Tag: 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.

• Agricultural Appropriation with Monkey Bizzle

  There’s no sophomore slump for Monkey Bizzle; prolific in their art, these rural chav-choppers return with a second album, Agricultural Appropriation, only five years and a kazillion bongs after their debut, Idiot Music, and it be gurt lush, shagger….

  Not on the guesstimate I’ve passed a thousand plays of Oi Mate, their tune from Idiot Music about the ultimate scrounger, and figured these guys know a blagger when they see one, rather on the grounds I laughed out loud more times at the opening tune than I’ve laughed at any comedy song, ever, possibly combined, I brought this album rather than requested a review copy; it’s going in my personal collection, even if you can’t skin up on an mp3.

  Legend has it Malmesbury’s Corky coined the term agricultural hip hop. Brilliant though he is at penning and acoustically delivering an original, his showstoppers are usually parodies of hip hop classics; think gangster’s paradise and change to Ginsters, for example. Questioning if we’re in the same ballpark here, because Monkey Bizzle are 100% original and, save the odd spoken sample or dodgy scratch, they’re backed by a bone fide band. It’s more than rap with a capital C. Not much more but definitely more.

  

  So, if the term is founded, we could debate the boundaries of agricultural hip hop till the cows come home, literally; ie, if you’re producing hip hop and live rurally, does it automatically class your output as agricultural hip hop? The opening title track therefore either ponders if they’re guilty of “agricultural appropriation” being, while dwelling rurally, they’re not farmers, as is the common misinterpreted stereotype in urban areas where hip hop trends, or, more likely, it’s just a self-deprecating exercise with hilarious consequences, as it is with many of the their songs.

  In 1985 Derek Showard, or GrandMixer DXT said “the Bronx is the home of hip hop,” not Bridgwater, but we’ve come this far from NY hommies, and a melting pot of west country banter, folk and scrumpy, is fine, if slightly polluted. Monkey Bizzle dived in, and the result is as funny as it is accomplished. For while they’re more Grandmaster Smelly Mel than Melle, and more whole mouth than tongue-in-cheek, still they manage to rock a rhyme that’s right on time, and that’s not just tricky, it’s tr-tr-tr-tricky, trrrrrrrrrrricky, apparently. One certainty, Monkey Bizzle keeps it realz on a geographical level close to us, and with West Country banter as twisted as it generally is, this is as raw as it could be. This album is  dope in more ways than one, and exceptionally well produced.

  It’s backed sometimes by a ska offbeat, others the wailing guitar riffs of much of Caucasian hip hop-rock crossover, and boom bap, though they’d probably titter if you plural it to “baps.” It’s as if Viz creator Chris Donald joined A Tribe Called Quest at Glastonbury, as the absolute filth knows no bounds, but is waxed lyrical with definite perfection. They couldn’t even hold back for the customary ballad; needless to say any song with lines like “you’ve got nits in your bits but I don’t give a shit,” and “I’m never gonna stop licking around your welly-top” is not the song I would advise you to play in a romantic setting. But, laugh, you will. 

  

  There’s separate odes to getting high and the fateful just popping out for a pint after work scenario. There’s one tune about a guy called Bubbles, who makes The Shaman’s Ebenezer Goode look like Cliff Richard, another appears to be a homage to shopping at Lidl, with the genius rhyming of “Lidl” with “middle,” and one about a technophobe trying to operate the camera on their phone, questioning the worth of it all.

  The disambiguation of the ironic slang “ill” in hip hop as a positive is switched far too literally. There’s an overload of bravado as the genre requires and quips aplenty dissing their rivals, The Skimmity Hitchers, where any turf war doesn’t get dirtier than accusations of shagging badgers. 

  But if there’s any likeliness of west country rural hip hop as a contender, convincing and earning respect from city hip hop aficionados, rather than ever remaining just a comical displacement, it’s the final tune, The Cypher. Without topic it’s a nine-minute freestyle collaboration with a host of rappers, none stating their rural or urban environment; Dr. Syntax, Cecil McFarrell Aka Mr Vocab, Chiman 101, Ez Dickens, Samantics, Finn Kinnara, Tatty MC & Fake Dave, all of whom I must research, and our favourite Bristol boom bappers The Scribes. Perhaps this flips the agricultural appropriation concept on its head, asking provided they had fun entertaining, which I couldn’t imagine them not,  if it matters at all and if anyone gives two fucks where a rapper resides, town or country.

