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.


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

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

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…..

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

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

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…

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


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….


  • 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 stiff drink to do such, our beloved Somerset soul singer says she’s swapping ice-cold cocktails for ice-cold baths. There must be warmer ways to promote a January single?!

    Sober is that apt single, out now, seriously catchy. With the deep vocal range of Nina Simone, this one takes a retro soul style. Not quite a Chiffons level of doo-wop, but more Mary Wells or Betty Everett, in that sultry playful tone of the early Motown sound, with the ability to convey a twist between vulnerability and strength; she’s sober, so taking her chances to proposition a potential lover, presumably without the slurred words of intoxicated passion!

    You might have to do your own handclaps, but there’s that rhythmic tambourine, breathing authenticity into this little charmer.ย 

    Here’s a linktree to have a listen; do yourself a favour a take the plunge.

    She asked her fans if they’ve ever โ€œbraved an ice-cold shower, swim or plunge?โ€ And describes it as a โ€œtotal game changer for boosting well-being. I may have screamed fuck as I got in and out ones I had today, but only a few times!โ€ย 

    Can I not just listen to this wonderful tune cuddling a hot water bottle, please, Lady?!


  • 2025 on Devizine; Review of the Year; Part 1, Jan-June

    If past years seem to be racing by me on roller-skates, now theyโ€™re in Formula 1 cars! 2025, in a word, was โ€œaverage,โ€ though the Devizine annual stats fell for a second year, at 6% lower than 2024; you lot still here?!

    Iโ€™m not concerned about that, you filthy traitors; youโ€™ve been digesting the clickbait of that Gazelle & Herod again, havenโ€™t you?!! Ah, truth is I have been staying home, hibernating a lot like a lightweight couch potato; probably an age thing, most likely a financial thing too; weโ€™ve got hyperinflation to make Robert Mugabe envious. But we keep a stiff upper lip as the world plummets into chaos, our little corner of it remains a pretty nice place to live (if a bit Tory,) where you can block pavements with hoarding or nick a cardboard sheep from a church and get away with it. None of which we are here to highlight, we focus on the best bits, and slag off the worst with a sprinkling of satire; if you donโ€™t like it, you know where to go!

    Hits took a hit because I bit my tongue on many local political or social issues this year, to concentrate more on arts and entertainment, but folk love a good shit stir rather than being told about some talented locals doing good. Plus, Iโ€™m sick to the back teeth with any dependence on Facebook shares, itโ€™s become a toxic playground for so-called adults and AI bots pretending to be human to boost propaganda. I think Iโ€™m going to be one of those smiling insanely old men, content to feed the ducks in the park, rather than ranting at anyone younger than me within range, but Iโ€™ve the right to change my mind on this!ย 

    They also took a hit because Iโ€™ve been actively engaged in two fantastic major events, RowdeFest and The Wiltshire Music Awards. The latter in particular used up much of my time, but hey, I think they were worth it. The Awards really brought together a wealth of people involved in the Wiltshire music scene, caused me to wear a suit, and we hope to build on this with future years.

    The other contributing factor to the downfall of hits to the website might have been me writing a new book, something I rarely get the time for, but was certain I wanted it published by Christmas. I made that deadline and Murder at the Scribbling Horse is officially out; you read it yet? No, didn’t think so!

    But lots more happened in 2025, and those we featured are briefed below; we couldโ€™ve done more but I think we put out a lot of content; you have to give me some time to play pointless block puzzle games on my phone. Thank you to all our contributors, Ian, Andy, Lois and the few guest writers who have submitted this year. We always need more writers to make this as comprehensive as possible; it is about as flexible as it can possibly be, you can be a fruitcake, we donโ€™t mind, so do get in touch if you can help.

    Please continue to support us, we thank you all for your dedication to Devizine; hereโ€™s to 2026; try best to avoid the fascist division, millionaires triggered by being disallowed to rip wild animals to death, the US or Russian bombs heading our way, the complete disregard for funding environmental projects while they spend billions fighting for the last scraps of oil, any world leader kidnapping, painting roundabouts, and the usage of anti-terror laws to arrest pensioners peacefully campaigning against genocide.

    Just follow us instead, enjoying a pint in a pub and listening to live music, played by real people, focus on youth projects rather than fables of hooliganism, focus on talented individuals doing good rather than bitter clickbait and national headlines, and be here, in the warm and truth, with Devizine; we tell it like it is, and donโ€™t purvey bullshit!ย ย ย ย ย ย ย ย ย ย ย ย ย ย 


    January

    Just as this year starts with a review of the last, so did 2025, but not before I took a visit to the Swindon Story Shed. Forestry England invited dog walkers to Nightingale Wood, apparently to celebrate Walk Your Dog Month; surely every month is walk your dog month?! The second feature film for director Keith Wilhelm Kopp and writer Laurence Guy, First Christmas entered development. We covered how My Dadโ€™s Bigger Than Your Dad Festival raised ยฃ11,500 for Prospect Hospice, and thereโ€™s moreโ€ฆ.ย 

    Jamsters began at Devizes Southgate, an initiative to provide a Friday night platform for loose groupings and associations created at their regular jam sessions each Wednesday. We announced The Beat were to headline Devizes Scooter Rally, that Nick Hodgson formerly of the Kaiser Chiefsโ€™ new band, Everyone Says Hi had an instore at Marlboroughโ€™s Sound Knowledge, and we unfortunately said goodbye to the now disbanded People Like Us; sorely missed.

    The original line up of People Like Us

    We had new singles from Nothing Rhymes With Orange, a new album from Illingworth, and fuller sessions from Kaya Street. Andy reviewed the first Devizes International Blues Festival, Ian covered Jerusalem at the Mission Theatre, and Veronicaโ€™s Room at The Wharf Theatre.

    We previewed OakFest at the Royal Oak in Pewsey, La Belle Hรฉlรจne, White Horse Operaโ€™s Debut at The Wharf Theatre, Devizes Musical Theatreโ€™s Beauty & The Beast, Henge at The Cheese & Grain, and Bradford-on-Avon Green Man Festival which unfortunately this year is in jeopardy, and we welcomed Caffe Vialottie to Devizes, our most popular article of the year.


    Februaryย 

    It may be topical now, but weโ€™ve always been supporting the hunting ban, and in February reported how Beaufort Hunters attacked Wiltshire Hunt Sabsโ€™ drone. We sadly confirmed Devizes Street Festival was cancelled for the second year in a row, and The Emporium in Devizes was to close, but Devizes would get a new youth centre.

    Previews included, Marlborough School of Languagesโ€™ Summer Fiesta, Jazz Sabbath at the Corn Exchange. We announced The Brand New Heavies were to headline Minety, tickets for DOCAโ€™s Winter Ales were running out, and that I was to organise the music for Rowdefest in May, probably my favourite memory of 2025.

    We featured Melkshamโ€™s teen band Between the Lines, reviewed JP Oldfieldโ€™s debut EP Bouffon, Jamie Hawkinsโ€™ short film Teeth, and new singles from I See Orange and Sam Bishop. Swinterfest broke me out of my hibernation, and I also got out to see the fantastic Static Moves at the Three Crowns, plus Cephidโ€™s Sparks in the Darkness at The Rondo, which was mindblowing!


    March

    We announced that Devizes auctioneers Henry Aldridge & Son were relocating to the Old Emporium, Soupchick was to take over The Hillworth Park Cafe, that after the fire in Northgate Street Devizes Kebab Van successfully relocated to Follyย  Road, that Devizes was to have a new festival, Park Farm Festival, and of course the very first Wiltshire Music Awards.

    We featured the Belladonna Treatment, had a wonderful local reflection on the Trump & Zelenskiy meeting from a Ukrainian living in Wiltshire, and it was one of my all-time favourite interviews with eighties legend Owen Paul ahead of a Devizes gig.

    We reviewed The Killer & The Catalyst, Devizes author Dave McKennaโ€™s novelette, Geckoโ€™s new album, and singles by Chloe Hepburn and George Wilding.ย 

    Previewed Devizes Arts Festival, Exchange Comedy in Devizes, Swindon Palestine Solidarityโ€™s Charity Iftar, CUDSโ€™ Devizes Town Litter Pick for GB Spring Clean, and Hells Bells AC/DC tribute coming to Devizes! We listed the results of Salisbury Music Awards.

    I managed to make it out to see The Devilโ€™s Doorbell and JP Oldfield at the Cellar Bar, Ruby Darbyshire at the Southgate, and Cracked Machine with Tom Harris in support, too. Ian gave us Blood Brothers at The Mission Theatre and Flatpack at The Rondo, and Pip Aldridge reviewed our Fulltone Orchestra at Tewkesbury Abbey.

    I ranted on the state of the roads, and for fun ran a Take Our Wiltshire Pothole or Moon Crater Quiz Challenge!!


    April

    Ah, All Fools Day, a golden opportunity for us, in which last year we told the fib that funk godfather George Clinton was exiled to the Wiltshire village of Urchfont, created funk music there and it was covered up by their parish council! You might assume it was hardly viable, but some fell for it, and messaged in their outraged reports of โ€œfake news!โ€ย 

    We looked into DOCAโ€™s new youth initiative Yea Devizes, and while we published our usual extensive list of Easter holiday activities, we also previewed DOCAโ€™s Junk Street drumming workshop.

    I visited The Hillworth Park Cafe, where Soupchick took over, hailed Devizes DJ Greg Spencer, the creator of Palooza house nights, who made the prestigious bill of Fatboy Slimโ€™s All Back to Minehead festival, and reviewed the now sadly defunct No Alarms No Devizes playing at the Three Crowns. Discovered Fran Daisy at Swindonโ€™s Plough, and Henge at the Cheese & Grain was a high contender for my gig of the year; out of this world!

    We had a guest review from Melissa Loveday on Devizes Music Academyโ€™s Something About Jamie, which though Iโ€™m sorry to have missed, I did catch them playing it out at FullTone Festival in the summer. I did attend Devizes Musical Theatreโ€™s Beauty & the Beast at Dauntseyโ€™s School and the opening of Un/Common People, Folk Culture in Wessex, a fascinating exhibition at Wiltshire Museum.

    Everybody’s Talking About Jamie

    Reviewed Hannah Rose Plattโ€™s album Fragile Creatures, probably the best album we covered last year. The website for Wiltshire Music Awards went live and people held on to cast their votes in May.ย 

    We exposed Reform candidate Calne Violette Simpson for her Facebook profile picture showing her hunting antelope in South Africa, and Devizes South Conservative candidate Sarah Batchelor, who committed election fraud, up and left with her tail between her legs and almost running Bishops Canningโ€™s Crown into the ground. Thankfully it seems the new owners are turning it around and recreating the village hub it once was.ย 


    May

    I was honoured and delighted to organise the music for our village fete, which has in the last few years been run by a lovely independent committee, safe from a questionable parish council. It was a wonderful sunny day and the highlight of my year. I called in some favours and presented an amazing lineup for a free fete, featuring, in order of appearance, The Jubilee Morris Dancers, Andrew Hurst who brought bassist Lucianne Worthy with him, Talk in Code, The Sarah C Ryan Band, Thieves, and Burn The Midnight Oil. Being it was the last day of the month, I didnโ€™t write about it until June.

    I paid a Sunday afternoon visit to Devizes amazing record shop Vinyl Realm, when Deadlight Dance were attacked by wasps and still managed an amazing unplugged acoustic set. Ben Niamor reviewed Jake Martin at Swindonโ€™s Castle with SOP, and Ian gave us his views on Sweeney Todd at St. Augustineโ€™s Catholic College in Trowbridge, and the Diary of Anne Frank at The Wharf Theatre in Devizes, which was so good I had to go myself. Lois covered newcomers Kingston Mediaโ€™s Bands at the Bridge in Horton.

    I previewed the Bradford-on-Avon Live Music Festival, despite it clashing with our Rowdefest! Also, Ruby Darbyshire who performed at Silverwood Schoolโ€™s open evening. Andy provided a preview of Chippenham Folk Festival, and Lois provided us with previews of Australian Folk singer Ernest Aines at Swindonโ€™s Deanery Theatre and David Olusoga at the Cheese & Grain.

    Announced the opening of voting for Wiltshire Music Awards, that Devizes-based The Big Sound Choir was to perform with Aled Jones at St Georgeโ€™s in Bristol, and that Bird is The Word were taking over music organisation at Bradford-on-Avonโ€™s Boathouse.

    We featured how Lucas Hardy was collaborating with Rosie Jay, and Fromeโ€™s James Hollingsworth, who was bringing his solo recreation of Pink Floydโ€™s Wish You Were Here album to the Devizes Southgate and elsewhere, and reviewed his album with Griffiths, Lost in the Winds of Time.ย ย ย 

    I reviewed Clock Radioโ€™s album Turfing out the Maniacs, Ruzz Guitarโ€™s Between Two Worlds album, Playing Solitaire; Phil Cooperโ€™s first solo album for five years, Thievesโ€™ debut EP, a new single from George Wilding, and one from Auralcandy featuring vocals from Sienna Wileman. A feature of a Melksham marketing expert launching AI training courses was met with controversy, yeah, I get that!


    June

    If we were all busy with the Devizes Arts Festival, we were previwing summer events like a new festival for Devizes, Park Farm, clashing with an amazing day at the Three Crowns for an air ambulance fundraiser, and I finalyy got over my hangover and ego, and gave coverage of Rowdefest; highlight of my year!ย 

    Andy reviewed White Horse Operaโ€™s Cosi Fan Tutte and The Lost Trades at the Piggybank, Ian did The Mikado at the Mission, The Taming of the Shrew at the Rondo, and of course we all did our bit for the Devizes Arts Festival. Andy also covered an extensive weekend when The Lions were on the Green in Devizes, we had Crammer Watch Day too, and Devizes Arts Festival did a fringe gig at the British Lion; summer lovinโ€™. The highlight of this had to be Whereโ€™s the Cat, the Wharf Theatreโ€™s writing groupโ€™s hilarious reenactment of the Moonrakers fable at the Crammer, which I felt obliged to cover too.ย 

    Eddie and I were guests on Peggy-Sueโ€™s Donโ€™t Stop the Music show on Swindon 105.5, chatting about the awards. We met Henry the chocolate duck raising funds for cystic fibrosis at HollyChocs, previewed Supergrass headlining Frome Festival, a genderqueered Shakespearean performance at Bathโ€™s Rondo, and Swindon Palestine Solidarity events. Lois did Idles at Bristolโ€™s Block Party.ย 

    I reviewed The Hotcakes of Wildfireโ€™s album Shoes & Acid, ranted on vocal minorities triggered by events of cultural diversity, and did a No Surprises column promising to return the feature, but promises are made to be broken! Thereโ€™s simply too much to whinge about, and for my health, I need to see the glass half-full.

    Bands at The Bridge

    Thatโ€™s all for now, folks. Do not fear, itโ€™s still summer in our minds, and weโ€™ll kick off in July for the second part. I know, our goldfish attention spans cannot take in a whole year in one article, what with so much brilliant stuff which happened over the year, so come back when Iโ€™ve officially emptied the Quality Street tin and completed the last half of this review of 2025; but I must say, I think the first half was better!!


  • Awesome! Talk in Code Immortalised as Lego Minifigures!


    Ah, let’s talk about Talk in Code one more time this year, because we’re secret Talkers here, and everything has been awesome this year for them, but now they’re being immortalised as Lego minifigures!

    Surely, the piece of resistance of local merch, it doesn’t get better than this! Lego minifigures have become something of a collectors item over the years, and the finest local indie popsters have a Lego inspired fan reward scheme they’re calling TICBRIX; genuine awesomeness!

    Now open, all you’ve got to do is attend their gigs, which is a pleasure in itself, collect stamps on a loyalty card, and collect the band figures. Pick up the cards at the merch desk at any show, get it stamped, and after every two Talk in Code shows, you can claim your FREE minifigure and badge from the merch desk.

    With four members in the band, it’s going to take you eight shows to complete your collection, but thatโ€™s not all. At the halfway point, youโ€™ll be eligible for a bespoke, Lego stage set for them to all play on, complete with a bass guitar, extra guitar, drumsticks and even a Sneddsโ€™ luxury beard upgrade!

    Personally, I feel inclined to hotfoot it up the loft to find my bricks and build a spaceship for them to gig on because they’re out of this world! Spaceship!!!!

    Some early 2026 performances from the guys include 17th Jan at The Kings Arms in Amesbury and also at Devizes Winter of Festive Ales at The Corn Exchange on 28th February. On the 28th of March, there’s a Talkers Show by personal invite only at The Hop in Swindon. Join the Talkers WhatsApp group to get in on that and be in the know of other gigs by texting โ€˜add meโ€™ with your first name to 07725 138077. All welcome unless you’re from the planet Duplo!


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound Part 3

    Oramics and its Place in the Progression of Electronic Music

    In 1997 I was a 24 year-old factory worker, keen to learn all tasks on the production line to work my way up, but suddenly the run of the ladder was pulled too high for me to reach. Shift managers who had were axed, were replaced by โ€œteam leaders,โ€ that of precisely the same duties and responsibilities, though you needed a diploma to apply.

    The government tried to thwart my only other life objective three years past, to party; they had failed. I worked in the factory now for one reason, to fund this escapism. Once free, the Criminal Justice Bill ensured someone profited from our jollity, as rave culture was pushed into nightclubs and legal paid events.

