameron was the sort of kid at school who would rather stare out of the window daydreaming than pay attention to the lesson. โ€œI know I was!โ€ he confessed, โ€œprocrastination is my second favourite hobby…next to playing guitar!โ€

An apt name it is though, it relates to the bandโ€™s brand of dreamy, nostalgic and acceptable indie-rock, which has found them glowing reviews elsewhere. James Threlfall of BBC Introducing in the West, said of Fairytale Scene, โ€œI’ve had the pleasure of seeing this band absolutely smash it live.โ€ Theyโ€™re favourites on Sue Davisโ€™ show on Wiltshire Sound, but I was drawn in particular to a quote by Dave Franklyn on his Dancing About Architecture website, a man who does similar to what we do here, only better. He said Crazy Stupid Love, โ€œhas got that great Alt-USA feel to it; Fountains of Wayne style and early 00โ€™s vibe.โ€

Coincidently I mentioned Fountains of Wayne yesterday when pondering the new EP from End of the World, Calneโ€™s skater-punk five-piece. Hereโ€™s where I tip my hat to Freewheelinโ€™ Franklyn, always able to view another angle. For in the way of comparisons, I spent nearly all my effort reminiscing classic eighties bands such as Simple Minds, perhaps U2. I wrote paragraph upon paragraph suggesting the Daydream Runaways songs would slip neatly into a John Hughes coming-of-age movie, when really, I needed only to rewind twenty years; itโ€™s an age thing.

I asked them for their thoughts on this comparison to noughties US bands, all a bit skater punk. As all I know of Fountain of Youth is the one tune, and while the Daydreamerโ€™s material has a coming-of-age type content, I couldn’t imagine them knocking out something as quirky as a song about fancying their girlfriendโ€™s mum.

Nathaniel Heathcote confirmed, โ€œyeah, itโ€™s definitely reminiscent of skater punk, very 2000s with baggy jeans, spiky hair and a skateboard in hand!โ€

Cameron also clarified, โ€œitโ€™s kind of a weird blend of Indie meets Country meets 00s rock. Not that it started out that way. I think I was trying to write a riff like The Smithโ€™s Girl Afraid.โ€ Ah, mention of a band I know! Heaven help me, are we due a noughties comeback, I pondered, I guess itโ€™s time, despite Iโ€™m still living in 1991.

โ€œThey seem to be!โ€ Cameron figured, โ€œI was listening to Machine Gun Kelly the other day and his sound is very 00s. We obviously inspired himโ€ฆโ€

From here I teased about the possibility of getting a rapper in, if thatโ€™s the case. But Daydream Runaways has spent their few years really nailing a uniformed style, I hoped I wasnโ€™t rocking the boat. Thereโ€™s a question developing in that though, how far theyโ€™re willing to diversify?!

Cameron admitted, โ€œBen has floated that idea about actually, we always say we donโ€™t want to write the same song twice or be bound to one genre. And I think that comes across in our music. It helps that each of our individual musical influences are quite different so that makes the song writing process quite fun and the songs are always a bit unexpected.โ€

โ€œThis is something we differ on in my opinion,โ€ Ben interjected, โ€œCam enjoys the idea of a more consistent sound and style that is familiar, whereas I strive for an ever changing/evolving sound, dipping into varying genres.โ€

โ€œSo,โ€ Cameron replied, “I think we balance each other out?โ€

Ben Heathcote got deep, โ€œthe world canโ€™t exist without Ying and Yang.โ€

But I often rock their boat, probing their thoughts of an album, and they have differing opinions on it, but Iโ€™m always impressed how they stabilise it mutually; I do hope itโ€™s a solid band, as this EP rocks and I always look forward to hearing some new from them. They even went as portentous to hint at an albumโ€™s possibility, but rather concentrate on the idea of a sequential set of songs on a running theme. There you go, Mr Franklyn, I surmise theyโ€™ll be writing the next soundtrack to a John Hughes rework!

If so, I get first dibs on the actress playing Molly Ringwaldโ€™s part, but probably not, though with this blinding new EP, it is fair to assume itโ€™s only just the beginnings for The Daydream Runaways. The peak will be unimaginably awesome.