  

  Of course, there will always be a renounced Welsh rapping clan, UK comedy hip hop acts will always be likened to, but who’s zooming who in a world where comedy has been evident in hip hop since its inception? Think the Treacherous Three’s Santa Rap in Beat Street, along with a young Doug E. Fresh, and the plethora of carefree lyrics from De La Soul to English reggae’s legendary fast-styler Smiley Culture.

  The jury is out, perhaps Agricultural Appropriation has a hidden philosophy, perhaps it lays down the possibility rural hip hop can be accepted by city folk, perhaps it’s even the album to break those boundaries, but definitely and more simply, it’s a hilarious riot, a mixture of off-colour deadpan and comedy rap, and a damn entertaining listen; I pissed me pants giggling while in backspin and sprayed the crowd like Charlie Dimmock’s garden sprinkler, mate.

  LinkTree

  https://open.spotify.com/album/3m6Yrz47cozwRxkUlamCHx?si=9v7Adg6PQGipFG_QsfdH6w

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• Doctor Faustus Sells His Soul…. in Devizes!

  Featured Image:@jenimeadephotography

  Just another rainy Saturday afternoon in Devizes, whereby I watched a profound fellow dramatically sacrifice himself to the devil, then popped to Morrisons for a Toblerone! The supermarket felt insignificant and plastic after the epic conclusion of Doctor Faustus at the Wharf Theatre, which opens on Monday 26th and runs until Saturday 31st January…..

  Treated to the final dress rehearsal, as our regular theatrical scribe Ian Diddams is stuffing a bucketload of Rice Krispies in this one, of which one couldn’t fail to notice! Marvellous as it is to pay Devizes’ one and only cosy theatre a visit, it leaves me in the dilemma that I’ve not the extensive theatre knowledge which Ian has, therefore, you have to make do with me simply saying what I like, or don’t.

  

  In this case it’s the former. My mind is, with its lack of education for classic theatre, still contemplating exactly how fantastic director Liz Seabourne and her team has presented this astounding play, and the more it boggles the greater the levels of fantastic I unearth, converting me to thespian; hand me some white tights! Even though the character Dr Faustus is damned, this is another damn fine production from our wonderful theatre, rich in lighting effects, amazing costumes and makeup, and a sublime original soundtrack from our master of electronica, Moray McDonald.

  

  Born Catholic, English sixteenth century playwright Christopher “Kit” Marlowe, of whom scholars suggest greatly influenced Shakespeare, was reputed to be an atheist and there’s a lot in the content of Dr Faustus which implies this. Whilst it doesn’t criticise religion outright in the modern sense, it certainly lampoons it, with the Pope getting a kick up the backside, for example.

  Dr John Faustus condemns the academics of the science and philosophy of his era and justifies turning his hand to the dark arts, but religion he cannot escape from. Played with certain perfection by Pete Wallis, Faustus is tricky to relate to, a Renaissance egotistical Germanic tyrant, characteristics usually reserved for an antagonist; I wondered if Trump might identify with him better than I. Yet, there’s something humble about his yearning, in his curious nature for the unorthodox, to fulfil a quest of celebrity status, like a sixteenth century Vanilla Ice. Still, I couldn’t help feeling the ponce made his bed….  

  

  Bit dodgy, he summons a human-despising conceited demon, Mephistopheles, played with absolute magnificence by Charlotte Howard. Mephistopheles acts as a kind of Cruella de Vil agent to the devil, who encourages Faustus to sign a contract with his blood; his soul for unlimited magic, which he treks the known world with, entertaining Kings and Emperors like Paul Daniels discovered voodoo. Though Mephistopheles is no Debbie McGee. Without too many spoilers, it doesn’t end well for Faustus, who learns there’s only one way out, once his twenty-four year contract with the devil expires, and it’s not a gold watch. 