    If The Prodigy were right, this was music for the jilted generation, perhaps so too ย was Luigi Russolo in his 1913 futurist manifesto L’arte dei Rumori (The Art of Noises,) ย when he argued that the ear would become accustomed to a new sonic palette of industrial soundscapes, and musicians would require a new approach to instrumentation and composition. Though Iโ€™d not have contemplated the noises of the factory manipulating my music perceptions at the time, I was aware of how Kraftwerk were influenced by the sounds of traffic for Autobahn.

    Neither would I have given much thought to the development of electronic music; my time with analogue pop of punk and Two-Tone was short-lived. Through new wave post-punk and electronica to American hip hop and electro, and the rebellion from the hit factories exploiting it; rave culture, I had grown up withย  electronics as a staple to music and knew no different.

    Pre-internet research on the subject wouldโ€™ve been a needle in a haystack, even if Iโ€™d the motivation to study it.ย  In my naivety I assumed one thing, that Kraftwerk created ย electronic music, because Iโ€™d seen a clip of them on the BBC program Tomorrow’s World. Though the show made no claim to this, I was only two on the 25th September 1975, when it originally aired.

    Ralf Hรผtter and Florian Schneiderโ€™s Kraftwerk were certainly pioneers who popularised the krautrock genre worldwide. The industrial links between ย Dusseldorf and Detroit and creative ones between Berlin and New Yorkย  were influences reflected, which turned the cogs of hip hop and house. And now, here I was, in a meadow near Luton, at Universeโ€™s Tribal Gathering, where I figured weโ€™d come full circle.

    Kraftwerk played their one and only festival, it was monumental. The once monocultured rave phenomenon had divided into copious subgenres, Universe were the first to fully embrace this with a tent dedicated to each division. Yet from each tent masses united at the main stage, some DJs refusing to play their set because theyโ€™d miss this performance. Reflecting back on it now, I cannot deny it was something to behold, but Iโ€™ve since discovered they wasnโ€™t the complete roots to electronic music I assumed they were. Its complex international evolution includes too many names to mention, but this fascinating insight has been encouraged by my study into one important innovator largely uncredited, born here in Devizes, Daphne Oram.

    We outlined her work briefly in the introduction to this series of articles, and with help from Daphneโ€™s niece, Carolyn Scales, we delved into her upbringing in Devizes, and how influences in engineering meshed with her love of music. Now we need to fit her role into this vast evolution of electronic music, by looking at Oramics, discovering how that influenced the progression, and why it is not as well documented and I believe it should be. ย 

    Once Daphne left the BBC Radiophonic Workshop in 1959, she coined the term Oramics, a name for her studio in Tower Folly, a converted oast house at Fairseat in Kent, her technique for creating graphical sound, and the Oramics Machine which spawned from it. ย 

    Carolyn described The Oramics Machine as, โ€œan early synthesiser,โ€ but as with Russian engineer Evgeny Murzin who created photoelectronic instrument the ANS synthesizer, historical records rarely reference them. ย The first commercial synthesizer is credited to American engineer Robert Moog a few years later in 1964. Precursors to Moog ย mentions Harald Bode who laid the groundwork for separate sound-modifying modules used in the Moog design, the Hammond Organ Companyโ€™s Novachord in the late 1930s, Canadian engineer Hugh Le Caineโ€™s Electronic Sackbut, Herbert Belar and Harry Olsonโ€™s RCA Mark I and II Sound Synthesizers, and some cite Thaddeus Cahillโ€™s Telharmonium, an electromechanical sound generator from 1897, which weighed in over two-hundred tons.

    The original Oramics Machine was the size of an office photocopier, so was also too cumbersome for the average musician. By its definition, itโ€™s a synthesiser but worked differently; the composer/musician drew onto a set of 35mm film strips which ran past a series of photo-electric cells, generating electrical signals to control amplitude, timbre, frequency and duration.

    The reason for the omission, Carolyn suggested, was because The Oramics Machine was lost after her passing. โ€œDr Mick Griersonโ€™s team tracked it down to France in 2008. Working with the Science Museum. Griersonโ€™s study provided the first full contextualisation of the machine, an assessment of its historical importance, and a detailed description of its workings. The machine became a central part of the Science Museum exhibition Oramics to Electronica, originally planned to run for six months in 2011. The showโ€™s press and public uptake saw it extended a further four years.โ€

    Perhaps inspired by Moogโ€™s development of the Minimoog, Daphne worked on a Mini-Oramics, but never completed a prototype. Goldsmiths’ PhD student Tom Richards, who pored over the unfinished project and built it over forty years later, suggested โ€œthere were a lot of reasons why she didnโ€™t launch Mini-Oramics. She was working on her own, and wasnโ€™t affiliated to a large organisation or university.ย  She had ups and downs in her life, and at the time she was working on Mini-Oramics, she also worried that her approach to musical research was out of fashion when compared to chance-based and computerised techniques. She was unable to secure the further funding she needed and she eventually moved on to other research.โ€

    If funding and the ferocity of music technologyโ€™s progression at this time surpassed Daphne, both her music and written works were visionary. If you thought Pete Tongโ€™s Heritage Orchestra was pushing new boundaries in 2004, Carolyn noted, โ€œin 1948, Daphne created a piece for double orchestra, turntable and live electronics called Still Point, long thought of as the earliest composition to include real-time electronic transformation of instrumental sounds.โ€ Again, Still Point was never performed and was considered lost. โ€œDr James Bulley found fragments in the Oram archive,โ€ she continued, โ€œand working collaboratively with Dr Shiva Feshareki, began a reconstruction, later finding the full score in the belongings of composer Hugh Davies.โ€

    โ€œA performance was commissioned by BBC Proms and performed by turntablist Shiva Feshareki, Bulley, and the London Contemporary Orchestra in 2018 at the Royal Albert Hall, reaching a substantial audience live and via BBC Radio 3,โ€ Carolyn explained. โ€œThe reaction was one of awe, with the piece described as โ€œthrillingโ€. Critical responses suggested that this realisation of Oramโ€™s previously untested ideas represented a challenge to electronic musicโ€™s received history.โ€

    The more I research the more I find examples suggesting Daphneโ€™s work was so avant-garde, abstract or insistent on anthropological creativity against trending dehumanised mathematical methods, she was set apart from the contemporary canon of self-generating computer music, positioning her work in a kind of unique scientific-spiritual space, combining technical rigor with a romantic model of artistic expression. This would frustrate her, when projects were either underfunded or too radical for others to follow, and they were consequently lost in time.

    In 1971 she authored a book titled An Individual Note of Music, Sound and Electronics, wherein lies a quote often cited in discussions about music technology: โ€œWe will be entering a strange world where composers will be mingling with capacitors, computers will be controlling crotchets and, maybe, memory, music and magnetism will lead us towards metaphysics.โ€

    Daphne visiting her parents in Devizes

    It was also her dedication toย  authorial control, while cybernetic-influenced composers embraced self-generating systems with indeterminacy, which caused Oram’s approach to differ from the era’s prevailing trends, despite this cybernetic orientation. Exemplifying the generosity of her father, James, Mayor of Devizes, Daphne actively supported composersโ€™ rights to royalties while she was a Trustee of The Performing Rights Society in the 1970s.

    Daphne Oram suffered two strokes during the nineties, and passed away in Maidstone on the 5th January 2003. Yet on Daphneโ€™s centenary, where much of the world remains dubious about the ethics of artificial intelligence, we must debate her legacy, for my final part of the series.

    Oh, and if you were wondering, all I saw of Kraftwerk at Tribal Gathering was the fluorescent outlines of their boilersuits!


  • Everything Going on For New Year’s Eve 2025!

    Ah, I hope you’ve all had a great Christmas, now it’s time for New Year’s Eve, and here’s what we’ve found to do. Wishing everyone a happy New Year and all the best for 2026. Don’t forget our event calendar lists much more and everything going on this weekend, into January and beyond!


    Blue Moon Band @ Devizes Conservative Club

    The Unpredictables @ The Hour Glass, Devizes

    NYE Glow Party @ The Pelican, Devizes

    New Years Eve Party with Quiz @ The Pour House, Devizes

    New Year’s Eve Party with Purple Fish @ Seend Community Centre

    New Year’s Eve Fundraising Party @ Bromham Community Hub

    NYE with Cally @ The Bear, Marlborough

    NYE Party @ The Royal Oak, Pewsey

    Spencer Fray NYE @ Evie’s Kitchen, Melksham

    NYE Party with Light up the Funk @ The New Inn, Melksham

    Mark Lewis @ The Rising Sun, Lacock

    Rio Band @ The Consti Club, Chippenham

    Click @ The Peterborough Arms, Chippenham

    UK Calling @ The Lamb, Trowbridge

    NYE Party @ Trowbridge Rugby Club

    NYE Party @ The Dog House Tap Room, Calne

    Be Like Will @ The Hollies, Westbury Leigh

    Bustard @ The White Hart, Atworth

    Rubix Groove @ The Boathouse, Bradford-on-Avon

    NYE Party (ticketed) @ the Bell, Bath

    NYE with The Sitting Ducks @ Prestbury Sports Club, Warminster

    2-TRONIX – 80’s New Year’s Eve Party!! – 31 to 1st@The Vic, Swindon

    New Year’s Eve DJ Night @ The Pulpit, Swindon

    New Years Eve Party @ The Griffin, Frome

    New Year’s Eve: Lucy Loves Liquorย @ Coach and Horses, Salisbury

    ย The Few @ ย Salisbury SnowGlobe

    The Treblemakers @ Qudos, Salisbury

    Lucas Hardy @ The Bell & Crown, Salisbury

    Winni Dub Club New Year’s Eve @ ย Winchester Gate, Salisbury

    ย New Year’s Eve: The P45s @ ย Royal Oak, Salisbury

    ย Dark Resolution – The Return @ย Dark Revolution Brewery and Tap Roomย , Salisbury

    ย The Moonlights @ Alderbury Sports & Social Club, Salisbury

    ย New Year’s Eve with Break Coverย @ ย Bull Hotel, Salisbury


  • 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 trail hunts. As an impartial media outlet, we sayโ€ฆ.let’s laugh at those saddened hunters wallowing in their own self-pity, right through Christmas and beyond!

    Keir Starmer’s cabinet, a far cry from the ideal government, but the best we’ve had after fourteen long years of that Conservative clown school of thieves, occasionally wakes up and realises they’re supposed to be leftwing, and this was one such bizarre occasion where they delivered a popular promise off their manifesto; miracles do happen at Christmas, pass the overpriced Quality Street and celebrate!

    Prepare for a minority of elitists though, the barbaric scum remaining in support of the incongruous pageant, and those too stupid to go against what the leaders of the fascist uprising tell them to think, to really blow off some steam. โ€œWhaaah! We can’t kill innocent animals anymore!!โ€ Cue the tiniest violin.

    Laugh at their flabby flushed faces, angered social media posts, and inane rants, in a pathetic attempt to convince you the government are communists, or even more degrading piffle and pointless propaganda. Starmer did good today. Give him a star sticker. I’m as equally as shocked as them!

    Best advice I could give? Laugh at them! Laugh at them hysterically until they blow a fuse. Though it’s a dubious time to announce the ban, and I dread to think what Boxing Day might bring as they gather with even more anger than usual, that this might be the last showdown. What level of slaughter can we expect to see in this last stance?

    We rely on and thank all the fantastic hunt sabs to see this fight to its triumphant end.

    Bottom line is, if you were the headteacher of a primary school where the children were firing catapults in the playground, so you put all the catapults on a high shelf but the children used fishing nets to get them down, pretending they were using the nets for fishing, you would have to ban the nets too, wouldn’t you? And you’d consider that it was the children’s fault for using the nets to continue firing catapults when they were told not to.

    Therefore, because the Hunting Act allowed hunters to trail hunt, but it’s proven that many used it as a smokescreen to continue hunting foxes, then they’ve no one to blame but themselves. If any of them genuinely followed the trail hunt rules and didn’t use it as a disguise to continue illegally hunting foxes, or took measures to call off the hounds if a fox was to be caught up in the puerile activity, then they should be pointing the finger of blame at those who clearly did abuse the rules.

    But it’s doubtful they will, either in a show of solidarity, or because they’re a type which doesn’t really exist at all. No, they’ll be united in throwing their teddies out of their prams, yelling blame at the government, but really, hunters did this to themselves and deserve everything they get.

    โ€œThe hounds will be homeless,โ€ we’ve heard. Is this a threat to release hounds into the wild?! If you cannot provide the basics and house your dog then you shouldn’t have a dog, and the law should intervene and arrest you for animal cruelty, finally.ย 

    โ€œAll the horses and hounds will have to be shot!โ€ Only aย  bloodthirsty sadist would think this. They were looked after before, why not now? They bred them knowing this was happening, ergo it is their responsibility to ensure their welfare is continued and they are looked after.

    But this is the most bizarre one, literally convicting themselves: โ€œthe fox population will increase!โ€ Hold on a cotton-picking minute. They claimed they were trial hunting, using only a rag with the scent of a fox, so how could it possibly increase the fox population? Unless, oh, proof they lied and were actually illegally killing foxes; who knew?!! Otherwise, there might be a few rags going spare, but that’s about it.

    โ€œJobs will be lost,โ€ is another. Awl, shame. Get a new job, one not connected to barbarism. Nigel Faragรผhrer is already on that case, politicising it for the apparent good of the common man, saying it’s against English tradition, yet last week supported a foreign president’s attempts to bring down the BBC at the expense of the British taxpayers; how patriotic, how concerned for job loses he must be!

    The only benefit of his recent outrages is that the common rightwing thinkers will see it as proof he’s not really in for them, as many I know personally also do not support hunting either; I wish them a Merry Christmas. It’s surely then just a case of relevance; if it doesn’t affect them personally, it seems it rarely makes a priority in their decision-making. It’s not really relevant to me either, personally, but I have this thing called โ€œempathy.โ€ Quick, Reformers, write to Santa while there’s still time, ask him for some compassion and empathy, and join us in protecting our wildlife for future generations to appreciate too.ย 

  • 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 tunes on hold for a moment, because this is a beautiful, epic journeyโ€ฆ.

    M3Gโ€™s seventh release, Rooks, poignantly pulls on the heartstrings when presented by the rise and fall of a romance, rooks often being a slang for cheating someone. It runs into six minutes, and reflecting the heartbreak of the subject, the song rises and falls accordingly. It creates a spellbinding ambience of both hope and worry equally, and is of magical vocal and acoustic guitar composition, with a gentle cajon drum subtly placed.

    Inspired by the likes of Florence Welch and AURORA, Meg was open about her autism in our interview from 2023, and claimed it as the backbone to her creativity. In this, what she creates is completely original, unique, and unequivocally personal. Meg doesnโ€™t just sing, she projects her innermost thoughts and expresses them, angelically. In Rooks, you can literally feel the characterโ€™s heart breaking, causing yours to inevitably go with it.

    The hyphen in the term singer-songwriter has never been so apt with another. Sure, I hear lots of brilliant expressive singers and lots of songwriters who can pen a marvel, but no one merges them so seamlessly and forgoes any fear theyโ€™re exposing too much of their innermost thoughts, dreams or desires. You only need to venture ten seconds into Rooks to observe what I mean, and if Meg constantly strives for improvement, causing me to say this is her best song yet each time, here we go again; this is awe-inspiring, her magnum opus to date.

    Recorded and mixed by Phil Cooper, his genius registers on it, yet still, itโ€™s Just M3G; layering her backing chants over her main vocals like choral had a singular tense, and who even designed the cover. She says working with Phil is โ€œa massive step above my other releases. I am so proud of it.โ€ It is on a next level, Iโ€™m uncertain what she could do to top it, but assured she will, and Iโ€™m certain Rooks will appease her fans and make her find new ones.

    Rooks streams tomorrow, 19th December 2025.

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  • Wiltshire Music Centre Unveils Star-Studded New Season

    Wiltshire Music Centre Unveils Star-Studded New Season with BBC Big Band, Ute Lemper, Sir Willard White and comedians Chris Addison and Alistair McGowan revealing their classical music talents…..

    Wiltshire Music Centre announces new Spring season with some extraordinary listening experiences on offer in the new year. Wiltshire Music Centre is a unique and contemporary 300-seated concert hall in Bradford on Avon.ย  In the heart of rural Wiltshire, the venue’s built an enviable reputation over the years as a professional concert hall of exceptional quality, rooted in community participation and involvement.ย The Centre also provides a permanent home for local orchestras, choirs and music groups, and works extensively with young people locally through a vibrant and varied Creative Learning Programme in Wiltshire and beyond.

    Since first opening in 1997, Wiltshire Music Centre has been a musical hub, bringing the best in live performances to the area as well as providing a home for local orchestras, choirs and music groups. Recently appointed Executive Director, Sarah Robertson and Artistic Director, Daniel Clark have a renewed commitment to creating a space for people to gather and connect through a shared love of music โ€“ a space to celebrate the past, present and future of music-making and to nurture a spirit of musical curiosity.

    Audiences can look forward to an exceptional lineup of artists, including first-ever WMC appearances by leading pianistย Angela Hewittย (30 Jan 2026), opera virtuosoย Sir Willard Whiteย performing with WMC favouritesย The Brodsky Quartetย (20 Mar 2026),ย BBC Big Bandย (17 Apr 2026) showcasing the musical genius of George Gershwin, international cabaret starย Uteย Lemperย (8 Mar 2026), blues legendย Eric Bibbย (27 Mar 2026) touring his new album, and a WMC debut by theย Neil Cowley Trioย (11 Apr 2026) who bring their inventive show inspired by Baroque genius, J.S Bach, to the Centre. ย Meanwhile,ย Jamie Woonย (8 Apr 2026), British R & B and electronica singer/producer returns to the stage after a 10-year break.