Very Brave or Very Stupid; End of Story

Very brave or very stupid, to suggest five-piece band End of Story are terrible, more so if I tell you theyโ€™re a bus journey away in Calne! Terrible is as terrible does, Forrest; a complimentary adjective in punk, like the magnificence of being spat on by Sid Vicious, itโ€™s a term of endearment.

For End of Story are the localist epithet of skate-punk, they do it well and as it should be done. Their new EP of four original tracks titled thus, Very Brave or Very Stupid is terrible, if terrible means awesome. Itโ€™s raw, angry, energetically entertaining; the very blueprint of punk.

Through the passage of time, generations warped the tenure of the house of punk, and new subgenres evolved, their attributes far-flung from the roots. No wonder why Iโ€™m particularly picky about the genre, tending to steer away from modern takes. Be they aiming commercially, like power-pop, like Blink 182, or excessively overkill it, like skatecore. Principally I guess itโ€™s predominantly youthful American, and I tick neither box.

I reserve my right to appreciate from afar, though, especially when procured with an amusing take, Back to the Future references, fancying your girlfriendโ€™s mum, for examples. Or if thereโ€™s a clever narrative like Avril Lavigneโ€™s Sk8er Boi. I even allowed myself to be dragged to a Bowling for Soup gig at Bristolโ€™s 02 by my son, albeit a taxi service. I gulp and confess, didn’t stage dive, but it was alright. But, and this is a big but, my erroneous dejection; canโ€™t help but feel itโ€™s lost its raw way from my first love, Ramones, Pistols, Buzzcocks, et all.

Precisely why I find End of Story refreshing, skate-punk it may be, but with full beams blasting into original punk, shining the way, reminding me of Welsh punkers, Sally & Kev Records and punk-paste zines of yore. The four tunes are archetype skate-punk subjects, Sweet Sticky Kiss of Mary Jane the only stoner ballad, the others theme on disjected romance and broken promises. But itโ€™s catchy with boundless rage, and as garage as punk should be.

Nosebleed perhaps the loudest, Shattered Earth perhaps the most interestingly grafted, and the finale, Itโ€™s not Him, perhaps the most commercially viable within the confounds of skater punk, but all equally beguiling. Top effort guys, highly enthralling, and itโ€™s out today. Punkers, check it out:

https://music.apple.com/gb/artist/end-of-story/1535986645


Johnny Lloydโ€™s Cheap Medication

Coming from a more Tribe Called Quest angle than Johnny Lloyd, Dan White, Jim Cratchley and Miguel Demeloโ€™s three-year stint under the banner Tribes, Iโ€™m trying to like Johnnyโ€™s new solo album Cheap Medication, but thereโ€™s no hope in forcing me to commit to say itโ€™s more than mediocre. Soz, intent to say something, certain many readers will disagree with me.

Iโ€™ve had nothing but praise for the โ€œindieโ€ Iโ€™ve been sent recently, thereโ€™s been some great stuff, particularly on our local scene. Thereโ€™s only a tenacious local link, being Johnny is going out with Swindonโ€™s nineties teen heartthrob Billie Piper. This isnโ€™t Hello magazine, though, least not the last time I checked.

The bulk of Cheap Medication is produced to a high standard, to be expected, but feels overall pretentious. Affluent celebrity blues amidst tunes like Oh Lord are unidentifiable to us commoners, ballads to his newfound love are somewhat conceited and wishy-washy. The tempo drags, sentiments are middling. Though Johnny has a key to winding emotion in his vocals and tunes, like Better Weather, which drifts like Radiohead, dreamy like Spiritualized. Not that Iโ€™m too keen on them, truth be told! Guess you could summarize, itโ€™s not for me. Or am I just having a bad hair day?

I like the cover, given the brilliant Gecko used a photo from his childhood for his recent outing, a kid Johnny proudly shows off his Batman uniform in a Christmassy regular looking home. I like this approach, especially from someone already in the spotlight. Perhaps thereโ€™s more meaning in the image of a once proud superhero, from this rock luminary than there is hidden in the songs, or theyโ€™re too intricately hidden.