  

  If this Elizabethan forbidden thrill-seeker, overloaded with as many theatrical tricks as devils and demons, sounds seriously dark and gothic, it certainly is, but not without hilariously timeless comedy, brilliantly diluting the tragedy. There’s occasions when it’s virtually pantomime, when the devil, played with radiant vaudeville evilness by Oli Beech, a far cry from the panto dame’s sidekick at Christmas, personifies the seven deadly sins as a circus cabaret to tempt the Doc, and upon the thievery of one of Faustus’ spell books by two commoners, played side-splittingly like stereotypical moonrakers by Jessica Phillips and Ian Diddams. It is these elements which brings the archaic seriousness down a peg and makes this play equally suitable for those, like me, not so clued up on classic plays.

  

  As the many earthbound or spiritual side-characters come and go with pace, the thirteen strong performers cover various parts, and those unmentioned so far, Chris Smith, Alison Andre, Emma Comfort, Cathay Chappell, Julie Baker, Paul Snook, Sam Burrows and Amy Chappelle also require the highest of praise; there is so much work put into this, the mind, as I stated earlier, is still boggling. It entertained me, and I strongly suspect it will be some significant time before my mind stops boggling about it, way past the lifespan of the Toblerone!    

  Bag yourself some tickets for this HERE, unless you’re a demon!

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• Devizes Sammi Evans in the Shadow of a Debut Single

  Being a singer in a tribute or covers band is nerve-wracking. Though tributes can hide behind a mask, a cover band frontperson can be reassured only by the notion that friends are backing them; blame the drummer! But a soloist, singing their mind acoustically is in another ballpark. Stripped back, alone, exposing your innermost thoughts, desires or even personal issues to an audience takes some bottle. It’s a test of courage for the most egotistical, the mental equivalent of standing naked. Yet a majority of those who do, I find, are actually modest and reserved.

  In an interview with Peggy-Sue Ford last year, Aberystwyth born now Devizes-based singer-songwriter, Sammi Evans, expressed both her excitement and terror at playing live on the show, opened up about her troubled childhood, ADHD, and being a self-certified “scatter-brain,” and in doing so created one of the most interesting and touching of Peggy’s Don’t Stop The Music shows on Swindon 105.5. 

  

  The last time I met Sammi she was showing me the artwork of her upcoming debut single, explaining how the purple background and gothic font gave it a sense of corporate identity, as well, holding her phone with a subtle tremble, telling me how anxious she was about releasing it. That single, The Shadow, came out a couple of days ago, and thus, Sammi has traversed the local open mic nights, jams at the Southgate, and pub gig circuit, to a recording artist; that thought alone would goosebump the least nervous!

  The song’s subject reflects this anxiety, it drags you into a dark closet, and hauntingly honest, questions the listener if they experience similar ghostly fears. Sammi’s vocals are academia aesthetic, rich with a focused ethereal and melancholic soundscape. But it is through an impressive arrangement by Martin Spencer of Potterne’s Badger Set studio, which adds to the other-worldly ambience, with a tinkering piano breathing a touch of gothic horror film score, even subtle classical crossover about the otherwise poignant acoustic guitar marvel. 

  

  Hey look, I’ve been to art college and know about light and shadow. If the shadow depicted in this song is metaphorically actualising foreboding as shadows and monsters lurking within them, the quality of the song contravenes its subject, upon its release. It might have felt that way in Sammi’s mind at the time of writing it, but releasing it might’ve been that face your fear moment of diving off the top board into the pool. And now it’s out there, perhaps more art for art’s sake and prosperity than fame and fortune, she should consider it an exhilaration of accomplishment, because it’s really rather wonderful.

  It should then act as the opposite to shadow. This debut single is a light source, beaming directly above Sammi Evans, which casts only a minimal shadow at her footprint, if at all, and, I hope, reduces any seeds of doubt that she can write thought-provoking lyrics and compose them into songs with illuminating results. I look forward to hearing more, Sammi! x

  Listen to The Shadow HERE

  https://open.spotify.com/album/6zbIQk5ZCXAq4X4hHv9XOP?si=j2DcMd2ASRevL73lq0JRNQ

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• Chandra Finds Heaven on Earth

  Usually I just write what I think, but if I had a point-scoring system this new single from Bristol-based indie-pop outfit Chandra would tick every box. It’s called Heaven on Earth; if Belinda Carlise made it, Chandra rocked it!