    Classical and jazz season highlights includeย โ€œtrumpeter extraordinaireโ€ย (BBC Music Magazine)ย Matilda Lloydย performing with theย Goldmund Quartetย (7 Feb 2026);ย Nikki Iles and Claire Martinโ€™sย new projectย IG4ย (7 Mar 2026); evocative choral works fromย The Gesualdo Sixย (28 Mar 2026); stunning vocals from the Grammy-nominated British vocal ensembleย VOCES8ย (26 Apr 2026); and exciting new jazz sounds from Jazz FM Instrumentalist of the Yearย Mark Kavumaย (28 Mar 2026) and London-based saxophonistย Camilla Georgeย (22 May 2026), whose music blends Afrofuturism, hip-hop, and jazz.

    For blues, folk, and roots fans, thereโ€™s a packed programme of must-see gigs featuring both established and emerging favourites, including the powerful fatherโ€“daughter duoย Martin and Eliza Carthyย (3 Apr 2026), much-loved folk singerย Cara Dillonย (8 May 2026),ย Jon Bodenโ€™sย projectย The Remnant Kingsย (15 May 2026), andย Josienne Clarkeโ€™sย homage to Sandy Denny of Fairport Convention (6 Mar 2026).

    Families can look forward to a musical retelling ofย Benji Daviesโ€™sย childrenโ€™s bookย The Storm Whaleย withย Music in the Roundย (14 Feb 2026), and the film classicย Wallace & Gromit: The Wrong Trousersย on the big screen with live music performed by WMCโ€™s flagshipย West of England Youth Orchestraย (10 Apr 2026).

    The eclectic programming extends beyond the music alone. Former Royal Harpistย Catrin Finchย (15 Mar 2026) comes to the Centre withย Notes to Self, an evening of music and conservation, while master impressionistย Alistair McGowanย (12 Apr 2026) and sharp-witted comedianย Chris Addisonย (14 Feb 2026) bring comedy and music with their respective shows. There will also be a series of monthly screenings with the newly launched Adventurers Film Club, featuringย Becoming Led Zeppelinย (28 Jan 2026),ย Set the Piano Stool on Fireย (25 Feb 2026) โ€” the acclaimed documentary about legendary pianist Alfred Brendel and his protรฉgรฉ Kit Armstrongโ€”and more.

    Introducing the new season, Daniel Clark says โ€œHere youโ€™ll find a wide-ranging series of concerts from some of the most exciting voices of the past, present and future of music. From great legends of music-making to rising stars, weโ€™re committed to bringing the best music we can to our special venue, and hope youโ€™ll find something that will transport, inspire and delight you.โ€

    Highlights:

    Angela Hewitt:ย one of the worldโ€™s greatest living interpreters of Bachโ€™s music and recipient of the City of Leipzig Bach Medal in 2020 will make her WMC debut. (30 Jan 2026)

    Angela Hewitt London 2016

    Chris Addisonโ€™s Incomplete Guide to Chamber Music:ย Chris Addison brings to life the rich, vibrant โ€“ and sometimes bizarre โ€“ history of classical chamber music. A musical journey from baroque courts and European revolutions to todayโ€™s contemporary composers with some of the UKโ€™s finest musicians and Chrisโ€™ brilliant and original facts and insight. (14 Feb 2026)

    Eric Bibb:ย Three-time Grammy nominee and blues legend with a career spanning over five decades tours brand new album,ย One Mississippiย blending blues, folk, soul, and Americana. (27 Mar 2026)

    Ute Lemper: International cabaret star bringsย her showย telling the storyย of Hollywood legend Marlene Dietrich through songs and stories: from the Berlin Cabaret years to her Burt Bacharach collaborations. (8 Mar 2026)

    Lau Noah: Beautiful, innovative and evocative vocal and guitar harmonies from self-taught Catalan composer and songwriter who has supported Chris Thile, Ben Folds and Jacob Collier on tour over the past two years. (3 May 2026)

    Tickets are now on sale:ย wiltshiremusic.org.uk/


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound: Part 2

    Daphneโ€™s Family & Childhood Connection to Devizes

    Celebrations of Daphne Oram have been building in London since the beginning of December, for those in the sphere of electronic music and music technology. On the first Thursday of the month The Barbican held a concert commemorating Daphne’s centenary, where sound and music fair access partner, Nonclassical, in partnership with The Oram Trust and Oram Awards played commissioned reimagined works from various contemporary electronic artists, inspired from tapes in Daphne’s archive. This has been released as the album, Vari/ations: An Ode To Oram.

    London university Goldsmiths acquired Daphneโ€™s archive in 2006, bringing her work into the wider public domain, after decades of relative obscurity. ย In the male dominated realm of electronic music, this has presented a better understanding of Daphne as a visionary in the early development of the genre, and in turn inspired female musicians and producers.

    But our story begins rather differently, in the late nineteen-twenties, at Belle Vue House, Devizes, where a much younger Daphne is caught trying to climb inside the family piano! Daphne’s niece Carolyn Scales explained, โ€œshe was asked โ€˜why are you doing that?โ€™ and Daphne replied, she wanted the piano to make a sound between the notes on the keyboard.โ€

    Daphne with brother John

    Iโ€™m grateful to Carolyn for providing some fascinating background into Daphneโ€™s family and childhood in Devizes, something overlooked by the insurmountable information available regarding her work.

    โ€œAll the siblings enjoyed listening to classical music but only Daphne had the ability to create music,โ€ she told me. โ€œIdaโ€™s sisters often joined her to play trios and quartets at Belle Vue House while James did learn to play the cello but was happy to stand aside for more competent players. In his defence Jamesโ€™s fatherโ€™s diaries only mention one musical instrument at their home, a piano declared by a piano tuner as not worthy of tuning. Maybe we underestimate the strength of our Oram artistic genes.โ€

    Daphne at five months, with mother, Ida, brothers Arthur and John

    Daphne Blake Oram was born on the 31st December 1925, to James Oram (1890-1964) and Ida nee Talbot (1887-1972.) โ€œIda ,โ€ Carolyn explained, โ€œwho at heart seems to have been a natural party goer, was plagued by ill health. Daphne was born in Ivy House Nursing Home not because of a fear of losing Daphne but because of Idaโ€™s problems with her legs. In the first photograph of Daphne she is being held by Ida who is sitting in a wicker bath chair with Arthur and John in front of their new home of Belle Vue House.โ€

    โ€œIda was born in Braintree, Essex into a family of drapers,โ€ ย Carolyn said, โ€œwho soon moved to a shop on Maryport Street, Devizes, opposite the top of The Brittox, which they ran from 1888 until 1914. Unfortunately Idaโ€™s father Alfred died in 1896 leaving her mother Alice nee Blake to run the business.โ€ She continued to describe ย Aliceโ€™s six children helping at the shop, and its failure, though ย Ida was in charge of the millinery department, and how later there was a room in Belle Vue House devoted to her hats. Carolyn told of Idaโ€™s painting ย hobby, in watercolours, oils and other mediums.

    Talbot family with parents. Ida on swing with her twin

    Daphneโ€™s father, James, was known in Devizes as โ€œJimโ€ or โ€œJimmy.โ€ He was not Irish but proud of his upbringing off the coast of County Mayo, and โ€œnever lost his soft Irish brogue.โ€ His father Arthur Oram was a farmer and land agent in one of the most deprived parts of rural Ireland, hit hard by the famines of the early 1800s, and as such it was a natural breeding ground for agrarian discontent, later producing some prominent members of the IRA. This caused James to be keenly aware of local injustices.

    โ€œIn 1961, when James took us to see where he was born,โ€ Carolyn expressed, โ€œhe told us he was upset that he was not allowed to go to school with his friends. They were Catholic and he was a Protestant and to highlight the differences James and his siblings had to travel to school in Newport by pony and trap, rather than walk to the local school.โ€

    โ€œI feel sure that our father John was correct in saying that if James had stayed in Ireland he would have become a renowned barrister. Unfortunately, just as James left school there was a change in the familyโ€™s fortunes as The Congested Districts Board on behalf of the British Government were, quite rightly buying estates and redistributing the land among farmers living on tenanted, uneconomic smallholdings.โ€

    Therefore, instead of attending university at sixteen James travelled to Devizes, to help his uncle (by marriage,) Alfred Hinxman, the manager of the Devizes branch of a Salisbury coal merchant.ย  James lived in Devizes for the rest his life, managing the coal merchant until his retirement. Overseeing the distribution of coal in the southwest during the Second World War, James was so horrified by the profiteering he didnโ€™t take a penny for his efforts and received a MBE.

    James Oram, Devizes Mayor

    โ€œJames soon became a trusted member of the community,โ€ Carolyn said, โ€œactive in its civic life, as a magistrate and a school governor. This included being Mayor of Devizes during The Abdication and coronation of George VI.โ€

    โ€œJames also successfully became involved in many businesses including The Devizes Brick and Tile Co. Somehow James also found time for his interest in local history and was a member of various local societies. He could have become wealthy but instead gave away his excess income after ensuring that his family lived in a comfortable style. Every Sunday dinner during the depression of the 1930s they would discuss the families that the brickworks supported, carefully working out if they would have the money to feed their children. The discussion would end by choosing someone who was struggling to hire to cut the Belle Vue House lawn during the following week.โ€

    The Devizes Brick and Tile Co. Photograph by HR Edmonds

    Jamesโ€™ generous nature rubbed off on his children.ย  Daphne actively supported composersโ€™ rights to royalties while she was a Trustee of The Performing Rights Society in the 1970s. ย โ€œIn particular,โ€ Carolyn noted, โ€œDaphne helped to set up the PRS Membersโ€™ Fund that continues to support those registered with the PRS and their families when they are in need of financial help. During the 1980s Daphne arranged Christmas hampers for these families.โ€

    Before Daphne was born the family lived in rooms above the coal merchantโ€™s office at 7 High Street, Devizes. James wanted Belle Vue House, empty at the time but out of his price range, until theย  state of dilapidation dropped far enough, which was just as Daphne was being born. The house would have been at the end of Belle Vue Road, now replaced by Waiblingen Way housing estate.ย 

    Retired designer Paul Bryant, who still resides locally told me he grew up close to Belle Vue House, and recalled her returning to the family home and, โ€œthe excitement that was generated when she was awarded grants from the Gulbenkian Foundation.โ€ Paul expressed โ€œit is heartening to see the ancient horse chestnut tree, then at the end of the Oram’s garden, still surviving in Waiblingen Way.โ€ Meanwhile, local musician Peter Easton has written in request for a blue plaque to be erected in Daphneโ€™s honour.

    Daphne, with the grass roller at Belle Vue House, Devizes

    Carolyn explained how the siblingโ€™s engineering abilities can also be traced to the Oram side of the family. โ€œTheir great uncle John had designed machinery to make barrels for Rockefellerโ€™s oil, and their uncle Arthur oversaw many civil engineering projects in the Indus Valley, now in Pakistan.โ€

    โ€œArthur, aged 9 and John, aged 5 were to share a bedroom with an adjoining dressing room that James agreed they would turn into a workshop,โ€ Carolyn said. โ€œThey had already started their own tool kits and Arthur was delighted when James added a foot controlled fret saw.โ€

    In a letter to John dated April 2003, Arthur wrote it would be the 77th anniversary of their move from the High Street to Belle Vue House: โ€œEvery 20th April was the day of an annual fair on the Green, and Hitlerโ€™s birthday. That one in 1926 was a very special wet Tuesday for us. Our mother was taken the half-mile in a big closed Bath Chair drawn by a man holding the long handle in front, because of her illness with a bad knee. She was helped into their old oak bed in the drawing room, on the right of the door towards the fireplace. In that room there was placed, near the door, the old radio that our mother had bought some years before from proceeds of her Barbola work, with its two bright emitter valves and six volt battery, from which we had news through the general strike of 1926.โ€

    โ€œLater the workshop became home to Johnโ€™s lathe and of great interest to Daphne. John told me that he was sometimes very mean to Daphne when she came to the workshop. At first she had to stay outside the open door and be silent, if she passed that test she was allowed to stand just inside the door for a while before coming closer to John and even helping when possible. John taught Daphne to use a lathe and she had one of his old lathes at Tower Folly, albeit by then worn and no longer a precision tool. John also admitted to teasing Daphne over his Meccano set that she wanted to play with. Daphne had to watch John make, say a crane ,then he would tighten all the nuts and bolts before walking away leaving Daphne to dismantle his work.โ€

    Daphne visits her parents in Devizes

    Carolyn said, โ€œthere were three main early influences on Arthur, John and Daphne namely their father James, mother Ida and their home which gave them space to both work together and follow their own particular interests.โ€

    Iโ€™m eternally grateful to Carolyn Scales, Daphne’s niece, for a fascinating insight into Daphneโ€™s early years and family life, and for the photographs too. It seems her curious childhood nature was focused on what makes music, and her engineering skills were honed early, enhanced by her intrigue and not being allowed to assist by her elder brothers. This led her to create ย the Oramics Machine, her early synthesiser, built in the 1960s, but lost after her death. We should concentrate our efforts on Daphneโ€™s work ย in the third part, and how it shaped modern music……

    All images are taken with permission from the personal collection of Carolyn Scales with thanks. ยฉ2025 Carolyn Scales. Please ask permission before use.


  • 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 in Uganda, with a little help from talented friendsโ€ฆ.

    Years back as soloist singer-songwriter One Trick Pony, Chrissy organised annual fundraising gigs at the Southgate around Christmas time, but now tuned up a notch with her incredible Americana band Burn the Midnight Oil behind her it was a high noon lock up and load for a Sunday afternoon hoedown at the Muck and Dunder rum bar in Devizes. The better half, Mrs Devizine, has been asking me to take her somewhere tropical, so given such an opportunity, we bused it to The Brittox.

    With Burn The Midnight Oil rightfully grasping the top slot with the same intensity as me holding my pineapple vase of piรฑa colada, all kicked off at half-two with Gary Hewitt-Long performing a rare acoustic set. New to the game, and while I obviously cannot condone a satirical song aimed at a certain rogue local councillor, Gary was unnecessarily bashful, as he acoustically played out some great originals to warm the crowd!

    Perhaps it was the crowd which, understandably nerved him; it sure was building, as Martin Rea sauntered through them, sporting a fashionable bum bag and dishing out raffle tickets.

    A Wiltshire duo new to me, One Plus One may offer sums even I can handle in name, but their performance was delightful. A proficient and lovable pop cover duo to please any event, One Plus One is guitarist Dave, and Emily on vocals, confident to take on an Amy Winehouse cover or two and come up trumps. Chapel Roan’s Pink Pony Club also got a superb makeover, and they polished it off with the seasonal Fairytale of New York; why not?

    Maybe only because our modest local folk legend Vince Bell, who followed, also planned to finalise his sublime set with the UK’s best loved Christmas song, with his wife Lisa as Kirsty MacColl. Though more musical theatre, no stranger to the limelight, Lisa nailed it, and the handsome, pretty, and the queens of New Devizes City crowd never minded the doubled up cover and sang the chorus.

    Vince also offered Chrissy the accompanying chair for a spellbinding middle duet they supposed they should record, and they should. But beginning his set with his divine self-penned melancholic earworms, garnished in percussive rhythm guitar mastery akin to flamenco, and raising the spirit with the more spritely Spiderman Pajamas, Vince is a local treasure and never fails to charm.


    Exactly a year after we first interviewed the original lineup, Burn The Midnight Oil came bursting on and delivered their awesome set with unified passion and precision, seemingly lapping up every minute. You’d be excused for assuming this band has been playing together for decades despite it being less than a year in the new format.

    They appeased the audience with a taste of what they’ve been working on, looked fantabulous, and, most importantly, put 210% into their show. Yet it was arguably the sum of all these parts and the community festive spirit, which made it the wonderful afternoon it was.


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….

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 bandโ€ฆ

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.


  • 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 stiff drink to do such, our beloved Somerset soul singer says she’s swapping ice-cold cocktails for ice-cold baths. There must be warmer ways to promote a January single?!

    Sober is that apt single, out now, seriously catchy. With the deep vocal range of Nina Simone, this one takes a retro soul style. Not quite a Chiffons level of doo-wop, but more Mary Wells or Betty Everett, in that sultry playful tone of the early Motown sound, with the ability to convey a twist between vulnerability and strength; she’s sober, so taking her chances to proposition a potential lover, presumably without the slurred words of intoxicated passion!

    You might have to do your own handclaps, but there’s that rhythmic tambourine, breathing authenticity into this little charmer.ย 

    Here’s a linktree to have a listen; do yourself a favour a take the plunge.

    She asked her fans if they’ve ever โ€œbraved an ice-cold shower, swim or plunge?โ€ And describes it as a โ€œtotal game changer for boosting well-being. I may have screamed fuck as I got in and out ones I had today, but only a few times!โ€ย 

    Can I not just listen to this wonderful tune cuddling a hot water bottle, please, Lady?!


  • 2025 on Devizine; Review of the Year; Part 1, Jan-June

    If past years seem to be racing by me on roller-skates, now theyโ€™re in Formula 1 cars! 2025, in a word, was โ€œaverage,โ€ though the Devizine annual stats fell for a second year, at 6% lower than 2024; you lot still here?!