Tabloids quote smitten Johnny declaring he was lost before he met Billie, and in so much as hope and love, this album is personal and openly frank, though through the often too private bulk I couldnโ€™t identify with where it wanted to take me. Itโ€™s like that infatuated associate who speaks of nothing else.  

In this World carries the twangy guitar of a country classic, acoustical goodness presides with Based on Real Life, an upbeat Simon & Garfunkel-eske tune, downbeat Heaven Up Here comes over all Morcheeba; credit where itโ€™s due, itโ€™s not all dull. There was one magical nugget, an uplifting track called Suze which breezes akin to Harry Nilssonโ€™s Everybody’s Talking, so who knows, it might grow on me if I gave it time, but Iโ€™ve got to push on with lots more to review. For indie aficionados and leaden adolescents, this may agree with you; itโ€™s out now, give it try.


MeTooMpls โ€“ Various Artists (album review by Dave Franklin)

Even up until about a year ago I was bemoaning the fact that, despite the way the world was turning, music still seemed to lack any political bite or social messaging, had forgotten what a great platform it had in favour of serving itself, was about the โ€œmeโ€ rather that the โ€œus.โ€ Where was the [โ€ฆ]

MeTooMpls โ€“ Various Artists (album review)

Longcoats in October EP

Further to their couple of singles since forming last year, Longcoats, Bathโ€™s self -proclaimed indie pop โ€œfor nerds,โ€ four-piece, released a four-track EP last week, pertinently titled The October EP. As launched at Moles last week. Not that thereโ€™s an EP in any other month, named after that month, and uncertain if there will be. Letโ€™s move on and give it a listen, shall we? As I fondly plugged the singles within a piece centred around their frontman, Ollie Sharpโ€™s social networking group, The Indie Network.

As said groupโ€™s name suggests, Longcoats are the youthful embodiment of gratifyingly saccharine indie, if indie is a genre rather than a favoured shortening of the word independent. Darn, too vague, sweetie? Okay, by saccharine I didnโ€™t mean cloy, thereโ€™s nothing bubble-gum pop on offer here. I meant sentimental in themes, and the title track, October is the perfect example, with its hopeful romantic chronicle. The chiming backing vocals also arm it with amiability and all-round nice vibes.

But while thereโ€™s no fear of Longcoats going all Rage Against the Machine on us, itโ€™s not drippy either, and Iโ€™d argue their own โ€œnerdโ€ label diminishes itโ€™s worth, even if tongue-in-cheek. It comes over agreeable and congenial, and thatโ€™s coming from an indie window-shopper. Thatโ€™s good though, isnโ€™t it? Good it will satisfy non-devotees of the genre too.

The majority of indie jilted the rougher elements of its underground origins long ago, leaving any bitterness behind in hope to impress a mainstream, ergo I stand by my Longcoats are the embodiment of gratifyingly saccharine indie statement, just donโ€™t take it as a negative in any hardy hooligan fantasy your ego might invoke. Find your yang rather than yin.

Last year guitarist Arthur Foulstone and drummer Kane Pollastrone added to frontman Sharpโ€™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, Longcoats have created a beguiling and entertaining, instantly recognisable sound to wide appeal.

Prior to the title track the two singles start the EP off, thereโ€™s a trudging guitar riffin Used to Being Used, a blueprint of indie-pop with its theme of dejected ardour, yet itโ€™s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude. But I think they left the best to last.

Plasticine is a beautiful song, taking an arbitrary metaphor like a heart of plasticine, itโ€™s a tune of hope. In a nutshell it wraps up the direction of the EP, flowing and uniformed, subtle but uncommercial. Yeah, itโ€™s a nice debut from we young band we look forward to hearing more of.


Americana maverick Jim White returns with Misfitโ€™s Jubilee

Going in blind, crucify me if you will, but Iโ€™m unfamiliar with Americana maverick Jim White. Additionally, Iโ€™m streamlining due to the backlog and giving this one listen prior to reviewing. Yet, even if my analysis isnโ€™t as exhaustive as other fervent bloggers, Iโ€™m bloody loving his latest album Misfitโ€™s Jubilee.