  Punchy, tick. Find that perfect hook, tick. Subtly righteous narrative, tick. Balance pithy narrative with equal amount of carefree fun, tick. Rock out, double-tick! It’s got the no worries in the face of adversity attitude of Three Little Birds, the youthful carefree tenet of Supergrass’s Alright, the drive of Crash by The Primitives, and the punch of The Beastie Boys fighting for their right to party. Yet, it’s august, styled, and definitively Chandra.

  We’ve not heard from Chandra since 2024 when we fondly reviewed his debut EP Lifted, so it’s great to feature him again, as there’s nothing to criticise about this cracking single, which means my work here is done! It’s raining outside, who cares, plug this blast of indie-punk-pop onto your playlist and cease your worrying!

  Listen HERE

  https://open.spotify.com/album/4SrxJO1LVlAErFUFmjxySF?si=l0_FtxrHQa2X-a89disxlw

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• Peter Gabriel to Release Live at Womad Album

  Peter Gabriel – ‘Live At WOMAD 1982’ will be released on 8th May 2026. It was a simple idea; to create a festival out of all the brilliant music and art made all over the world, stuff made outside of the mainstream – music that wasn’t getting on the radio and was even harder to find in record stores…

  The very first WOMAD Festival took place at the 240-acre Bath and West Showground, Somerset over the weekend of 16–18 July, 1982. With the dream ‘not to sprinkle world music around a rock festival, but to prove that these great artists could be headliners in their own right’, the three days and five stages played host to 60 bands from over 20 countries; a line-up that included The Drummers of Burundi, Pigbag, Salsa de Hoy, Simple Minds, Musicians of the Nile, Echo and the Bunnymen, Prince Nico Mbarga, Rip, Rig and Panic, The Beat and many more.

  “I remember this gig well,” says Peter Gabriel. “We played a mix of old and brand-new material. I would normally be very nervous about playing some of this stuff for the first time, however my mind was very preoccupied with the running of our very first WOMAD festival and the potential financial disaster that it was heading towards.

  Because WOMAD was unique in its focus on music and art from around the world, and mixing it up with rock and jazz, no-one knew how many people might turn up and we had seriously overestimated our appeal. But those that had decided to check out WOMAD and its weird and wonderful lineup were open-minded, bold and curious – a great audience.

  It was a landmark and edgy gig for me both personally and musically and brings back lots of memories.”

  Across the three days ‘an evening concert series’ took place in the Showering Pavilion on the festival site. On the Friday night that concert featured Tian Jin (a song and dance troupe from China), Simple Minds and, with a ‘special festival set of non-album material’, Peter Gabriel.

  Live at WOMAD 1982 is a recording of that Friday night concert. The non-album material in question are seven of the eight songs that would make up the album Peter Gabriel 4. An album that wouldn’t be released for a further two months.

  On-stage, Peter is joined by David Rhodes (guitar), John Giblin (bass), Larry Fast (synthesisers). Jerry Marotta (drums), Peter Hammill (vocals) and “the wonderful Bristol-based drum and dance group,” Ekomé (drums, percussion).

  “We wanted to show that wherever you were born, whatever colour or language, whatever religious or sexual persuasion, powerful passionate and joyful work would have a warm welcome in WOMAD.

  At the beginning, most music industry professionals told us that we had no chance of making this dream work, we had all the wonderful naïve misguided optimism of the young, and were convinced that we would prove all the cynics wrong. However, at the end of the first festival, it was clear we had an artistic success, but not a financial one… but that’s for another story.”

  Peter Gabriel’s Live a WOMAD 1982 takes us back to not only the birth of a festival – one that has now hosted more than 160 editions in 27 countries – but also to the premiere of an album with songs, like The Rhythm of the Heat, San Jacinto and Shock the Monkey, that have become central to the Gabriel canon. More than just a live album, Live at WOMAD 1982 is a pivotal moment, available now for the very first time as a double LP 180g black vinyl, in gatefold jacket with Side D etching and high-res download code, or a single CD in mini-vinyl style gatefold packaging.

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• Fulltone ‘26 to Ignite Wiltshire with an Epic Weekend of Live Music

  Now in its seventh year, and at its new and better venue, Park Farm on the edge of Devizes, it’s full steam ahead for The Fulltone Festival ‘26. From the 11th–12th July Fulltone is set to ignite Wiltshire with an epic weekend of live music…..