    Iโ€™m not concerned about that, you filthy traitors; youโ€™ve been digesting the clickbait of that Gazelle & Herod again, havenโ€™t you?!! Ah, truth is I have been staying home, hibernating a lot like a lightweight couch potato; probably an age thing, most likely a financial thing too; weโ€™ve got hyperinflation to make Robert Mugabe envious. But we keep a stiff upper lip as the world plummets into chaos, our little corner of it remains a pretty nice place to live (if a bit Tory,) where you can block pavements with hoarding or nick a cardboard sheep from a church and get away with it. None of which we are here to highlight, we focus on the best bits, and slag off the worst with a sprinkling of satire; if you donโ€™t like it, you know where to go!

    Hits took a hit because I bit my tongue on many local political or social issues this year, to concentrate more on arts and entertainment, but folk love a good shit stir rather than being told about some talented locals doing good. Plus, Iโ€™m sick to the back teeth with any dependence on Facebook shares, itโ€™s become a toxic playground for so-called adults and AI bots pretending to be human to boost propaganda. I think Iโ€™m going to be one of those smiling insanely old men, content to feed the ducks in the park, rather than ranting at anyone younger than me within range, but Iโ€™ve the right to change my mind on this!ย 

    They also took a hit because Iโ€™ve been actively engaged in two fantastic major events, RowdeFest and The Wiltshire Music Awards. The latter in particular used up much of my time, but hey, I think they were worth it. The Awards really brought together a wealth of people involved in the Wiltshire music scene, caused me to wear a suit, and we hope to build on this with future years.

    The other contributing factor to the downfall of hits to the website might have been me writing a new book, something I rarely get the time for, but was certain I wanted it published by Christmas. I made that deadline and Murder at the Scribbling Horse is officially out; you read it yet? No, didn’t think so!

    But lots more happened in 2025, and those we featured are briefed below; we couldโ€™ve done more but I think we put out a lot of content; you have to give me some time to play pointless block puzzle games on my phone. Thank you to all our contributors, Ian, Andy, Lois and the few guest writers who have submitted this year. We always need more writers to make this as comprehensive as possible; it is about as flexible as it can possibly be, you can be a fruitcake, we donโ€™t mind, so do get in touch if you can help.

    Please continue to support us, we thank you all for your dedication to Devizine; hereโ€™s to 2026; try best to avoid the fascist division, millionaires triggered by being disallowed to rip wild animals to death, the US or Russian bombs heading our way, the complete disregard for funding environmental projects while they spend billions fighting for the last scraps of oil, any world leader kidnapping, painting roundabouts, and the usage of anti-terror laws to arrest pensioners peacefully campaigning against genocide.

    Just follow us instead, enjoying a pint in a pub and listening to live music, played by real people, focus on youth projects rather than fables of hooliganism, focus on talented individuals doing good rather than bitter clickbait and national headlines, and be here, in the warm and truth, with Devizine; we tell it like it is, and donโ€™t purvey bullshit!ย ย ย ย ย ย ย ย ย ย ย ย ย ย 


    January

    Just as this year starts with a review of the last, so did 2025, but not before I took a visit to the Swindon Story Shed. Forestry England invited dog walkers to Nightingale Wood, apparently to celebrate Walk Your Dog Month; surely every month is walk your dog month?! The second feature film for director Keith Wilhelm Kopp and writer Laurence Guy, First Christmas entered development. We covered how My Dadโ€™s Bigger Than Your Dad Festival raised ยฃ11,500 for Prospect Hospice, and thereโ€™s moreโ€ฆ.ย 

    Jamsters began at Devizes Southgate, an initiative to provide a Friday night platform for loose groupings and associations created at their regular jam sessions each Wednesday. We announced The Beat were to headline Devizes Scooter Rally, that Nick Hodgson formerly of the Kaiser Chiefsโ€™ new band, Everyone Says Hi had an instore at Marlboroughโ€™s Sound Knowledge, and we unfortunately said goodbye to the now disbanded People Like Us; sorely missed.

    The original line up of People Like Us

    We had new singles from Nothing Rhymes With Orange, a new album from Illingworth, and fuller sessions from Kaya Street. Andy reviewed the first Devizes International Blues Festival, Ian covered Jerusalem at the Mission Theatre, and Veronicaโ€™s Room at The Wharf Theatre.

    We previewed OakFest at the Royal Oak in Pewsey, La Belle Hรฉlรจne, White Horse Operaโ€™s Debut at The Wharf Theatre, Devizes Musical Theatreโ€™s Beauty & The Beast, Henge at The Cheese & Grain, and Bradford-on-Avon Green Man Festival which unfortunately this year is in jeopardy, and we welcomed Caffe Vialottie to Devizes, our most popular article of the year.


    Februaryย 

    It may be topical now, but weโ€™ve always been supporting the hunting ban, and in February reported how Beaufort Hunters attacked Wiltshire Hunt Sabsโ€™ drone. We sadly confirmed Devizes Street Festival was cancelled for the second year in a row, and The Emporium in Devizes was to close, but Devizes would get a new youth centre.

    Previews included, Marlborough School of Languagesโ€™ Summer Fiesta, Jazz Sabbath at the Corn Exchange. We announced The Brand New Heavies were to headline Minety, tickets for DOCAโ€™s Winter Ales were running out, and that I was to organise the music for Rowdefest in May, probably my favourite memory of 2025.

    We featured Melkshamโ€™s teen band Between the Lines, reviewed JP Oldfieldโ€™s debut EP Bouffon, Jamie Hawkinsโ€™ short film Teeth, and new singles from I See Orange and Sam Bishop. Swinterfest broke me out of my hibernation, and I also got out to see the fantastic Static Moves at the Three Crowns, plus Cephidโ€™s Sparks in the Darkness at The Rondo, which was mindblowing!


    March

    We announced that Devizes auctioneers Henry Aldridge & Son were relocating to the Old Emporium, Soupchick was to take over The Hillworth Park Cafe, that after the fire in Northgate Street Devizes Kebab Van successfully relocated to Follyย  Road, that Devizes was to have a new festival, Park Farm Festival, and of course the very first Wiltshire Music Awards.

    We featured the Belladonna Treatment, had a wonderful local reflection on the Trump & Zelenskiy meeting from a Ukrainian living in Wiltshire, and it was one of my all-time favourite interviews with eighties legend Owen Paul ahead of a Devizes gig.

    We reviewed The Killer & The Catalyst, Devizes author Dave McKennaโ€™s novelette, Geckoโ€™s new album, and singles by Chloe Hepburn and George Wilding.ย 

    Previewed Devizes Arts Festival, Exchange Comedy in Devizes, Swindon Palestine Solidarityโ€™s Charity Iftar, CUDSโ€™ Devizes Town Litter Pick for GB Spring Clean, and Hells Bells AC/DC tribute coming to Devizes! We listed the results of Salisbury Music Awards.

    I managed to make it out to see The Devilโ€™s Doorbell and JP Oldfield at the Cellar Bar, Ruby Darbyshire at the Southgate, and Cracked Machine with Tom Harris in support, too. Ian gave us Blood Brothers at The Mission Theatre and Flatpack at The Rondo, and Pip Aldridge reviewed our Fulltone Orchestra at Tewkesbury Abbey.

    I ranted on the state of the roads, and for fun ran a Take Our Wiltshire Pothole or Moon Crater Quiz Challenge!!


    April

    Ah, All Fools Day, a golden opportunity for us, in which last year we told the fib that funk godfather George Clinton was exiled to the Wiltshire village of Urchfont, created funk music there and it was covered up by their parish council! You might assume it was hardly viable, but some fell for it, and messaged in their outraged reports of โ€œfake news!โ€ย 

    We looked into DOCAโ€™s new youth initiative Yea Devizes, and while we published our usual extensive list of Easter holiday activities, we also previewed DOCAโ€™s Junk Street drumming workshop.

    I visited The Hillworth Park Cafe, where Soupchick took over, hailed Devizes DJ Greg Spencer, the creator of Palooza house nights, who made the prestigious bill of Fatboy Slimโ€™s All Back to Minehead festival, and reviewed the now sadly defunct No Alarms No Devizes playing at the Three Crowns. Discovered Fran Daisy at Swindonโ€™s Plough, and Henge at the Cheese & Grain was a high contender for my gig of the year; out of this world!

    We had a guest review from Melissa Loveday on Devizes Music Academyโ€™s Something About Jamie, which though Iโ€™m sorry to have missed, I did catch them playing it out at FullTone Festival in the summer. I did attend Devizes Musical Theatreโ€™s Beauty & the Beast at Dauntseyโ€™s School and the opening of Un/Common People, Folk Culture in Wessex, a fascinating exhibition at Wiltshire Museum.

    Everybody’s Talking About Jamie

    Reviewed Hannah Rose Plattโ€™s album Fragile Creatures, probably the best album we covered last year. The website for Wiltshire Music Awards went live and people held on to cast their votes in May.ย 

    We exposed Reform candidate Calne Violette Simpson for her Facebook profile picture showing her hunting antelope in South Africa, and Devizes South Conservative candidate Sarah Batchelor, who committed election fraud, up and left with her tail between her legs and almost running Bishops Canningโ€™s Crown into the ground. Thankfully it seems the new owners are turning it around and recreating the village hub it once was.ย 


    May

    I was honoured and delighted to organise the music for our village fete, which has in the last few years been run by a lovely independent committee, safe from a questionable parish council. It was a wonderful sunny day and the highlight of my year. I called in some favours and presented an amazing lineup for a free fete, featuring, in order of appearance, The Jubilee Morris Dancers, Andrew Hurst who brought bassist Lucianne Worthy with him, Talk in Code, The Sarah C Ryan Band, Thieves, and Burn The Midnight Oil. Being it was the last day of the month, I didnโ€™t write about it until June.

    I paid a Sunday afternoon visit to Devizes amazing record shop Vinyl Realm, when Deadlight Dance were attacked by wasps and still managed an amazing unplugged acoustic set. Ben Niamor reviewed Jake Martin at Swindonโ€™s Castle with SOP, and Ian gave us his views on Sweeney Todd at St. Augustineโ€™s Catholic College in Trowbridge, and the Diary of Anne Frank at The Wharf Theatre in Devizes, which was so good I had to go myself. Lois covered newcomers Kingston Mediaโ€™s Bands at the Bridge in Horton.

    I previewed the Bradford-on-Avon Live Music Festival, despite it clashing with our Rowdefest! Also, Ruby Darbyshire who performed at Silverwood Schoolโ€™s open evening. Andy provided a preview of Chippenham Folk Festival, and Lois provided us with previews of Australian Folk singer Ernest Aines at Swindonโ€™s Deanery Theatre and David Olusoga at the Cheese & Grain.

    Announced the opening of voting for Wiltshire Music Awards, that Devizes-based The Big Sound Choir was to perform with Aled Jones at St Georgeโ€™s in Bristol, and that Bird is The Word were taking over music organisation at Bradford-on-Avonโ€™s Boathouse.

    We featured how Lucas Hardy was collaborating with Rosie Jay, and Fromeโ€™s James Hollingsworth, who was bringing his solo recreation of Pink Floydโ€™s Wish You Were Here album to the Devizes Southgate and elsewhere, and reviewed his album with Griffiths, Lost in the Winds of Time.ย ย ย 

    I reviewed Clock Radioโ€™s album Turfing out the Maniacs, Ruzz Guitarโ€™s Between Two Worlds album, Playing Solitaire; Phil Cooperโ€™s first solo album for five years, Thievesโ€™ debut EP, a new single from George Wilding, and one from Auralcandy featuring vocals from Sienna Wileman. A feature of a Melksham marketing expert launching AI training courses was met with controversy, yeah, I get that!


    June

    If we were all busy with the Devizes Arts Festival, we were previwing summer events like a new festival for Devizes, Park Farm, clashing with an amazing day at the Three Crowns for an air ambulance fundraiser, and I finalyy got over my hangover and ego, and gave coverage of Rowdefest; highlight of my year!ย 

    Andy reviewed White Horse Operaโ€™s Cosi Fan Tutte and The Lost Trades at the Piggybank, Ian did The Mikado at the Mission, The Taming of the Shrew at the Rondo, and of course we all did our bit for the Devizes Arts Festival. Andy also covered an extensive weekend when The Lions were on the Green in Devizes, we had Crammer Watch Day too, and Devizes Arts Festival did a fringe gig at the British Lion; summer lovinโ€™. The highlight of this had to be Whereโ€™s the Cat, the Wharf Theatreโ€™s writing groupโ€™s hilarious reenactment of the Moonrakers fable at the Crammer, which I felt obliged to cover too.ย 

    Eddie and I were guests on Peggy-Sueโ€™s Donโ€™t Stop the Music show on Swindon 105.5, chatting about the awards. We met Henry the chocolate duck raising funds for cystic fibrosis at HollyChocs, previewed Supergrass headlining Frome Festival, a genderqueered Shakespearean performance at Bathโ€™s Rondo, and Swindon Palestine Solidarity events. Lois did Idles at Bristolโ€™s Block Party.ย 

    I reviewed The Hotcakes of Wildfireโ€™s album Shoes & Acid, ranted on vocal minorities triggered by events of cultural diversity, and did a No Surprises column promising to return the feature, but promises are made to be broken! Thereโ€™s simply too much to whinge about, and for my health, I need to see the glass half-full.

    Bands at The Bridge

    Thatโ€™s all for now, folks. Do not fear, itโ€™s still summer in our minds, and weโ€™ll kick off in July for the second part. I know, our goldfish attention spans cannot take in a whole year in one article, what with so much brilliant stuff which happened over the year, so come back when Iโ€™ve officially emptied the Quality Street tin and completed the last half of this review of 2025; but I must say, I think the first half was better!!


  • Awesome! Talk in Code Immortalised as Lego Minifigures!


    Ah, let’s talk about Talk in Code one more time this year, because we’re secret Talkers here, and everything has been awesome this year for them, but now they’re being immortalised as Lego minifigures!

    Surely, the piece of resistance of local merch, it doesn’t get better than this! Lego minifigures have become something of a collectors item over the years, and the finest local indie popsters have a Lego inspired fan reward scheme they’re calling TICBRIX; genuine awesomeness!

    Now open, all you’ve got to do is attend their gigs, which is a pleasure in itself, collect stamps on a loyalty card, and collect the band figures. Pick up the cards at the merch desk at any show, get it stamped, and after every two Talk in Code shows, you can claim your FREE minifigure and badge from the merch desk.

    With four members in the band, it’s going to take you eight shows to complete your collection, but thatโ€™s not all. At the halfway point, youโ€™ll be eligible for a bespoke, Lego stage set for them to all play on, complete with a bass guitar, extra guitar, drumsticks and even a Sneddsโ€™ luxury beard upgrade!

    Personally, I feel inclined to hotfoot it up the loft to find my bricks and build a spaceship for them to gig on because they’re out of this world! Spaceship!!!!

    Some early 2026 performances from the guys include 17th Jan at The Kings Arms in Amesbury and also at Devizes Winter of Festive Ales at The Corn Exchange on 28th February. On the 28th of March, there’s a Talkers Show by personal invite only at The Hop in Swindon. Join the Talkers WhatsApp group to get in on that and be in the know of other gigs by texting โ€˜add meโ€™ with your first name to 07725 138077. All welcome unless you’re from the planet Duplo!


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound Part 3

    Oramics and its Place in the Progression of Electronic Music

    In 1997 I was a 24 year-old factory worker, keen to learn all tasks on the production line to work my way up, but suddenly the run of the ladder was pulled too high for me to reach. Shift managers who had were axed, were replaced by โ€œteam leaders,โ€ that of precisely the same duties and responsibilities, though you needed a diploma to apply.

    The government tried to thwart my only other life objective three years past, to party; they had failed. I worked in the factory now for one reason, to fund this escapism. Once free, the Criminal Justice Bill ensured someone profited from our jollity, as rave culture was pushed into nightclubs and legal paid events.

    If The Prodigy were right, this was music for the jilted generation, perhaps so too ย was Luigi Russolo in his 1913 futurist manifesto L’arte dei Rumori (The Art of Noises,) ย when he argued that the ear would become accustomed to a new sonic palette of industrial soundscapes, and musicians would require a new approach to instrumentation and composition. Though Iโ€™d not have contemplated the noises of the factory manipulating my music perceptions at the time, I was aware of how Kraftwerk were influenced by the sounds of traffic for Autobahn.

    Neither would I have given much thought to the development of electronic music; my time with analogue pop of punk and Two-Tone was short-lived. Through new wave post-punk and electronica to American hip hop and electro, and the rebellion from the hit factories exploiting it; rave culture, I had grown up withย  electronics as a staple to music and knew no different.

    Pre-internet research on the subject wouldโ€™ve been a needle in a haystack, even if Iโ€™d the motivation to study it.ย  In my naivety I assumed one thing, that Kraftwerk created ย electronic music, because Iโ€™d seen a clip of them on the BBC program Tomorrow’s World. Though the show made no claim to this, I was only two on the 25th September 1975, when it originally aired.

    Ralf Hรผtter and Florian Schneiderโ€™s Kraftwerk were certainly pioneers who popularised the krautrock genre worldwide. The industrial links between ย Dusseldorf and Detroit and creative ones between Berlin and New Yorkย  were influences reflected, which turned the cogs of hip hop and house. And now, here I was, in a meadow near Luton, at Universeโ€™s Tribal Gathering, where I figured weโ€™d come full circle.