Itโ€™s precisely what it says on the tin, a discarded rusty old tin in a desert somewhere. An upbeat roll in a haystack of psychedelic Southern Americana, and a festivity of folk-driven geriatric observation. Yet thereโ€™s his trademark, apparently; dark trippy twist of narrative in the depths. Jim White muses US politics, divided state ethos, and national stereotypes. Subjects range from a dope smuggling teenager to Big Foot, and he does it with the professionalism of quart-century experience, and self-confessed โ€œhole of sickness, depression and poverty.โ€

Multiple-instrumentalist, singer-songwriter, Jim, works this personal arse-whipping outing with only the tangibly cohesive musicianship of his long-time drummer Marlon Patton, trusted Belgian sidemen Geert Hellings on guitar and banjo, and Nicolas Rombouts on keys. Recorded primarily at Studio Caporal in Antwerp, it features new songs, plus some older-penned ones, only now surfaced. Put out on Loose Records, it’s out now. To me itโ€™s all new, but Iโ€™m contemplating Neil Young jamming with the Pixies as its mind-blowing cogitates flow over my psyche like waves of a resilient dustbowl.

Ruminations are somewhat curtain-twitching but contemporary, and it hardly ceases its brainy grip on the necks of proletarian American orthodox devotees, but does so with the fashion of a perpetual parade of agitated and cynical characters, but oh, joyfully, and with a heartfelt sonic agenda.

The sound is toe-tappingly memorable, maintains upbeat jovial generation X indie-folk-rock, yet smells of vintage. If some moody piano rings out, as it does with The Sum of What Weโ€™ve Been, a zephyr of buoyant guitar riff repairs it. There were times when I figured itโ€™d mellowed, like Mystery of You, but it was just building the track. And for that, it rocks!

Through ever-thickening material, straggly kitsch metaphors and uncensored outpourings, itโ€™s perhaps the twanging guitars juxtaposed with samples from authentic US police chases which makes my reasoning for citing the tune, Highway of Lost Hats as the peak of Misfitโ€™s Jubilee. Thereโ€™s rib-tickling Hollywood narrative, adroitly directed at the carefree insolence in defence of US counter culture of yore. Herein is its niche, a bombast of the direction his nation heads, and comparison of what it could be. It is Born in the USA times a billion, itโ€™s Guthrie partnering with Lou Reed, for a new era.

The finale defines this, an earnest and heartfelt speech, reflecting on quotes from George Washington, poet Emma Lazarus and even Jesus, but after the contemplative, it slides into a fading McDonalds order. Such a nimbly placed, sombre scrutiny, is the conclusion of the Divided States of America, as itdumps you in cold silence gasping for air.

Iโ€™m going to have to dive deeper into this impressive torrent of melodic genius, as I figure itโ€™ll be some time before I fully unpick it, and its gist is sussed; thatโ€™s when you get the notion, itโ€™s value for your hard-earned pennies.


Cold Water; New Single from Lottie J

Wasn’t it in my review of Talk in Code’s latest single where I waffled on the subject of my passenger seat DJ on trips to her football, and thinking about it, every time she gets in the car even if we’re only going half mile up the road?

Matter of factually then, my daughter ensures I’m as up-to-date with pop, as far as a middle-aged pop can be. So it may surprise you to note this rocking grandad knows his Dua Lipa from his Doja Cat, just about, and I know the “peng” sound of now, and Lottie J’s single is bang on the mark.

Though, I’ll probs get dissed by da yoot for my hopeless attempts to align with the trends in lingo, and peng is probably, like ancient history; soooooo last decade. But everything about Cold Water rings contemporary pop hit to me.

Lottie has come some way from teen singing her own heartfelt compositions at a piano on the local circuit, and the days when Jamie Cullum encouraged her upon visiting her school to donate his old piano.

If she has stars in her eyes, they’re directed and affirmed in a business acumen which knows exactly how to point them in the right direction; Cold Water confirms this. It is fresh, it is the pop sound of now, and assures me, through the chosen path of self-promotion in an era which allows it through streaming sites, Simon Cowell is not necessary. I predict we will be hearing more from Lottie J, bigger and better each time, and with her sublime voice and beauty abound, she is the pop star in the making.