  Promising a “spectacular, joy-filled weekend of live music which brings together orchestral power, iconic artists and a true summer festival atmosphere in the heart of the Wiltshire countryside,” The Fulltone Festival is a uniquely magnificent show. Presented by The Fulltone Orchestra, the festival features a fifty-piece live orchestra, major guest performers, celebrated tribute acts and genre-spanning concerts, from cinematic classical masterpieces and symphonic rock to dance anthems, Motown classics and sing-along crowd favourites.

  Designed as a family-friendly, inclusive festival, Fulltone ’26 offers free entry for children under 14, accessible ticket pricing, on-site camping and a relaxed, welcoming environment that encourages audiences of all ages to experience live music together. The event arena is packed full of great food and drink stalls, as well as allowing picnics. There’s parking on site and a shuttle bus taking people from the town to the event. It’s exceptionally well organised, with Event Director Tanya Earley at the helm of the event’s operations again.

  

  The weekend begins for campers on Friday evening with a campsite DJ warming them up. Saturday and Sunday are packed with unmissable performances across the weekend. Audiences can enjoy an electrifying programme including orchestral performances of Holst’s The Planets paired with the Star Wars Suite and Symphonic Queen, featuring Ricardo Afonso who is back by popular demand, as featured in The Voice.

  The guests this year are particularly special. West Country legends The Wurzels gives Fulltone the key to their combine harvester, and Jemma virtually yelped down the phone at me at the thought international pop icon Jason Donovan headlining a huge Sunday night eighties spectacular finale; there’s going to be too many broken hearts in Devizes that weekend (okay, you’ve got to be of a certain age to get that gag!)

  

  There’s also some ska madness with nutty boys tribute Mainly Madness, and Seriously Collins, celebrating the music of Phil Collins and Genesis. Special guests are expected with a Best of Motown show, and everybody will officially be free to feel good when Devizes’ very own BBC Introducing DJ James Threlfall teams with nineties singer Rozalla, for some dance anthem floorfillers. Even the poster has more colourful zap and zest to it than ever before, and conveys Fulltone 26 will be one you’ll never forget!  

  Conductor and founder Anthony Brown said, “Fulltone is all about the thrill of live music and the magic that happens when people experience it together. For 2026, we’re bringing an extraordinary mix of sounds and styles to Park Farm, from breathtaking orchestral moments to songs people know and love. Our aim is simple: for everyone who comes to feel uplifted, connected and part of something special.”

  

  Tickets are on sale now. Early Bird tickets are available until 28 February 2026. Weekend and day tickets are on sale now, with under-14s attending free when accompanied by a paying adult. Weekend passes offer the best value.

  You can find full details and tickets here: www.fto.org.uk/events and they’re Especially for You; see what I did there?!

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• Stone Circle Music Events to Donate all Proceeds of CrownFest to Wiltshire Hope and Harmony

  Stone Circle Music Events announced today that all proceeds of CrownFest will be donated to Wiltshire Hope & Harmony’s Dementia Choir. CrownFest is an all-day family festival, happening on 4^th July 2026 at The Crown, Bishops Cannings, Devizes…..

  Due to perform over two stages will be Kinisha’s renowned Simply the Best Tina Turner Tribute, Adam & The Ants tribute Ant Trouble, Wiltshire’s premier indie-pop favourites and winners of six Wiltshire Music Awards , Talk in Code, purveyors of Irish & Celtic folk The Publicans, Salisbury’s rock cover band Innovator, rock covers band Tipsy Gypsies, George Wilding, Ruby Darbyshire, Mother Ukes, and Lucas Hardy, with more acts to be confirmed.

  

  Stone Circle Music Events connects the timeless energy of live music with the rich landscapes of Wiltshire and Galway, and specialise in events which feel local, authentic, and unforgettable. There will be a selection of food, stalls, and camping is provided for an additional £15. Early bird tickets are already available for purchase.

  Get your tickets HERE

  Founder of Stone Circle Music Events, Patrick O’Sullivan said, “we are delighted to announce the proceeds of CrownFest will go towards Wiltshire Hope and Harmony. The charity won a special award at the Wiltshire Music Awards, and we continue to support them.”

  Devizine is so happy to see the return of this marvellous local festival, but even more excited to see it grow through Stone Circle’s expertise, and this announcement is surely the icing on the cake. So many families are affected by dementia, Wiltshire Hope and Harmony is such a great and worthy cause.