    Kraftwerk played their one and only festival, it was monumental. The once monocultured rave phenomenon had divided into copious subgenres, Universe were the first to fully embrace this with a tent dedicated to each division. Yet from each tent masses united at the main stage, some DJs refusing to play their set because theyโ€™d miss this performance. Reflecting back on it now, I cannot deny it was something to behold, but Iโ€™ve since discovered they wasnโ€™t the complete roots to electronic music I assumed they were. Its complex international evolution includes too many names to mention, but this fascinating insight has been encouraged by my study into one important innovator largely uncredited, born here in Devizes, Daphne Oram.

    We outlined her work briefly in the introduction to this series of articles, and with help from Daphneโ€™s niece, Carolyn Scales, we delved into her upbringing in Devizes, and how influences in engineering meshed with her love of music. Now we need to fit her role into this vast evolution of electronic music, by looking at Oramics, discovering how that influenced the progression, and why it is not as well documented and I believe it should be. ย 

    Once Daphne left the BBC Radiophonic Workshop in 1959, she coined the term Oramics, a name for her studio in Tower Folly, a converted oast house at Fairseat in Kent, her technique for creating graphical sound, and the Oramics Machine which spawned from it. ย 

    Carolyn described The Oramics Machine as, โ€œan early synthesiser,โ€ but as with Russian engineer Evgeny Murzin who created photoelectronic instrument the ANS synthesizer, historical records rarely reference them. ย The first commercial synthesizer is credited to American engineer Robert Moog a few years later in 1964. Precursors to Moog ย mentions Harald Bode who laid the groundwork for separate sound-modifying modules used in the Moog design, the Hammond Organ Companyโ€™s Novachord in the late 1930s, Canadian engineer Hugh Le Caineโ€™s Electronic Sackbut, Herbert Belar and Harry Olsonโ€™s RCA Mark I and II Sound Synthesizers, and some cite Thaddeus Cahillโ€™s Telharmonium, an electromechanical sound generator from 1897, which weighed in over two-hundred tons.

    The original Oramics Machine was the size of an office photocopier, so was also too cumbersome for the average musician. By its definition, itโ€™s a synthesiser but worked differently; the composer/musician drew onto a set of 35mm film strips which ran past a series of photo-electric cells, generating electrical signals to control amplitude, timbre, frequency and duration.

    The reason for the omission, Carolyn suggested, was because The Oramics Machine was lost after her passing. โ€œDr Mick Griersonโ€™s team tracked it down to France in 2008. Working with the Science Museum. Griersonโ€™s study provided the first full contextualisation of the machine, an assessment of its historical importance, and a detailed description of its workings. The machine became a central part of the Science Museum exhibition Oramics to Electronica, originally planned to run for six months in 2011. The showโ€™s press and public uptake saw it extended a further four years.โ€

    Perhaps inspired by Moogโ€™s development of the Minimoog, Daphne worked on a Mini-Oramics, but never completed a prototype. Goldsmiths’ PhD student Tom Richards, who pored over the unfinished project and built it over forty years later, suggested โ€œthere were a lot of reasons why she didnโ€™t launch Mini-Oramics. She was working on her own, and wasnโ€™t affiliated to a large organisation or university.ย  She had ups and downs in her life, and at the time she was working on Mini-Oramics, she also worried that her approach to musical research was out of fashion when compared to chance-based and computerised techniques. She was unable to secure the further funding she needed and she eventually moved on to other research.โ€

    If funding and the ferocity of music technologyโ€™s progression at this time surpassed Daphne, both her music and written works were visionary. If you thought Pete Tongโ€™s Heritage Orchestra was pushing new boundaries in 2004, Carolyn noted, โ€œin 1948, Daphne created a piece for double orchestra, turntable and live electronics called Still Point, long thought of as the earliest composition to include real-time electronic transformation of instrumental sounds.โ€ Again, Still Point was never performed and was considered lost. โ€œDr James Bulley found fragments in the Oram archive,โ€ she continued, โ€œand working collaboratively with Dr Shiva Feshareki, began a reconstruction, later finding the full score in the belongings of composer Hugh Davies.โ€

    โ€œA performance was commissioned by BBC Proms and performed by turntablist Shiva Feshareki, Bulley, and the London Contemporary Orchestra in 2018 at the Royal Albert Hall, reaching a substantial audience live and via BBC Radio 3,โ€ Carolyn explained. โ€œThe reaction was one of awe, with the piece described as โ€œthrillingโ€. Critical responses suggested that this realisation of Oramโ€™s previously untested ideas represented a challenge to electronic musicโ€™s received history.โ€

    The more I research the more I find examples suggesting Daphneโ€™s work was so avant-garde, abstract or insistent on anthropological creativity against trending dehumanised mathematical methods, she was set apart from the contemporary canon of self-generating computer music, positioning her work in a kind of unique scientific-spiritual space, combining technical rigor with a romantic model of artistic expression. This would frustrate her, when projects were either underfunded or too radical for others to follow, and they were consequently lost in time.

    In 1971 she authored a book titled An Individual Note of Music, Sound and Electronics, wherein lies a quote often cited in discussions about music technology: โ€œWe will be entering a strange world where composers will be mingling with capacitors, computers will be controlling crotchets and, maybe, memory, music and magnetism will lead us towards metaphysics.โ€

    Daphne visiting her parents in Devizes

    It was also her dedication toย  authorial control, while cybernetic-influenced composers embraced self-generating systems with indeterminacy, which caused Oram’s approach to differ from the era’s prevailing trends, despite this cybernetic orientation. Exemplifying the generosity of her father, James, Mayor of Devizes, Daphne actively supported composersโ€™ rights to royalties while she was a Trustee of The Performing Rights Society in the 1970s.

    Daphne Oram suffered two strokes during the nineties, and passed away in Maidstone on the 5th January 2003. Yet on Daphneโ€™s centenary, where much of the world remains dubious about the ethics of artificial intelligence, we must debate her legacy, for my final part of the series.

    Oh, and if you were wondering, all I saw of Kraftwerk at Tribal Gathering was the fluorescent outlines of their boilersuits!


  • Everything Going on For New Year’s Eve 2025!

    Ah, I hope you’ve all had a great Christmas, now it’s time for New Year’s Eve, and here’s what we’ve found to do. Wishing everyone a happy New Year and all the best for 2026. Don’t forget our event calendar lists much more and everything going on this weekend, into January and beyond!


    Blue Moon Band @ Devizes Conservative Club

    The Unpredictables @ The Hour Glass, Devizes

    NYE Glow Party @ The Pelican, Devizes

    New Years Eve Party with Quiz @ The Pour House, Devizes

    New Year’s Eve Party with Purple Fish @ Seend Community Centre

    New Year’s Eve Fundraising Party @ Bromham Community Hub

    NYE with Cally @ The Bear, Marlborough

    NYE Party @ The Royal Oak, Pewsey

    Spencer Fray NYE @ Evie’s Kitchen, Melksham

    NYE Party with Light up the Funk @ The New Inn, Melksham

    Mark Lewis @ The Rising Sun, Lacock

    Rio Band @ The Consti Club, Chippenham

    Click @ The Peterborough Arms, Chippenham

    UK Calling @ The Lamb, Trowbridge

    NYE Party @ Trowbridge Rugby Club

    NYE Party @ The Dog House Tap Room, Calne

    Be Like Will @ The Hollies, Westbury Leigh

    Bustard @ The White Hart, Atworth

    Rubix Groove @ The Boathouse, Bradford-on-Avon

    NYE Party (ticketed) @ the Bell, Bath

    NYE with The Sitting Ducks @ Prestbury Sports Club, Warminster

    2-TRONIX – 80’s New Year’s Eve Party!! – 31 to 1st@The Vic, Swindon

    New Year’s Eve DJ Night @ The Pulpit, Swindon

    New Years Eve Party @ The Griffin, Frome

    New Year’s Eve: Lucy Loves Liquorย @ Coach and Horses, Salisbury

    ย The Few @ ย Salisbury SnowGlobe

    The Treblemakers @ Qudos, Salisbury

    Lucas Hardy @ The Bell & Crown, Salisbury

    Winni Dub Club New Year’s Eve @ ย Winchester Gate, Salisbury

    ย New Year’s Eve: The P45s @ ย Royal Oak, Salisbury

    ย Dark Resolution – The Return @ย Dark Revolution Brewery and Tap Roomย , Salisbury

    ย The Moonlights @ Alderbury Sports & Social Club, Salisbury

    ย New Year’s Eve with Break Coverย @ ย Bull Hotel, Salisbury


  • 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 trail hunts. As an impartial media outlet, we sayโ€ฆ.let’s laugh at those saddened hunters wallowing in their own self-pity, right through Christmas and beyond!

    Keir Starmer’s cabinet, a far cry from the ideal government, but the best we’ve had after fourteen long years of that Conservative clown school of thieves, occasionally wakes up and realises they’re supposed to be leftwing, and this was one such bizarre occasion where they delivered a popular promise off their manifesto; miracles do happen at Christmas, pass the overpriced Quality Street and celebrate!

    Prepare for a minority of elitists though, the barbaric scum remaining in support of the incongruous pageant, and those too stupid to go against what the leaders of the fascist uprising tell them to think, to really blow off some steam. โ€œWhaaah! We can’t kill innocent animals anymore!!โ€ Cue the tiniest violin.

    Laugh at their flabby flushed faces, angered social media posts, and inane rants, in a pathetic attempt to convince you the government are communists, or even more degrading piffle and pointless propaganda. Starmer did good today. Give him a star sticker. I’m as equally as shocked as them!

    Best advice I could give? Laugh at them! Laugh at them hysterically until they blow a fuse. Though it’s a dubious time to announce the ban, and I dread to think what Boxing Day might bring as they gather with even more anger than usual, that this might be the last showdown. What level of slaughter can we expect to see in this last stance?

    We rely on and thank all the fantastic hunt sabs to see this fight to its triumphant end.

    Bottom line is, if you were the headteacher of a primary school where the children were firing catapults in the playground, so you put all the catapults on a high shelf but the children used fishing nets to get them down, pretending they were using the nets for fishing, you would have to ban the nets too, wouldn’t you? And you’d consider that it was the children’s fault for using the nets to continue firing catapults when they were told not to.

    Therefore, because the Hunting Act allowed hunters to trail hunt, but it’s proven that many used it as a smokescreen to continue hunting foxes, then they’ve no one to blame but themselves. If any of them genuinely followed the trail hunt rules and didn’t use it as a disguise to continue illegally hunting foxes, or took measures to call off the hounds if a fox was to be caught up in the puerile activity, then they should be pointing the finger of blame at those who clearly did abuse the rules.

    But it’s doubtful they will, either in a show of solidarity, or because they’re a type which doesn’t really exist at all. No, they’ll be united in throwing their teddies out of their prams, yelling blame at the government, but really, hunters did this to themselves and deserve everything they get.

    โ€œThe hounds will be homeless,โ€ we’ve heard. Is this a threat to release hounds into the wild?! If you cannot provide the basics and house your dog then you shouldn’t have a dog, and the law should intervene and arrest you for animal cruelty, finally.ย 

    โ€œAll the horses and hounds will have to be shot!โ€ Only aย  bloodthirsty sadist would think this. They were looked after before, why not now? They bred them knowing this was happening, ergo it is their responsibility to ensure their welfare is continued and they are looked after.

    But this is the most bizarre one, literally convicting themselves: โ€œthe fox population will increase!โ€ Hold on a cotton-picking minute. They claimed they were trial hunting, using only a rag with the scent of a fox, so how could it possibly increase the fox population? Unless, oh, proof they lied and were actually illegally killing foxes; who knew?!! Otherwise, there might be a few rags going spare, but that’s about it.

    โ€œJobs will be lost,โ€ is another. Awl, shame. Get a new job, one not connected to barbarism. Nigel Faragรผhrer is already on that case, politicising it for the apparent good of the common man, saying it’s against English tradition, yet last week supported a foreign president’s attempts to bring down the BBC at the expense of the British taxpayers; how patriotic, how concerned for job loses he must be!

    The only benefit of his recent outrages is that the common rightwing thinkers will see it as proof he’s not really in for them, as many I know personally also do not support hunting either; I wish them a Merry Christmas. It’s surely then just a case of relevance; if it doesn’t affect them personally, it seems it rarely makes a priority in their decision-making. It’s not really relevant to me either, personally, but I have this thing called โ€œempathy.โ€ Quick, Reformers, write to Santa while there’s still time, ask him for some compassion and empathy, and join us in protecting our wildlife for future generations to appreciate too.ย 

  • 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 tunes on hold for a moment, because this is a beautiful, epic journeyโ€ฆ.

    M3Gโ€™s seventh release, Rooks, poignantly pulls on the heartstrings when presented by the rise and fall of a romance, rooks often being a slang for cheating someone. It runs into six minutes, and reflecting the heartbreak of the subject, the song rises and falls accordingly. It creates a spellbinding ambience of both hope and worry equally, and is of magical vocal and acoustic guitar composition, with a gentle cajon drum subtly placed.

    Inspired by the likes of Florence Welch and AURORA, Meg was open about her autism in our interview from 2023, and claimed it as the backbone to her creativity. In this, what she creates is completely original, unique, and unequivocally personal. Meg doesnโ€™t just sing, she projects her innermost thoughts and expresses them, angelically. In Rooks, you can literally feel the characterโ€™s heart breaking, causing yours to inevitably go with it.

    The hyphen in the term singer-songwriter has never been so apt with another. Sure, I hear lots of brilliant expressive singers and lots of songwriters who can pen a marvel, but no one merges them so seamlessly and forgoes any fear theyโ€™re exposing too much of their innermost thoughts, dreams or desires. You only need to venture ten seconds into Rooks to observe what I mean, and if Meg constantly strives for improvement, causing me to say this is her best song yet each time, here we go again; this is awe-inspiring, her magnum opus to date.

    Recorded and mixed by Phil Cooper, his genius registers on it, yet still, itโ€™s Just M3G; layering her backing chants over her main vocals like choral had a singular tense, and who even designed the cover. She says working with Phil is โ€œa massive step above my other releases. I am so proud of it.โ€ It is on a next level, Iโ€™m uncertain what she could do to top it, but assured she will, and Iโ€™m certain Rooks will appease her fans and make her find new ones.

    Rooks streams tomorrow, 19th December 2025.

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  • Wiltshire Music Centre Unveils Star-Studded New Season

    Wiltshire Music Centre Unveils Star-Studded New Season with BBC Big Band, Ute Lemper, Sir Willard White and comedians Chris Addison and Alistair McGowan revealing their classical music talents…..

    Wiltshire Music Centre announces new Spring season with some extraordinary listening experiences on offer in the new year. Wiltshire Music Centre is a unique and contemporary 300-seated concert hall in Bradford on Avon.ย  In the heart of rural Wiltshire, the venue’s built an enviable reputation over the years as a professional concert hall of exceptional quality, rooted in community participation and involvement.ย The Centre also provides a permanent home for local orchestras, choirs and music groups, and works extensively with young people locally through a vibrant and varied Creative Learning Programme in Wiltshire and beyond.

    Since first opening in 1997, Wiltshire Music Centre has been a musical hub, bringing the best in live performances to the area as well as providing a home for local orchestras, choirs and music groups. Recently appointed Executive Director, Sarah Robertson and Artistic Director, Daniel Clark have a renewed commitment to creating a space for people to gather and connect through a shared love of music โ€“ a space to celebrate the past, present and future of music-making and to nurture a spirit of musical curiosity.

    Audiences can look forward to an exceptional lineup of artists, including first-ever WMC appearances by leading pianistย Angela Hewittย (30 Jan 2026), opera virtuosoย Sir Willard Whiteย performing with WMC favouritesย The Brodsky Quartetย (20 Mar 2026),ย BBC Big Bandย (17 Apr 2026) showcasing the musical genius of George Gershwin, international cabaret starย Uteย Lemperย (8 Mar 2026), blues legendย Eric Bibbย (27 Mar 2026) touring his new album, and a WMC debut by theย Neil Cowley Trioย (11 Apr 2026) who bring their inventive show inspired by Baroque genius, J.S Bach, to the Centre. ย Meanwhile,ย Jamie Woonย (8 Apr 2026), British R & B and electronica singer/producer returns to the stage after a 10-year break.

    Classical and jazz season highlights includeย โ€œtrumpeter extraordinaireโ€ย (BBC Music Magazine)ย Matilda Lloydย performing with theย Goldmund Quartetย (7 Feb 2026);ย Nikki Iles and Claire Martinโ€™sย new projectย IG4ย (7 Mar 2026); evocative choral works fromย The Gesualdo Sixย (28 Mar 2026); stunning vocals from the Grammy-nominated British vocal ensembleย VOCES8ย (26 Apr 2026); and exciting new jazz sounds from Jazz FM Instrumentalist of the Yearย Mark Kavumaย (28 Mar 2026) and London-based saxophonistย Camilla Georgeย (22 May 2026), whose music blends Afrofuturism, hip-hop, and jazz.

    For blues, folk, and roots fans, thereโ€™s a packed programme of must-see gigs featuring both established and emerging favourites, including the powerful fatherโ€“daughter duoย Martin and Eliza Carthyย (3 Apr 2026), much-loved folk singerย Cara Dillonย (8 May 2026),ย Jon Bodenโ€™sย projectย The Remnant Kingsย (15 May 2026), andย Josienne Clarkeโ€™sย homage to Sandy Denny of Fairport Convention (6 Mar 2026).