It’s cool, emotionally prevoking, it’s pop-tastic beats and has all the ingredients of a contemporary r&b come dance hit. All it takes is word of mouth and online sharing. I usually run anything modern past my daughter, who mostly scoffs at my attempts to influence her musical taste, but on the position of Lottie J we mutually appreciate her talent. And that’s good, innit, I mean she could be my excuse for attending Radio 1’s Party in the Park. Post Malone, we’re on our way!

No, he’s an American rapper, no, he hasn’t got a black and white cat; get with the program!

Streaming Link

Island Bop with Shuffle & Bang

San Diego, California, 2018, King Pops Horn and son, Korey Kingston began on a musical partnership, merging Koreyโ€™s deep vested love for dub and reggae with his fatherโ€™s tenure as a decorated traditional jazz singer.

Gathering a gang of musicians with resumes including savvy veterans from The Aggrolites, Rhythm Doctors, Suedehead, Brian Setzer Orchestra, The Original Wailers, Stevie Wonder and a pianist who plays organ for the San Diego Padres baseball team, they formed Shuffle & Bang.

Over multiple recording sessions taking two years, this unique musical journey culminated in an accomplished album, Island Bop. Pirates Press Records, partnered with the bandโ€™s own Jetsetter Records are ready to deliver this gem to the world on 6th November; everything about it suggests itโ€™s right up my street and banging loudly on my door.

And it is, and it is loud. Dressed as a classic Blue Note jazz album, with indistinct band-in-action photo and simple capitalised font running down the left side, it comes exceptionally close to capturing the elegance of an era of definitive jazz and soul. Yet it drifts wildly between genres, a surprise to know whatโ€™s coming next in many ways, but often, perhaps, constituting a Jack-of-all-trades.

I mean this in the nicest way possible, to hit the benchmarks of such legendary epochs, to come close to all the variety of influences represented here in one shebang, from Blue Note to Stax and Studio One, is quite near impossible. You got to hand it to them for trying. For all it is worth, it is accomplished, highly polished and grand. Itโ€™s exceedingly entertaining and highly danceable, to boot! Just donโ€™t let the cover art allow to run off with the idea youโ€™ve stumbled upon a new Marvin Gayeโ€™s Whatโ€™s Going on.

At all times, no matter what subgenre itโ€™s mimicking, itโ€™s brash but not slapdash, flamboyant and proud. Thereโ€™s minimal subtly of soul, delicately tight riffs of ska, and to cast it overall is to say it is akin to big band, as itโ€™s in your face and wonโ€™t let you escape, even if you wanted to, which, you probably wouldnโ€™t. Big Band does jump blues, ska, soul, and even by the end, dub reggae.

Yep, you heard it right; it ticks all the boxes. The opening song is a deep acapella with a booming Teddy Pendergrass fashioned soul voice, whereas the second sets the running theme as this big band panache. Taking the jazz end of a classic ska sound, the third tune dragged me onto the dancefloor, or my kitchen lino to be more precise; yep, Iโ€™m reviewing while washing the dishes again!

Switching back to Cab Calloway big band groove for a fifth song, it is perhaps the next which is most interesting to date, Naima maintains a big band style but serves it with a rock steady riff. Quickly as it does it, it shifts again, onto a shuffle rhythm with some killer horns, more Louis Jordan than T-Bone Walker.

Within the thirteen strong songs, the whole album is showy and that makes it rather magnificently inimitable, and because of this running big band ethos incorporating all the various styles, at no time does it jerk into an alternative genre, shudder the goalposts, rather surprisingly, they flow all rather splendidly.

It gets unpremeditated and rides the Ratpack train, with beguiling vocal gorgeousness, When I Take My Sugar to Tea, particularly, or a take of traditional ska like the Skatalites, but the next tune might again return to up-tempo swing. Given our Louis Jordan reference, the only recognisable cover is his Tympany Fiveโ€™s Let the Good Times Roll, at least you think it is, until the end song.