  Wiltshire Hope and Harmony is a community-focused organisation in Wiltshire which uses the power of music therapy to bring people together and improve wellbeing. Their work centres on inclusive, therapeutic music-based groups and activities designed to support individuals and families from various backgrounds.  Their passion and commitment drive their mission, to create a harmonious environment for All Together, and they inspire change and hope in our community.

  Their Community Music Therapy Groups run free, therapeutic music sessions led by registered and trained music therapists, supported by volunteers. 

  Tunes Chill and Chat sessions are stay-and-play groups aimed at families with babies or children who have special educational needs (SEN) or additional needs. 

  The Dementia Choir & Café is a weekly choir and social café designed for people living with dementia, along with their carers, families, and support staff; helping participants connect and express themselves through song.

  

  Founder member of Wiltshire Hope and Harmony, Lisa Williams was fortunate to discover firsthand the transformational power of music therapy whilst training for her Master’s Degree in Music Therapy in 2018. Lisa was privileged to train with the visionary team at the University of the West of England and their Aphasia Choir. Determined to form a local choir and café, Lisa founded The Royal Wootton Bassett Dementia Choir & Café after her graduation in 2020.  

  The Covid pandemic slowed the project, but in 2023 the Royal Wootton Bassett Dementia Choir and Cafe was formed. The Choir has since worked with hundreds of people living with dementia and associated conditions, and currently meets weekly, either at their ‘home’ in St Bartholomew’s Church hall, or else on ‘tour’ visiting local care homes, community venues and churches.

  Wiltshire Hope and Harmony also supply support for other groups, tailoring them for people with various needs, including sensory impairments or English as an additional language. They offer volunteering and engagement opportunities, from musicians and singers, to support roles and trustees, helping expand their reach and impact in the community.

  For additional information on Wiltshire Hope and Harmony

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• Sketchbook Records Release Chasing Dolls EP

  Out of my comfort zone on this one; being aging punk-ish, emo is a subgenre post my better days. Though the ever-reliable Wikipedia suggests, as a term, it was coined in the late eighties. It either travelled leisurely by airship across the pond, or I’ve had my head up my arse….

  If I’m probably best left in a dark corner, crying about my lack of knowledge on the subject, that creates many reasons for me not to like Sketchbook Records latest cassette or digital download release, which is an EP by Chasing Dolls. It begs me to don my flatcap and yell red-faced at youngsters about the volume of this noise, and many other age-defining protestations, but they can all be cancelled out by the more straightforward observation, it absolutely rocks!

  My adventures with hardcore punk, blowing eardrums to bands like The Dead Kennedys, Black Flag, Bad Brains and Butthole Surfers was adolescent and relatively short-lived. Yet if emo is a shortening for “emotive,” I’d squabble that all music should evoke emotion, otherwise it’s elevator muzak.

  The thrash of hardcore debatably constitutes the least emotional genre of pop, only championed perhaps, by techno. Perhaps emo adds the element back into the rock melting pot. In which case, how does it differ from goth or grunge, for they’re both filled with emotion? These Chasing Dolls songs are massively better composed, with the rising and falling of emotion, than the aforementioned hardcore bands of yore, by a country mile, yet equal to the goth and grunge subgenres I’ve acquired to appreciate through the local bands producing it, like I See Orange and The Belladonna Treatment.

  But this EP is growing on me as fast as bacteria multiplies; I’d be more complimentary if I reviewed this in a week, but I wanted to get it out there. From first impressions, its raw energy, a sublime cry of woe, and it fits.  

  

  What also fascinates me about Chasing Dolls, is that there’s no uniform, each tune holds its own, and differs in style and ambience. Cobweb and Blood Moon are the standout tunes, and with a slash make the title of the album. Cobweb comes in first with heavy guitar after a delicately placed riff, as I’d expect, and it’s certainly rinsed with emotion, as described by its pigeonhole.

  Blood Moon is more me, of greater ambience and mood, it drifts in layers like oil finding its way down a congregated surface. The howls of emotion, the sublimely placed breaks. I’m none too fussed by pigeonholing, if only to describe something to you, if they say it’s emo, then I’m converted, feels like a natural punk progression through gothic and grunge. I may not be an expert on this, but I know what I like.