    Families can look forward to a musical retelling ofย Benji Daviesโ€™sย childrenโ€™s bookย The Storm Whaleย withย Music in the Roundย (14 Feb 2026), and the film classicย Wallace & Gromit: The Wrong Trousersย on the big screen with live music performed by WMCโ€™s flagshipย West of England Youth Orchestraย (10 Apr 2026).

    The eclectic programming extends beyond the music alone. Former Royal Harpistย Catrin Finchย (15 Mar 2026) comes to the Centre withย Notes to Self, an evening of music and conservation, while master impressionistย Alistair McGowanย (12 Apr 2026) and sharp-witted comedianย Chris Addisonย (14 Feb 2026) bring comedy and music with their respective shows. There will also be a series of monthly screenings with the newly launched Adventurers Film Club, featuringย Becoming Led Zeppelinย (28 Jan 2026),ย Set the Piano Stool on Fireย (25 Feb 2026) โ€” the acclaimed documentary about legendary pianist Alfred Brendel and his protรฉgรฉ Kit Armstrongโ€”and more.

    Introducing the new season, Daniel Clark says โ€œHere youโ€™ll find a wide-ranging series of concerts from some of the most exciting voices of the past, present and future of music. From great legends of music-making to rising stars, weโ€™re committed to bringing the best music we can to our special venue, and hope youโ€™ll find something that will transport, inspire and delight you.โ€

    Highlights:

    Angela Hewitt:ย one of the worldโ€™s greatest living interpreters of Bachโ€™s music and recipient of the City of Leipzig Bach Medal in 2020 will make her WMC debut. (30 Jan 2026)

    Angela Hewitt London 2016

    Chris Addisonโ€™s Incomplete Guide to Chamber Music:ย Chris Addison brings to life the rich, vibrant โ€“ and sometimes bizarre โ€“ history of classical chamber music. A musical journey from baroque courts and European revolutions to todayโ€™s contemporary composers with some of the UKโ€™s finest musicians and Chrisโ€™ brilliant and original facts and insight. (14 Feb 2026)

    Eric Bibb:ย Three-time Grammy nominee and blues legend with a career spanning over five decades tours brand new album,ย One Mississippiย blending blues, folk, soul, and Americana. (27 Mar 2026)

    Ute Lemper: International cabaret star bringsย her showย telling the storyย of Hollywood legend Marlene Dietrich through songs and stories: from the Berlin Cabaret years to her Burt Bacharach collaborations. (8 Mar 2026)

    Lau Noah: Beautiful, innovative and evocative vocal and guitar harmonies from self-taught Catalan composer and songwriter who has supported Chris Thile, Ben Folds and Jacob Collier on tour over the past two years. (3 May 2026)

    Tickets are now on sale:ย wiltshiremusic.org.uk/


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound: Part 2

    Daphneโ€™s Family & Childhood Connection to Devizes

    Celebrations of Daphne Oram have been building in London since the beginning of December, for those in the sphere of electronic music and music technology. On the first Thursday of the month The Barbican held a concert commemorating Daphne’s centenary, where sound and music fair access partner, Nonclassical, in partnership with The Oram Trust and Oram Awards played commissioned reimagined works from various contemporary electronic artists, inspired from tapes in Daphne’s archive. This has been released as the album, Vari/ations: An Ode To Oram.

    London university Goldsmiths acquired Daphneโ€™s archive in 2006, bringing her work into the wider public domain, after decades of relative obscurity. ย In the male dominated realm of electronic music, this has presented a better understanding of Daphne as a visionary in the early development of the genre, and in turn inspired female musicians and producers.

    But our story begins rather differently, in the late nineteen-twenties, at Belle Vue House, Devizes, where a much younger Daphne is caught trying to climb inside the family piano! Daphne’s niece Carolyn Scales explained, โ€œshe was asked โ€˜why are you doing that?โ€™ and Daphne replied, she wanted the piano to make a sound between the notes on the keyboard.โ€

    Daphne with brother John

    Iโ€™m grateful to Carolyn for providing some fascinating background into Daphneโ€™s family and childhood in Devizes, something overlooked by the insurmountable information available regarding her work.

    โ€œAll the siblings enjoyed listening to classical music but only Daphne had the ability to create music,โ€ she told me. โ€œIdaโ€™s sisters often joined her to play trios and quartets at Belle Vue House while James did learn to play the cello but was happy to stand aside for more competent players. In his defence Jamesโ€™s fatherโ€™s diaries only mention one musical instrument at their home, a piano declared by a piano tuner as not worthy of tuning. Maybe we underestimate the strength of our Oram artistic genes.โ€

    Daphne at five months, with mother, Ida, brothers Arthur and John

    Daphne Blake Oram was born on the 31st December 1925, to James Oram (1890-1964) and Ida nee Talbot (1887-1972.) โ€œIda ,โ€ Carolyn explained, โ€œwho at heart seems to have been a natural party goer, was plagued by ill health. Daphne was born in Ivy House Nursing Home not because of a fear of losing Daphne but because of Idaโ€™s problems with her legs. In the first photograph of Daphne she is being held by Ida who is sitting in a wicker bath chair with Arthur and John in front of their new home of Belle Vue House.โ€

    โ€œIda was born in Braintree, Essex into a family of drapers,โ€ ย Carolyn said, โ€œwho soon moved to a shop on Maryport Street, Devizes, opposite the top of The Brittox, which they ran from 1888 until 1914. Unfortunately Idaโ€™s father Alfred died in 1896 leaving her mother Alice nee Blake to run the business.โ€ She continued to describe ย Aliceโ€™s six children helping at the shop, and its failure, though ย Ida was in charge of the millinery department, and how later there was a room in Belle Vue House devoted to her hats. Carolyn told of Idaโ€™s painting ย hobby, in watercolours, oils and other mediums.

    Talbot family with parents. Ida on swing with her twin

    Daphneโ€™s father, James, was known in Devizes as โ€œJimโ€ or โ€œJimmy.โ€ He was not Irish but proud of his upbringing off the coast of County Mayo, and โ€œnever lost his soft Irish brogue.โ€ His father Arthur Oram was a farmer and land agent in one of the most deprived parts of rural Ireland, hit hard by the famines of the early 1800s, and as such it was a natural breeding ground for agrarian discontent, later producing some prominent members of the IRA. This caused James to be keenly aware of local injustices.

    โ€œIn 1961, when James took us to see where he was born,โ€ Carolyn expressed, โ€œhe told us he was upset that he was not allowed to go to school with his friends. They were Catholic and he was a Protestant and to highlight the differences James and his siblings had to travel to school in Newport by pony and trap, rather than walk to the local school.โ€

    โ€œI feel sure that our father John was correct in saying that if James had stayed in Ireland he would have become a renowned barrister. Unfortunately, just as James left school there was a change in the familyโ€™s fortunes as The Congested Districts Board on behalf of the British Government were, quite rightly buying estates and redistributing the land among farmers living on tenanted, uneconomic smallholdings.โ€

    Therefore, instead of attending university at sixteen James travelled to Devizes, to help his uncle (by marriage,) Alfred Hinxman, the manager of the Devizes branch of a Salisbury coal merchant.ย  James lived in Devizes for the rest his life, managing the coal merchant until his retirement. Overseeing the distribution of coal in the southwest during the Second World War, James was so horrified by the profiteering he didnโ€™t take a penny for his efforts and received a MBE.

    James Oram, Devizes Mayor

    โ€œJames soon became a trusted member of the community,โ€ Carolyn said, โ€œactive in its civic life, as a magistrate and a school governor. This included being Mayor of Devizes during The Abdication and coronation of George VI.โ€

    โ€œJames also successfully became involved in many businesses including The Devizes Brick and Tile Co. Somehow James also found time for his interest in local history and was a member of various local societies. He could have become wealthy but instead gave away his excess income after ensuring that his family lived in a comfortable style. Every Sunday dinner during the depression of the 1930s they would discuss the families that the brickworks supported, carefully working out if they would have the money to feed their children. The discussion would end by choosing someone who was struggling to hire to cut the Belle Vue House lawn during the following week.โ€

    The Devizes Brick and Tile Co. Photograph by HR Edmonds

    Jamesโ€™ generous nature rubbed off on his children.ย  Daphne actively supported composersโ€™ rights to royalties while she was a Trustee of The Performing Rights Society in the 1970s. ย โ€œIn particular,โ€ Carolyn noted, โ€œDaphne helped to set up the PRS Membersโ€™ Fund that continues to support those registered with the PRS and their families when they are in need of financial help. During the 1980s Daphne arranged Christmas hampers for these families.โ€

    Before Daphne was born the family lived in rooms above the coal merchantโ€™s office at 7 High Street, Devizes. James wanted Belle Vue House, empty at the time but out of his price range, until theย  state of dilapidation dropped far enough, which was just as Daphne was being born. The house would have been at the end of Belle Vue Road, now replaced by Waiblingen Way housing estate.ย 

    Retired designer Paul Bryant, who still resides locally told me he grew up close to Belle Vue House, and recalled her returning to the family home and, โ€œthe excitement that was generated when she was awarded grants from the Gulbenkian Foundation.โ€ Paul expressed โ€œit is heartening to see the ancient horse chestnut tree, then at the end of the Oram’s garden, still surviving in Waiblingen Way.โ€ Meanwhile, local musician Peter Easton has written in request for a blue plaque to be erected in Daphneโ€™s honour.

    Daphne, with the grass roller at Belle Vue House, Devizes

    Carolyn explained how the siblingโ€™s engineering abilities can also be traced to the Oram side of the family. โ€œTheir great uncle John had designed machinery to make barrels for Rockefellerโ€™s oil, and their uncle Arthur oversaw many civil engineering projects in the Indus Valley, now in Pakistan.โ€

    โ€œArthur, aged 9 and John, aged 5 were to share a bedroom with an adjoining dressing room that James agreed they would turn into a workshop,โ€ Carolyn said. โ€œThey had already started their own tool kits and Arthur was delighted when James added a foot controlled fret saw.โ€

    In a letter to John dated April 2003, Arthur wrote it would be the 77th anniversary of their move from the High Street to Belle Vue House: โ€œEvery 20th April was the day of an annual fair on the Green, and Hitlerโ€™s birthday. That one in 1926 was a very special wet Tuesday for us. Our mother was taken the half-mile in a big closed Bath Chair drawn by a man holding the long handle in front, because of her illness with a bad knee. She was helped into their old oak bed in the drawing room, on the right of the door towards the fireplace. In that room there was placed, near the door, the old radio that our mother had bought some years before from proceeds of her Barbola work, with its two bright emitter valves and six volt battery, from which we had news through the general strike of 1926.โ€

    โ€œLater the workshop became home to Johnโ€™s lathe and of great interest to Daphne. John told me that he was sometimes very mean to Daphne when she came to the workshop. At first she had to stay outside the open door and be silent, if she passed that test she was allowed to stand just inside the door for a while before coming closer to John and even helping when possible. John taught Daphne to use a lathe and she had one of his old lathes at Tower Folly, albeit by then worn and no longer a precision tool. John also admitted to teasing Daphne over his Meccano set that she wanted to play with. Daphne had to watch John make, say a crane ,then he would tighten all the nuts and bolts before walking away leaving Daphne to dismantle his work.โ€

    Daphne visits her parents in Devizes

    Carolyn said, โ€œthere were three main early influences on Arthur, John and Daphne namely their father James, mother Ida and their home which gave them space to both work together and follow their own particular interests.โ€

    Iโ€™m eternally grateful to Carolyn Scales, Daphne’s niece, for a fascinating insight into Daphneโ€™s early years and family life, and for the photographs too. It seems her curious childhood nature was focused on what makes music, and her engineering skills were honed early, enhanced by her intrigue and not being allowed to assist by her elder brothers. This led her to create ย the Oramics Machine, her early synthesiser, built in the 1960s, but lost after her death. We should concentrate our efforts on Daphneโ€™s work ย in the third part, and how it shaped modern music……

    All images are taken with permission from the personal collection of Carolyn Scales with thanks. ยฉ2025 Carolyn Scales. Please ask permission before use.


  • 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 in Uganda, with a little help from talented friendsโ€ฆ.

    Years back as soloist singer-songwriter One Trick Pony, Chrissy organised annual fundraising gigs at the Southgate around Christmas time, but now tuned up a notch with her incredible Americana band Burn the Midnight Oil behind her it was a high noon lock up and load for a Sunday afternoon hoedown at the Muck and Dunder rum bar in Devizes. The better half, Mrs Devizine, has been asking me to take her somewhere tropical, so given such an opportunity, we bused it to The Brittox.

    With Burn The Midnight Oil rightfully grasping the top slot with the same intensity as me holding my pineapple vase of piรฑa colada, all kicked off at half-two with Gary Hewitt-Long performing a rare acoustic set. New to the game, and while I obviously cannot condone a satirical song aimed at a certain rogue local councillor, Gary was unnecessarily bashful, as he acoustically played out some great originals to warm the crowd!

    Perhaps it was the crowd which, understandably nerved him; it sure was building, as Martin Rea sauntered through them, sporting a fashionable bum bag and dishing out raffle tickets.

    A Wiltshire duo new to me, One Plus One may offer sums even I can handle in name, but their performance was delightful. A proficient and lovable pop cover duo to please any event, One Plus One is guitarist Dave, and Emily on vocals, confident to take on an Amy Winehouse cover or two and come up trumps. Chapel Roan’s Pink Pony Club also got a superb makeover, and they polished it off with the seasonal Fairytale of New York; why not?

    Maybe only because our modest local folk legend Vince Bell, who followed, also planned to finalise his sublime set with the UK’s best loved Christmas song, with his wife Lisa as Kirsty MacColl. Though more musical theatre, no stranger to the limelight, Lisa nailed it, and the handsome, pretty, and the queens of New Devizes City crowd never minded the doubled up cover and sang the chorus.

    Vince also offered Chrissy the accompanying chair for a spellbinding middle duet they supposed they should record, and they should. But beginning his set with his divine self-penned melancholic earworms, garnished in percussive rhythm guitar mastery akin to flamenco, and raising the spirit with the more spritely Spiderman Pajamas, Vince is a local treasure and never fails to charm.


    Exactly a year after we first interviewed the original lineup, Burn The Midnight Oil came bursting on and delivered their awesome set with unified passion and precision, seemingly lapping up every minute. You’d be excused for assuming this band has been playing together for decades despite it being less than a year in the new format.

    They appeased the audience with a taste of what they’ve been working on, looked fantabulous, and, most importantly, put 210% into their show. Yet it was arguably the sum of all these parts and the community festive spirit, which made it the wonderful afternoon it was.


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.


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 rustic feel than The Wurzels, who have just been announced on the line-up?! If Somersetโ€™s Scrumpy and Western genre has fermented longer than a cider press from folk roots, itโ€™s surelyโ€ฆ

Wiltshire Music Awards: Results and Ups and Downs

Well, we did it! I sincerely hope you had a great night at the first Wiltshire Music Awards as we filled the Devizes Corn Exchange with a cross-section of people involved in the music scene of Wiltshire, musicians and fans. Positive feedback already, and a few teething issues, noted, which we must take onboard andโ€ฆ

Wiltshire Music Awards Begins with George Wilding at The Three Crowns

This afternoon sees the inaugural grand ceremony of Stone Circle Music Eventsโ€™ Wiltshire Music Awards taking place at the Devizes Corn Exchange. Itโ€™s a sellout show celebrating our countyโ€™s music scene, with a lot of local acts performing between the announcements of the results of a public voting system. The legend who is Mr Georgeโ€ฆ

Wiltshire Council in Turmoilโ€ฆApparently!

Has anyone else noticed this media trend, or is it just me? There was a time, back when Tories held the majority at County Hall, when I felt like Michael Knight, a lone crusader championing criticisms of the council. Now the Lib Dems have taken command, every man and his blog are jumping the bandwagonโ€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 twenty years oldsโ€ฆ. Itโ€™s an introductory session on video mapping and projection mapping, hosted by PF Events and run by a professional video engineer. These sessions will cover the basics ofโ€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 the first notes ring out. Quite familiar with Swindonโ€™s beloved Dylanesque singer-songwriter Jol Rose, Ragged Stories is another notch in his sublime discography you simply have to listen to on repeatโ€ฆ.โ€ฆ

โ€œAntony and Cleopatraโ€ at the Rondo Theatre, Larkhall, Bath, October 18th 2025.

by Ian Diddamsimages by Penny Clegg and Shakespeare Live โ€œAntony & Cleopatraโ€ is one of Shakespeareโ€™s four โ€œRoman Playsโ€, and chronologically is set after โ€œJulius Caesarโ€ as the new triumvirs Mark Antony, Octavius and Lepidus between them oversee the Roman Empire. Basically we start with Mark Antony all loved up, and avoiding his duties untilโ€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 short of twenty-six years late! We’re looking at Vince Bell’s EP, Songs, Poetry and Motivation, as it makes off for a futuristic online adventureโ€ฆ.. Devizes knows โ€œour Springsteenโ€ Vince, loves Vince,โ€ฆ

Stone Circle Music Events Wiltshire Music Awards 2025: Programme

Less than a week to go until the first ever Stone Circle Music Events’ Wiltshire Music Awards at the Corn Exchange, Devizes. We’re not printing a programme of events, so here’s everything you need to know about the ceremony this coming weekend….exciting, isn’t it?! Firstly, all tickets have now sold out, sorry! But if you’reโ€ฆ

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 all the same soap but in a different bottle to me. Lab mice with slap and economical slaves in sweatshops, so unethical multinational bastards can prey on your vanity, when unlessโ€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


Things to Do During Halloween Half Term

The spookiest of half terms is nearly upon us again; kids excited, parents not quite so much! But hey, as well as Halloween, here’s what family fun and activities we’ve found locally to pass the time, save on Haribo and prevent wine 0’clock overloading….. There’s a list of pumpkin patches at the end! What moreโ€ฆ

โ€œA Bunch of Amateursโ€ at the Wharf Theatre, Devizes, October 13th-18th 2025.

by Ian Diddamsimages by Chris Watkins Media and Ian Diddams Whilst probably best known for his editorship of โ€œPrivate Eyeโ€ magazine and thirty-five years as a team captain on the BBCโ€™s wonderfully satirical โ€œHave I Got News For Youโ€, Ian Hislop has also over time turned his focus to screen and playwriting. Amongst the fiveโ€ฆ

Danny Kruger Set To Destroy Imaginary Religion

Dunno bout you, but I’ve still not gotten over the horror a majority in Marlborough blindly voted him in. Or even that he doesn’t believe women have the right to decide what to do with their own bodies, but after Clactonising his Wiltshire constituency despite their unwillingness to join the Black Shirts, their reborn fascistโ€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.