If you figured this cover might act as a grand finale, prepare, because after a drum and cymbal interlude, the groove suddenly and without warning dubs. Yep, true dat; with a deep rolling bass and reverbs akin to King Tubby, and perhaps melodica to impersonate Augustus Pablo, we are treated to a divine dub of the Gorillazโ€™s Clint Eastwood. Although theyโ€™re calling it Drum Song.

The culmination forces you to hardly recognise the style at the beginning of the album, and to return to it might make you think, no, I want to go listen to some Sly & Robbie now instead. However, Island Bop will rest accustomed in a jazz, blues, soul or reggae record collection, and you will return to its gorgeous portrayals. For all its swapping and merging, yes, Island Bop is hard to pin down, but for eclectic jazz and soul fans, its refreshingly experimental and a damn good groove!


Gigs Continue at the Southgate with a Bonza Line-up for November

Remember around this time of year, how the UKโ€™s terrestrial television stations would wind down quality of their schedules in order to accrual a superior agenda for Christmas? Well, the near-only dependable live music venue in Devizes we have left is showing no sign of copying the idea. Abiding by restrictions and regulations, Dave and Deborah at The Southgate Inn on Potterne Road continue to bring us the very best of local music, and show no sign of letting up for November.

Maintaining Wednesdayโ€™s consistent Acoustic Jam evenings, and on top of regular Fridayโ€™s Ukelele Group, thereโ€™s something for all tastes during the lead up to the big C. Letโ€™s run through them, but remember most gigs are early, from 4-6 or 7pm, and to adhere to the social distancing rules, and respect others at all times. Booking a table is recommended, particularly for the more popular gigs, and boy, thereโ€™s plenty of them upcoming. Call them on 01380 722872 or send them a Facebook message to let them know youโ€™re coming!

This Saturday, 31st, we see the return of Swindonโ€™s Navajo Dogs. Theyโ€™ve not played since lockdown, and say they canโ€™t wait to blow the cobwebs off, with their own-brand of punky, blues-rock, and as they say, โ€œsome face melting guitar solos!โ€

On Sunday, the local family band Skedaddle are in the house, with their popular singalong covers.

Next Sunday, the 8th November, is bound to be awesome as what The Southgate brand their house band pay a visit for some unforgettable funky blues. Local legend Jon Amor, Jerry Soffe, Tom Gilkes and Evan Newman make up King Street Turnaround

Saturday 14th and itโ€™s time for Mirko and Bran, aka, The Celtic Roots Collective. The wonderful duo you should all know by now for their blend of Irish and Celtic folk and rock.

The Sunday, 15th, sees Bristol-based regular original folk, soul and bluesman, Lewis Clark, who appears solo rather than with his full band, The Essentials, focusing on new original material written during lockdown.

Saturday 21st has the combination of Mantonโ€™s own Ed Witcomb, of the aforementioned Skedaddle, & Marlboroughโ€™s talented Nick Beere, promising magical mellow blues, catchy guitar riffs, and a combination of chilled acoustic covers and original material.

More blues on the Sunday 22nd, and why not? Bare blues with rural roots, delivered via slide guitar, harp and stomp-box with energy and passion. The Gate welcome back Trevor Babajack Steger.

Saturday 28th Iโ€™ve defo bookmarked, when Swindonโ€™s two-tone ska darlings, The Skandals skank the Gate. Since the split with frontman Mark Colton, the lively band welcome back their original lead, ex-Skanxter Carl Humphries. Playing as selection of two-tone ska covers, is always welcome.

The Southgate are keen to point out at this stage, gigs do depend on changing covid regulations and should things alter, larger and louder bands might have to sadly be cancelled. Fingers crossed, as Bite the Hand are due to arrive on the last Sunday of November, the 29th. Like many, itโ€™ll be these crazy metal-headsโ€™ first gig since lockdown. Bite The Hand perform fast and furious punk and metal, self-penned reasoning is โ€œto try and offer audiences something less vanilla. Itโ€™s the kick in the teeth youโ€™ve always wanted, the dirty habit you just gotta have.โ€

Personally, as well as wishing Dave a happy belated birthday for yesterday, I just wanted to thank them and their team for continuing to work through this period safely and provide Devizes with such a great line-up of free entertainment from their hospitable and welcoming, best pub in Wiltshire!