  Step on My Shadow has a sprinkle of more universal indie-pop with an irresistible drum roll, and in part I’d imagine our favourite lads Nothing Rhymes With Orange might feel comfortable putting something out like this. Then there’s this live track, yet if Closest Thing to Heaven sounds like they’re going to get slushy, Hell is in brackets to ensure there’s controversy in the romantic topic, and it comes over a smidgen shoegaze. Love, it hurts most punk genres, emo takes no exceptions, in fact, going on this, exemplifies the anguish and pain of it, rolls it into a dramatic outpouring without boundaries, and for this, I now love Chasing Dolls.

  

  Chasing Dolls are Hayden, Munch, Theo, Will and Jasmin, and long may they continue. As with many upcoming bands, there’s a notion in the ether they’ve yet to make that magnum opus, but this EP suggests they’re aching for it and will accomplish something progressively superior. For now though, Cobweb/Blood Moon throws everything you wanted to hate in your face, and turns it into something thorough, bold and challenging; top marks for that.

  Thank you Sketchbook Records, you are opening an old man’s eyes to emerging local artists with an alternative edge, and now I’m hooked! Oh, and you can find Chasing Dolls at Swinterfest, headlining the Saturday (31st Jan) at The Castle.

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• Early Bird Tickets go on Sale for Park Farm Music Festival in Devizes

  If Devizes Scooter Rally has already established its base at Whistley Road’s Park Farm and Full-Tone are moving to these new pastures, last year the site saw a superb inaugural festival of its own making, Park Farm Music Festival, with the expert knowledge of the good folk who brought us Mantonfest. It’s happening again this year and looks set to be even better than last year; I kid you not! Early bird tickets went on sale today, and the lineup has been revealed; let’s poke our noses in and pretend summer is on its way, shall we?!

  Starter for ten, Mantonfest is a longstanding cherished gem on Marlborough’s event calendar, a family friendly festival which has stood the test of time, and folk return annually like it’s a pilgrimage; you can rest assured you’re in good hands. I hailed Mantonfest as “the friendliest festival you’re ever likely to attend.” 

  

  While Park Farm Music Festival may yet have to establish itself to the same level of excellence, last year’s first time was an absolute blinder, bringing a taste of Mantonfest to Devizes and leaving folk hanging on the hope this would become a regular extravaganza.

  

  This year the stage is set again for Mantonfest’s house band, the awesome groovy vintage blues boys, Barrelhouse, but in essence the organisers are keen not to present something completely Marlborough; we’re in Devizes now, mucker, if we’re going to have blues we NEED Jon Amor to come along too! And they’ve answered this call, The Jon Amor Trio need no introduction to Devizes; I’m glad to see their name on the lineup, I’m certain all of the town will be too.

  

  Onto the headliners, yes, it is tribute act top heavy, which works a treat for Mantonfest. In this you should note, the organisers do not skip on quality when it comes to tributes, all are tried and tested. I’ve bore witness to most of them, and will bet my pet budgerigar’s life that you’re in for a wonderful day. Last year there was an emphasis on hard rock, with astounding AC/DC and Nirvana tributes, while this year looks to have more universal appeal. 

  If Queen tributes are two to a penny, despite being a tricky act to replicate, and some I’ve seen were great, One Vision played Mantonfest two years ago, and, just, wow, I’ve never seen it done with such quality, attention to detail and finesse as this one. I could definitely call this the best Queen tribute I’ve seen, perhaps in my top five of all the tributes I’ve seen.

  

  Inferno, an Abba tribute I’ve not seen before, but it’s Abba, what could possibly go wrong? As I said, the organisers take no compromise when it comes to booking only the very best tributes, so, dancing queens, have no concern. The next two I have seen, Madness and Bad Manners tribute, Badness, and Slyde, as you might’ve guessed, a tribute to Slade, are both brilliant, for precisely similar reasons.

  

  Slyde played a Christmas do at Marlborough College Memorial Hall, where support Barrelhouse were on fire, and Sylde polished off the evening with a plethora of, not only Slade hits but just about every seventies singalong pop hit I could imagine, with the sprinkling of glam only Noddy Holder could’ve brought to each classic. And it was Christmas, so he aptly called it, and yes, it was something to behold. If One Vision is on my top five, Slyde must also be.