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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/


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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!


Paul Lappin Wants to Fly

Tad snowed under with the plethora of great new music at the moment, but delighted to hear Swindonโ€™s breezy Britpop fashioned artist, Paul Lappin has progressed from the few singles weโ€™ve reviewed fondly in the past, to release an album of all new material, this week. So, yeah, apologies for lack of advance notice, The Boy Who Wants To Fly is out now, and very worthy of our attention.

It binds all the goodness of the singles into something you can nourish extensively, thereโ€™s a real concentration of composition here as each track drifts adroitly. Itโ€™s astutely written pensiveness, nicely implemented, with the expertise likened to our own Jamie R Hawkins; Iโ€™ve made this comparison before. This moulds what could be great acoustic into a full band experience, handsomely; As Billy Green 3 are accomplishing this side of the M4, but letโ€™s not get all road map. Best way, imagine George Harrison present on the Britpop scene, and youโ€™re somewhere lost in Lappinโ€™s world.

Not a lot standout in theme, Paul mostly takes on the classic subject matters, sometimes optimistic romance, often uplifting reflections on past observation, such as the title track which Paul clarifies, โ€œit was originally written for my young nieces and nephews, but listening to it now I can also hear a lot of my younger self in there.โ€ But thereโ€™s a nod to current affairs, such as the citation towards the refugee crisis in the wonderfully executed Song for Someone.

Iโ€™m getting shards of Tom Pettyโ€™s Freefalling, particularly with the title track. Story behind the album reaches back six years, when Paul was looking after an isolated farmhouse in the Occitanie region of the south of France, coinciding with a particularly motivated period developing song ideas. โ€œMost of the songs on the album were written within the first few months of arriving at the house,โ€ he explains, โ€œthe melodies came during long walks in the surrounding hills and vineyards, the lyrics were penned in local cafรฉs.โ€

Haven’t yet had the pleasure of meeting Paul yet, but through the openness of his songs you feel like you know him already, and that constitutes an exceptional song-writer.

Ten tunes strong, optimism drops by the eighth, The Eye of the Storm, and darker, heavier elements ensue, if only for a track. โ€œEye of the Storm was a reaction to how helpless and frustrated I felt to all the crap that was going on at the time,โ€ Paul elucidates. Life was Good is critically observant too, but retains the feel-good factor, and that sums the general ambiance of the entire album. Common with creative geniuses, they shy, and this self-indulgence uneasiness I see in Paul. โ€œEntering the For The Song competition in 2019 changed all that,โ€ he expressed when he won with the song Life Was Good, boosting his confidence, which has ultimately led to this worthy and proud album; as he rightfully should be. I urge you to take a listen.


Talk in Codeโ€™s Secret

New single from Swindonโ€™s indie-pop darlings, and, as foreseen, itโ€™s blinking marvellous, Gloria.

โ€œEighties,โ€ I yell, but my daughter corrects me. Itโ€™s a tune from Miley Circus, apparently. Story checks out, searched YouTube for it. Now Iโ€™m distracted from reviewing Talk in Codeโ€™s new single, Secret, by her suggestive gyrations in a black studded swimsuit and equally studded elbow-length gloves. Only from a health and safety perspective, you understand. Metallic studs are unsuitable for swimwear, gloves would fill with water; I should warn her PR.

When behind the wheel of Dadโ€™s taxi, my daughter plays DJ; curse that built-in Bluetooth function. Least I can pretend Iโ€™m hip with the kids by distinguishing my George Ezras from my Sam Fenders. โ€œAh,โ€ but I clarify, โ€œI didnโ€™t mean that, I meant it sounds like something from the eighties.โ€ She agrees, tells me theyโ€™re all inspired from the eighties. โ€œLike, Blondie,โ€ I add, sheโ€™d have to Google that, but she watched The Breakfast Club and Uncle Buck, she is aware of the style of sound demarcated by eighties electronica pop.

Refrained from telling her about these guys though, some things are best left in the past.

If a retrospective inclination influenced by the decade of Danny Kendal v Mr Bronson, Rubikโ€™s cubes and skinhead Weetabix characters is good for you, ok, look no further than upcoming local bands like Talk in Code and Daydream Runaways. Iโ€™ve often grouped these two on this very notion, and Iโ€™m delighted to note via my comparison, the Daydreamers are supporting the Talkers at Level III in Swindon on November 20th, my only annoyance is that itโ€™s a Friday and I canโ€™t make it.

To differentiate, Daydream Runaways take a rock edge, the like of Simple Minds, but Talk in Code seem to strive for the electronica angle of bands like Yazoo and The Human League. They do it far better than well though, and if I branded it, โ€œsophisticated pop with modern sparkle,โ€ their last single, Taste the Sun, back in July, embodied this more than anything previous. So, here we are again with another belter which adds to this uniform style, though the climate may not be so clement, Secret sparkles too.

It snaps straight in, this aforementioned feel-good 80s electronica guitar pop sound, and itโ€™s so beguiling and catchy itโ€™s certain to appeal wide, agelessly. If I was attending a local festival and Talkers took the stage, Iโ€™d imagine my daughter and I would dance together, and right now with her tastes directed to my odium, calculatingly sweary modern pop R&B, this would be a miracle! I do not twerk.

Secret is right out of a John Hughes movie then, a stuck record comparison I say to near-on every release by them and Daydream Runaways too, but this undeviating style is consistently cultivating and improving. Lyrically itโ€™s characterised by the same simple but effective theme of optimistic romance, and a bright, catchy chorus, as every classic pop song should. ย 

The band cite pop classics such as King of Wishful Thinking, How Will I Know and Alexander Oโ€™Nealโ€™s Criticise as evaluations. I can only but agree, but add, those can be cringingly timeworn, whereas, this is not Dr Beat, no need for an ambulance sound effect, and the Talker guys donโ€™t got no hairspray, this is renewed and exhilarating for a modern generation.

You can pre-save TALK IN CODEโ€™s brand new 80โ€™s infused indie pop belter, on the platform of your choice and listen in full, but itโ€™s not released until November 16th. Yeah, I know right, Iโ€™m so lucky to have these things in advance, but with Secret I can guarantee by the time it comes your way, Iโ€™ll still be up dancing to it, perhaps my daughter too. Care to join me on the dancefloor? But oi, watch the handbag, Miley, and donโ€™t yank my diddy-boppers, Iโ€™m no that kind of guy; saving myself for Gloria Estefan.


The Return of Wilding; Falling Dreams

It doesnโ€™t hang about, it doesnโ€™t drift dreamily as some previous tracks on the Soul Sucker debut EP, unbelievably near-on a couple of years ago, but it is unmistakably Wilding, this beguiling new tune from George Wilding, back with his band after lockdown. As a frustrating era for all creative groups, it feels as if with โ€œFalling Dreamsโ€ they concentrated all their het-up energy, impetus and vigour, directed it into a trunk, padlocked it for a few months, then smashed the deadbolt and channelled it direct into an adroit three-and-half minute explosion.

Excellence is a watermark of Bristolโ€™s Wilding, what initially began as a backing band for our homemade favourite lead singer, George Wildingโ€™s prodigious young solo career, I expected no less. Though, while itโ€™s not excessively upbeat it rocks steady, but Falling Down is a grower, appeal increases with every listen. It fits their self-penned label, psychedelic Britpop, but what is more, unlike Hendrix and Joplin itโ€™s not psychedelia lost in time, similarly with Britpop darlings Oasis or Blur, which are somehow suspended in nineties nostalgia, a more apt comparison would be the Doors, a band with jazz and classically trained elements, and wild frontman poet, their sound is timeless.

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If Soul Sucker received regular rotation on BBC Radio 2 from Graham Norton and burgeoning interest from major labels, here is a natural progression and a multi-layered detonation, compacted into one song. Writer and frontman George, multi-instrumentalist Perry Sangha, bassist James Barlow and drummer Dan Roe have shattered expectations and produced something here to refine their style. If this is a glimmer of what is to come, you had better watch out.

Why? Because, as I said to George, thereโ€™s so much good music being released during this troubled time for musicians, if they can get some writing and production out to help fill the shortfall, itโ€™s all good. โ€œI suppose thatโ€™s been the upside,โ€ he replied, โ€œeverybody has so much time on their hands to create.โ€

The theme of Falling Dreams is ambiguously defined, as any strong songwriter should allow audience interpretation. To me it feels bitterly like a broken romance theme, but George jests, โ€œthey’re usually about girls, but ‘Falling Dreams’ is just about being fucking cool,โ€ adding, โ€œit’s about me…โ€ Herein requires some prior knowledge to his character to fully appreciate, as far from egotistical, Georgeโ€™s charisma lies with tongue-in-cheek witticisms shadowing a selfless good egg. But yeah, he is fucking cool too! They all are, this song verifies it.

To see what I mean, hold out for its release this Friday, 23rd October. If youโ€™re used to George providing entertaining covers on our pub circuit and his sublimely succulent solo EPโ€™s of dreamy indie, this will be a wonderful surprise, but as I said, its skill and catchiness is neither unexpected or unmistakable.


On the Climbing Frame with Gecko

If our last music review from Ruzz Guitar impressed me for its exploration of traditional blues styles, note Iโ€™m not conventional and you need not rewind progress to appease me; I love Climbing Frame, the second forthcoming album by London-based Gecko, equally, but for completely opposite reasons.

Partly, it reminded me of the time Louis Theroux rapped for one of his โ€œWeird Weekendโ€ episodes. In the mockumentary Theroux was advised by the US rap producers to โ€œkeep it real,โ€ yet upon drafting lyrics about eating cheese and driving a compact car, sardonically citing as that as what is real to him, they contradictorily sniggered it off and recommended he rapped on clichรฉ subject matter; bling, hoes, cold cash, etc.

If commercial US hip hop has lost its direction, UK rap thrives and remains faithful to the origins by pushing new boundaries. But if you feel the midway โ€œcockneeโ€ chat-come-singing style, the likes of Lilly Allen and Kate Nash, has come of age and flatlined for being samey, Gecko is a refreshing breeze of originality, and so multi-layered itโ€™s difficult to pin it down and compare. Fact is, Iโ€™m uncertain defining it as โ€œrapโ€ is a fair shout, as hip-hop fashioned beats here have been left to the bare minimum and what we have is intelligent chat, often thought-provoking or comical, which slips into song over either acoustic indie guitar or retrospective electronica pop; as if Scritti Politti met the Streets.

If youโ€™re contemplating, sounds rather geeky, Iโ€™d reply ah, it could head one of two ways, and in the hands of many itโ€™d be bad news, but Iโ€™m happy to report Gecko accomplishes it in a proficient and highly entertaining way.

Awash with sentimental or witty verses reflecting on all manner of unique themes, the bulk of Geckoโ€™s thoughts are honest observations, whole-heartedly personal, often retrospective anecdotes. Gecko does not uphold the ego or bravura of prominence; rather like Jarvis Cocker, thereโ€™s a contestant notion heโ€™s opening his soul and depicting his innermost feelings, but is never without a punchline, and never afraid to show compassion. After a spoken word intro, for example, the opening song, โ€œCanโ€™t Know all the Songs,โ€ is an upbeat riposte which any live performer could identify with; the annoyance of an audience shouting requests he doesnโ€™t know. Itโ€™s ingeniously droll.     

But if the opening tune cites Geckoโ€™s mature issues, the title track follows on this juvenile running theme, reflecting on childhood. The climbing in frame in question is a fallen tree, an amusing photo of Gecko estimated age of eight as the cover design reinforces this notion. Gecko perceives the unusual and expresses it inimitably, here, a reference to an age where we once recycled natureโ€™s way for childlike kicks. Hope that the youngest people in this world will turn the apocalyptic hand that theyโ€™ve been dealt into something positive that we have not yet seen; โ€œthey werenโ€™t trying to be symbolic, they were just having a laugh, but where most saw an obstacle, they just saw a path.โ€

Soaring does similar, but reverting to a simple acoustic guitar riff, it highlights the awe of childhood innocence in discovering something they think is exclusive, only to be knocked back by their parentโ€™s clarification. I canโ€™t detail it anymore without it being a spoiler, but believe me, if you donโ€™t see yourself in this song and laugh out loud, you mustโ€™ve been born an adult. However, Gecko twists the narrative with genius writing akin to John Sullivan, and completes the track with a sentimental and virtuous moral. Hence my concern of my comparison; UK rap is not nearly multi-layered enough; donโ€™t know why I even mentioned it really, only in desperation to pigeonhole this unique sound.

After this other recollection, Gecko proceeds to explain the theme of the next song, and performs a sublimely sentimental tale of Laika, a Moscow stray used to send into space, from the point of view of the dog. Perfect example of what I’m getting at with my originality angle; who dreams up a theme for a song on this subject? Gecko is part songwriter part author, Jack London in this case, and a damn good one to boot.

Furthering the childhood theme and his unpretentious tenet, he takes it to the next step with a real recording from his childhood, displaying the roots of his talent.

It’s a chockful album of twelve tunes, Breathe maybe the most commercially pliable with uplifting eighties synth-pop goodness. Yet Always and Pass it On plod like nineties indie anthems, Stereo MCs fashion. Whereas thereโ€™s a piano-based ballad, All I Know, and whoa, back to acoustic splendour with an immature narrative called A Whole Life. Here, Gecko writes from the perspective of a child just started primary school, giving a speech to a reception class about his experiences in ‘big school.’ This is, quite simply, ingenious writing and played out with sentiments so ultrafine and intelligently placed, you could listen to Climbing Frame over and over and still pick out elements you may’ve missed.

Best start then, as itโ€™s released this Friday, 23rd October. Itโ€™s so multi-layered and original I’d highly recommend it to anyone, loving any genre, with an open mind, and perhaps a twinkling for nostalgic dreams.


The Instrumental Sounds Of Ruzz Guitarโ€™s Blues Revue, While Washing Up!

Who says men can’t multitask? I’m washing up and reviewing this forthcoming musical extravaganza…..

Ruling in my household, being the better-half does the majority of cooking, I therefore wash-up. And on sporadic occasions I cook, I still do the washing up. I know what youโ€™re thinking; under the thumb, Worrow. I beg to differ, family are watching some revamped eighties game show; squeamishly sickening the first time around, or else a bronze lady of all teeth and earrings, in a buttery summer dress is assisting affluent chavs to relocate to a Mediterranean costa.

Meanwhile, Iโ€™m preparing my chore. First task is not to clear the drainer of previously cleaned utensils, that comes after I Bluetooth my phone to the soundbar. Firmly of the belief washing up should be done to music, and such a law should be implemented nationally.

Those completed, time to fill the sink with hot water and Fairy. Cheaper varieties a no-brainer, you use twice as much for the same effect. Much like my choice of music, others donโ€™t have the same clout. For retrospective genres, such as rock n roll, today largely consists of wishy-washy tributes and anodyne honours of a once dicey outrageous bravura. Else thereโ€™s a disturbing scene fusing techno with swing to revamp classics which really donโ€™t need or desire the wonky attention.

Let me be the first, I suspect, to compare Ruzz Guitarโ€™s Blues Revue to Fairy washing-up liquid. But if you want the job of recreating the true spirit of bygone blues styles done properly, accept no substitute. Add equal amount of Fairy as needed with a cheaper alternative and youโ€™ve got an Ibiza foam party in your kitchen.

Iโ€™ve got an advance copy of their instrumental album, โ€˜The Instrumental Sounds Ofโ€ฆโ€™ not due for release until 6th December, but ready for pre-order; I strongly suggest you do. Because hereโ€™s a Bristol-based rockabilly/blues trio, with three-piece horn section, who encompass everything once rousing and electrifying about musical styles ranging from jazz to rock n roll, originally, and with a benchmark of contemporary quality.

While Ruzzโ€™s singing is passable, the guitar is his true calling; Gretsch agrees and endorses this, if you donโ€™t take someone chained to the kitchen sinkโ€™s word for it. In genres such as these, where one imagines and perceives the vocals to hold a deep Mississippi accent, to hear his Bristol enunciation is novel, but unusual. Ruzz Guitarโ€™s Blues Revue have the astounding ability to stretch a song to the proportions of a space-rock band like Pink Floyd, but retain the frenzy of traditional rock n roll, which would once be over within three minutes. At that point, though, itโ€™s nice to simmer it with occasional vocals, but itโ€™s not their forte.

Here then, is what they do best; concentrated instrumentals, a collection of musical styles, based within the blues, that have influenced Ruzz throughout his career. A project Ruzz has been wanting to do, and lockdown has provided the time. Iโ€™m strutting across the kitchen, shoving plates and utensils roughly back in the cupboards they belong in, while contemplating how I didnโ€™t fully appreciate my dadโ€™s obsession with the Shadows. For their instrumental goodness mayโ€™ve gone over my adolescent head, at the time. But this is a blinding upbeat opening tune, Hold Fast, with remnants of The Shadows’ slide-guitar. Yet itโ€™s blaring horns make it like Hank, et al were in a big band.

Now to the main task, wrist-deep in foamy water Iโ€™m timely scrubbing with brillo-pad, like the ivory of a boogie-woogie piano. Swing Thing maintains big band, but slides neatly into swing. Itโ€™s spectacularly captivating.

Three tunes in and itโ€™s mellowed to a sax ballad with Hawaiian guitar riff. Longing to See You drifts, as I causally dip dinner plates into their foam bath, and caress them as if theyโ€™re sun-kissed skin of a beautiful seรฑorita! The Instrumentals Of album strides jazzily, continuing with a slight nod to that tropical guitar on the fourth track. But this is shrewdly quirky and experimental, Ruffled Up is as if Miles Davis joined a big band.

So many influences but so meshed itโ€™s hard to pick it apart and balance washed up items on the draining board. Men can multitask, believe it. Now Iโ€™m striding, Clint Eastwood style, to obtain a tea towel dumped on the breadbin like it was a six shooter. Duel at High Noon is as perceived by title; Ennio Morricone influenced Shadows.

Heating up back at the sink with some fiery jump blues to make Louis Jordan blush. Jump In does what it says on the tin; I’m doing Chuck Berry legs, rattling those pots and pans like glam rock never happened.

Mambo takes a hit next, Ruzz-style, added funk. Spag Mambo is like Starsky & Hutch doing the Charleston on a Cuban vacation. Gotta go barehand; Iโ€™d look stupid doing jazz hands with marigolds, but Swing G-String is swing firing on all cylinders. Dishes done; I’m jitterbugging the sides down, soggy J-cloth in hand.

Opportunity to clear waste from the plug hole, never an appealing part of the process, nevertheless Iโ€™m cool; Soulful Blues made it so. Itโ€™s equably soul-blues, Ruby Turner could drop vocals, but it never strays from its ethos, yet saunters wonderfully between the variety of jazz and blues from 1940 to 60. Thereโ€™s one more tune, but the job is completed.

Hammer Down polishes with dirty, deep Mississippi jump blues with a clunky rock n roll double bass. Like the rest of this sublime album, it’s irresistible and beguiling. It can’t end early; have to extend the task for five minutes. The floor may look wooden, but itโ€™s lino really; ask Turbo B, or any break-dancer the value of lino; the kitchen is my dancefloor. Time to watusi with broom; the Mrs will be delighted. Even bending to get every last fallen crumb into the dustpan was a pleasure with this album playing in the background; blooming marvellous stuff.

Click to pre-order; gorgeous Christmas pressie!

Will Lawton and the Alchemistsโ€™ Live Stream Album Launch

While Andy has fondly mentioned the Malmesbury combo of frontman and pianist Will Lawton and drummer Weasel Howlett a few times in the past here, Iโ€™m still yet to witness them live. Such is the restrictions of today, could be a while.

Still, both are the backbone of Will Lawton and the Alchemists, formed in 2015 when Will and Weasel started to jam, record and perform their celebrated debut album, Fossils of the Mind three years later. The sound, the band, and their following, is constantly growing and evolving. Now a four-piece with Buddy Fonzarelli on upright bass, Ami Kaelyn on guitar and vocals, and Harki Popli with tabla, they have a live stream next Sunday 11th October to launch their second album, Abbey House Session, which is available now.

This is a six-track part-studio, part-live recording which was all captured in the library at Abbey House in Malmesbury. They describe their music as โ€œbeautiful, musical daydreams, with forays into jazz with drum and bass beats.โ€

The show promises interviews with the band members, and kicks off at 8pm, filmed live from Pound Arts. Tickets are ยฃ5 with ALL money going to Changing Tunes, a Bristol based charity who work in prisons using music and mentoring to help people lead meaningful lives, free from crime.

Ticket link: http://livelounge.tv/show-will-lawton-and-the-alchemists…


A Thrashing Surprise, with Typhoidmaryโ€™s Death Trans

See, I like an ordinary cuppa like the next Englishman, but thereโ€™s lots of varieties of tea, some Iโ€™m impartial about, others I outright donโ€™t like. To say it โ€œisnโ€™t my cup of teaโ€ doesnโ€™t mean it definitely tastes like shit, to others it might be the best thing theyโ€™ve drunk.

Itโ€™s far harder to review something โ€œnot my cup of tea,โ€ then something which is. If you think my reviews have been flattery recently, youโ€™ve strayed from the ethos; thereโ€™s been lots of timelessly brilliant music released, most agrees with me. Yet, what if it doesnโ€™t?

The evaluation is simple; on my opinion anyone producing original music outside the safety-zone of the commercial industry deserves a medal of bravery, I make a point not to outright slag something off, rather not review it at all and provide constructive criticism directly to the creator.

First impression of the newly released debut album independent Cheltenham-based record label, Screamlite kindly sent, Typhoidmaryโ€™s โ€œDeath Trans,โ€ was borderline. Pragmatic about the name choice; throughout her life, Mary Mallon fiercely denied she was the cause of infection, and consequently hated her nickname. Who, in their right mind, would deliberately label themselves Typhoid Mary? Perhaps thatโ€™s the point, thereโ€™s an unparalleled clandestinely dark, clinically insane tenet to this album.

This, coupled with my initial revulsion to the substantial thrashing guitars and accomplished but screeching yells which explodes within six seconds on this album, I predicted drafting a reply explaining why I wouldnโ€™t review it. The fact I didnโ€™t, and the review is here, means something changed my mind.

To confine my eclectic tastes to particular genres, see, gets kicked in the teeth when something defined under my few detested pigeonholes impresses me. Metal and grunge are a couple of my off-putting genres, yet when Motรถrhead blast the Ace Of Spades, or I catch Nirvanaโ€™s Smells Like Teen Spirit I understand their worth, and while I might draw the line at stagediving a mosh pit, I rock the fuck out! If it does what it says on the tin, points are bestowed.

Given director Chris Bowen stated, โ€œitโ€™s one of the best albums Iโ€™ve heard this year,โ€ I decided to throw caution to the wind; it deserves a really closer listen. For its production is quality, with eminence in the delivery. What I discovered was an emotive outpouring of tension and anguish like no other, the very reason why Iโ€™m reviewing it after all.

It drifts between ambiance to these thrashing guitar executions of temper, expelling strains of interrogative quandaries, discharging a bruised wreck of an authentic character, angry and confused at their sexuality and orientation, and the relationships which develop, or fail to, from it.

While gothic outcries of depression and anxiety are not my thing, this is accomplished in a manner fiercer and more emotional than anything I could contemplate to compare it to. Be it the post-punk of Siouxsie And The Banshees, commercialised gothic of Fields of Nephilim or Bauhaus, the battering metal of Slayer of thrashing hardcore skater sound of The Dead Kennedys and Black Flag, they all pale in compassion to the appetite and antagonism displayed by Typhoidmary, and Death Trans takes anguish to a whole other level. It spat in my tea, then smashed my cup; spilt boiling fucking tea on my lap! And for that alone, I award it full credit.

With distant soundscapes separating these ten tracks of haunting annotations, resonating desperate pleas and cynical cries over driven, hard-edged gothic-come-thrash metal riffs, Death Trans is not for the fainthearted. Itโ€™s a musical equivalent of Nabokovโ€™s Lolita or Spielbergโ€™s Schindler’s List, in so much as it takes you to a place youโ€™d rather not be, but intrigue suspends you there.

Typhoidmary has released this spellbinding album for streaming and on her Bandcamp page, Screamlite aims to distribute it to all major digital stores on 16th of October. Fans of such goth and grunge will be bowled over with its exquisitely dark portrayals, yet if, like me, youโ€™re a window shopper of such shadowy and adversative genres, this might be the album which drags you inside with your purse open.

Myself, I confess, I pretended to like Robert Smith in order to get off with pale, sorrow-filled rich chicks with black hair-dye and a chip on their shoulder, which, I might add, rarely paid off! Perhaps then, the younger me is the archetypal predator this album wedges a knife into, but it drove even me on an emotional roller-coaster ride, caused me to regret, and changed my preconceived ideas about the genre. Sod it, Iโ€™m off to get my nose pierced!


The Revelation Games of Phil Cooper

Crouching beside me at our IndieDay outing last month, one third of our local folk trio, The Lost Trades, Tamsin Quin explained sheโ€™s slowly working toward her second album but a lot of time is spent concentrating on progressing the Lost Trades. I supposed here is an advantage to DIY projects, as if The Lost Trades were signed to contract itโ€™d likely be an order to focus entirely on the group.

In pop weโ€™ve seen the pressure put on bands to collaborate equitably, and the result usually causes a split in the end. Major record companies in tough competition donโ€™t do enough to discourage this. Note drama sells in Simon Cowellโ€™s โ€˜show-me-how-easy-it-is-to-manufacture-a-pop-starโ€™ dressed-up karaoke television show, and hear the boos as he obstinately and impassively divides a prearranged group. He sells the tears of the rejected and the tension as young friends split. You could blame Yoko Ono, if you must, but bands breaking up is, sadly, no new thing.

Hence the accord and friendship between unsigned bands is a delightful contradiction to the harsh realities of the music industry, and I sense an unequalled unity in The Lost Trades, and deep respect for each otherโ€™s solo work. Cue another third, Phil Cooper, the binding, organised element of the Lost Trades, and his new solo album, These Revelation Games due for release by Infinite Hive on 30th October. Itโ€™s great, Iโ€™d expect no less, and Philโ€™s fanbase too, but itโ€™s varied content would also serve as a taster for newcomers to his repertoire.

Historically itโ€™s been over a couple of years since he sent me his Thoughts & Observations album to review, which does what it says on the tin, largely acoustic-based annotations and judgements. But I focus on a particular night down the Southgate when Phil was accompanied by his Slight Band. Man, he was on fire, loudly and proudly rocking our legendary live music tavern with unsurpassed esteem and passion. ย Make no mistake, These Revelation Games contains many a track comparable with Thoughts & Observations, theyโ€™re observational and sometimes quirkily humoured. But this new solo album takes no prisoners, and blasts its doors clean off their hinges from the off. ย 

Yeah, while so the opening tune, House of Mirrors explodes rock, and dare I say it, has that impact of the sixties Batman theme, it shouts the riff at you, second up Phil returns us to the mellowed aural breeze weโ€™re more accustomed to with his recorded material. So, itโ€™s a mixed bag of astutely written and perfectly executed songs with Philโ€™s joyful aura and defining style.

Eleven songs heavy, the early tunes creep us slowly back to the up-tempo as it progresses. Without a Sound particularly adroitly manages to raise that notion, and Keep Your Hands on the Wheel is a prime example of how Phil ingeniously twists metaphors of the simplest of everyday things. Leading us onto the quirkiest song, I am a Radio. Akin to Robots on the Lost Trades EP, Phil makes a heartfelt connection to an inanimate object, yet here using sound effects to create the idea his voice is operating on shortwave. Itโ€™s by far the most interesting and experimental, also absorbing his electronica work under the title BCC.

For marvellously prolific and diversified is our Phil, performing as solo, as The Slight Band, his electronica side-project, or what itโ€™s now concentrated on, the outstanding folk harmonies of The Lost Trades with Jamie R Hawkins and Tamsin Quin, Phil never slacks off or confines himself to one sound. โ€œI wasn’t planning a new album this year,โ€ Phil expressed, โ€œbut then, all plans for 2020 went out the window six months ago. So, I spent my time in lockdown writing and recording a whole load of songs that explored influences I’ve never explored before.โ€ Therefore, as a solo album, bought about by lockdown, donโ€™t expect it to remain in one place.

It rocks without reference to this folk avenue, for sure, but stretches to every corner of rock. There are surprisingly heavy guitar riffs. Fervent ballads like the particularly adroit Into the Void, whisking Lennon-like. And thereโ€™s ardent electric blues, Changing Times perhaps best example of the latter. It polishes the experience off with a Clapton-fashioned smooth blues finale called The Horseman Rides Tonight.

With a plethora of new music being produced, lockdown it seems did have one benefit, and These Revelation Games in a varied taster of a concentrated Phil Cooper at his peak. I look forward to the progression of the Lost Trades, but love this aforementioned freedom to produce solo work too. I mentioned my chat with Tamsin to Phil, about the time and effort dedicated to the Lost Trades, but the joy of the flexibility of freely venturing off to work solo, thoroughly supported by the other members of the trio. โ€œYou’re far from the band in the Commitments film,โ€ I noted!

โ€œYeah,โ€ Phil responded, โ€œhaving a record label release it has helped keep the balance between solo and Lost Trades stuff. The Lost Trades has always been built on mutual respect for each other’s work, so we’ll always support each other.โ€ Which kinda wraps it up aptly, the ethos of the trio is like this album, nice. Nice one Phil, nice one, son!

Details on Phil Cooper and These Revelation Games, here.


Daydream Runaways and their Crazy Stupid Love

Thereโ€™s no fooling me, no quixotic baseball-wielding delinquent is going to sway me in giving my honest opinion on Daydream Runawayโ€™s forthcoming single; itโ€™s just a drawing, guys!

It might well be coming a clichรฉ on Devizine, that Daydream Runaways send me over their latest single, tell me they think itโ€™s their best yet, I agree and tell you itโ€™s their best single yet. But Iโ€™m at a stalemate, because Iโ€™m likely to say once again, the new single from Daydream Runaways is their best yet, for the simple reason, the new single from Daydream Runaways is their best yet!

Ah, sure sign of natural progression from a young band always striving to improve, Crazy Stupid Love is out on Friday 2nd October on streaming platforms and it will be the first single from their upcoming EP. Given this strength of this song, and inclining itโ€™ll have a running narrative, Iโ€™m highly anticipating the EP, with bells on. Meanwhile I have to concoct some words on why I think itโ€™s their best single yet, rather than just repeating the same sentence. Well, technically I donโ€™t have to, but I will because I want to.

Image by Van

I wouldnโ€™t have to if you could hear what Iโ€™m hearing, thatโ€™s the fluky bit about doing this. While itโ€™s not always this seamless; I occasionally receive tunes which make me shudder, though delight when these guys message me as I can guarantee itโ€™ll be a non-shudder experience.

So, if I called their second single Fairy Tale Scene, โ€œcatchy melody, pop-tastically, with slight eighties, pre-indie label overtones,โ€ Closing the Line as โ€œa progressive step into local topical subject matter. An emotive and illustrative indie rock track akin to Springsteenโ€™s woes of factories shutting,โ€ and I said Gravity, โ€œpushes firmer towards a heavy rock division,โ€ then Crazy Stupid Love is the counterbalance, calibrating the best elements of their previous singles and weighing them equally. In this feat, it defines a forming style, a signature, I reckon, in which to base future releases.

Image by Van

Inspired by characters in a hit Hollywood film of the same name, which Iโ€™ve not seen, the guys claim โ€œthe song is set to be the sound of a Post-Lockdown world.โ€ I hope so, but it fondly reminds me of a time of yore, pre-nineties indie and Britpop, back to the days of Simple Minds and U2; no bad thing. For, just like the moment Judd Nelson sticks Molly Ringwaldโ€™s earing in his lughole, these bands were beguiling, memorable and emotive. Crazy Stupid Love is like them, infectiously uplifting, and with a coming-of-age narrative, articulating moods of a youthful, verboten romance, it suits.

Surprisingly dicey too, it also creates a mysterious character within the narrative, namely Chad, intended to market the single with a hashtag #whoischad. We canโ€™t see his mug on the cover, but the likelihood itโ€™s Bradโ€™s alter-ego, just because he rhymes with Chad and heโ€™s wearing the same baseball jacket in the accompanying photoshoot is slight. With a penchant for fireworks he carries a baseball bat to a fairground, and anyone who does such is surely asking for trouble. But, I dunno, Brad just doesnโ€™t seem the type!

Image by Van

This self-produced nostalgic nugget has those swirling harmonies, chiming guitars and an infectious chorus hook, to compare it to those eighties greats. But akin to what Talk in Code are putting out, it retains the modernism and freshness, acting as a nod to influences rather than a tribute.

In mentioning this to the Talkers they hadnโ€™t heard of Daydream Runaways, but now Iโ€™m pleased to hear theyโ€™re supporting Talk in Code for an exclusive gig at Swindonโ€™s Vic in November. Did I connect this, guys? Because if so, it makes me proud, sound wise I believe itโ€™s a perfect match. Though BBC Wiltshireโ€™s Sue Davis also has taken a big shining to the Runaways, asking them back on the 3rd October. Just, you dark horse, you, leave the baseball bat at home, Brad, I mean Chad. In my experience the Beeb pay for your parking if you ask, so no need to get nasty. Tut, always the quiet ones!

Super single, guys and look forward to catching up with you soon.