  

  Now, Badness, ironic name, there’s nothing bad about the performance, but only, perhaps in the way they will totally and utterly rule the audience with a spellbinding show of their own. They do not attempt to mimic Madness, like Slyde they offer a repertoire of classic hits from the era their homage was in their prime, only this time it’s obviously Two-Tone ska and new wave, and you will be skanking. Furthermore, you’ll be under no illusion Badness are attempting to precisely mimic Madness, they only pay homage to them, and are uniquely themselves, add their own spin to it, particularly with the most hilarious stage banter you’re ever likely to witness.

  Has that tempted you? Because I’m getting excited just typing this recommendation! They’ll have a big outdoor stage, brilliant sound and lighting, plenty of room to dance, lots of trade stalls, a range of food and drink outlets and showers for those camping. They’ll be running a FREE shuttle bus to and from the The Bear Hotel hourly, gazebos and picnics are welcome, so too are campervans, caravans, and tents.

  Early bird tickets are up for grabs: Adults – £30. Youth (Age 13-17) – £20. Child (Age 7-12) – £10. Under 7’s – Free. Campervans/Caravans – £30. Camping – £20. It’s on Saturday 18th July. Book HERE.

  Swindon’s finest Chicago and Texas blues covers band Last Train Smokin’ are also on the fantastic roster, along with rock covers band Strange Horizons. Is it summer yet?!

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• Devizes Issues Wants You!

  Dubiously biased and ruled with an iron fist, the mighty admin of the once popular Devizes Facebook group, Devizes Issues, is using the iconic Great War “Lord Kitchener Wants You” recruitment poster by Alfred Leete to plead for volunteer moderators; jump to it, comrades!

  Why? Wouldn’t a picture of some Care Bears, or an AI image of some mugs with frustrated expressions be more suitable? Meanwhile, admins of the alternative group, Devizes Issues (but bitter) are asking, “erm, any1 no like what is, a, like, moderator?” 

  Tragically, it’s estimated 900,000 British lives were lost during the first world war, and the poster played its part in convincing young people to sign their own death warrants. To  pastiche it for such a petty purpose is disturbing, or at least extremely dark humour. Though it proves either the admin hasn’t lost his unsettling sense of humour under all the pressure, or he’s flipped on a Trump level and intends to invade the Potterne Pages Facebook page for reasons of national security!

  You might think you’re only signing up to delete the occasional lefty meme, but you’ll be handed a tin hat and rifle, and be ordered to march towards The Patch, just you wait and see! 

  Coincidently the town councillor admin of Devizes Issues has banned a similar number, simply for having a differing opinion on a subject, or using vulgar words, like poo, Gary Lineker, or Devizine. Face it, your king, country and local Facebook group needs you….to ban your besties; do your duty and enlist now!

  I’ve been banned, you’ve been banned, we’ve all been triggered by the obsessive Conservative propaganda on the group at least once, which resulted in the chip on the shoulder unashamedly displayed herein, and a lifetime ban; he thrives on the power trip like General Ludendorff inhaling his super-strength gas in the Wonder Woman movie. Haven’t seen it yet? That’s because you spend too much time sucking up to admin on local Facebook groups, you fascist booklicker!

  Occasionally, it’s an urban myth that someone will hand him a little bag of Haribo, he’ll cheer up for a whole three seconds and invite the odd Facebook user back in; “vewy well. I shall welease… Wodewick!” If you’ve been bestowed this honour you’ll know how exciting it feels to be suddenly wanted again. I congratulate you, suggest you’re ideal for the important role, though I fear there’s little chance of it ever happening to me; ashamed I hold my head in my hands, cry here in my own little corner of freedom.

  But I don’t envy him for running a group akin to a Devizes GB News, it can’t be an easy task, bless his cotton socks. If it were me I’d be sorry I started the fiasco now, do the right thing and archive the virulent exercise. Especially being the group isn’t as labelled. It’s not a local issues group at all, rather the prime issue in Devizes itself, a not very cleverly disguised conflict of interests and only a platform for Conservative campaigning. Perhaps if it labelled itself appropriately people wouldn’t mock it so, and he might not need recruits to moderate it; vicious circle, but the best laugh today on an otherwise toxic social media platform.

  Very good, as you were. 

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