Swindon’s sonic indie popsters Atari Pilot are a prolific bunch, and have a new single out called The Rules Never Change….
And, they don’t. There’s a definite uniformed methodology to Atari Pilot which builds with each new single. Yearning vocals, never without a repetitive chorus to hook you, neatly packaged in retrospective new wave electronica. It may not be as commercially viable as, say, Talk in Code, but it’s irresistibly beguiling and universal to be pop you need to hear.
In In 1981 John Sullivan created a deadpan simpleton character for his sitcom, Only Fools and Horses. Immortalised by the late Roger Lloyd-Pack, Trigger would…
Sheez, I go away for five minutes and look what happens. Devizes Facebookland turns into the Ok Corral! Seems I must interrupt my lovely mountaineering…
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Kempston joystick! There’s a new single from Swindon’s sonic indie-rock blasters Atari Pilot, and it seems they’re waiting for the summer to fall. Hint, guys, it’s usually, particularly this year, when the kids go back to school….
I’m not wrong, though, am I? Never without that euphoric retrospective tinge, Atari Pilot I liken to Talk in Code, for swinging indie poptastic hooks and unrivalled energy, yet with undertones of sonic soundscapes akin to post-rave dance music, of the Chemical Brothers and Daft Punk et al.
This one certainly doesn’t skip on it,though its theme reminds me of Don Henly, and is equally as passionately delivered. From Jerry Keller to Taylor Swift, summer may be a common topic, but winter songs only hark on about….whoa there, don’t even say the C-word until late November, I thank you! And anyhoo, all the seasons are given a mention in this breezy pay-what-you-like track, save spring. What have you got against spring, Atari Pilot? Don’t make me get all Zebedee on you, I happen to like spring!
Check this out, before it pisses down! Catch them at the Beehive at Swindon Shuffle!
January last year, The Southgate Inn Devizes announced Jamsters, a monthly Friday night platform for loose groupings and associations created at their regular jam sessions…
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by Ian Diddams images by Michael Stevens – Pharos Photography Shakespeare is credited as having introduced around 1,700 words into the English language, and several…
It looks like fowlers have finally caught them! I mean, wildly flying around, daytime clubbing, karaoke cavorting, supporting and promoting local live music, who does…
For what it’s worth, I’m impartial to the prospect of McDonalds, Tesco too. I’ve got viewpoints to waffle endlessly with no real conclusion, if you’ve…
It’s Wednesday night, it’s Song of Week time….and here’s your host…. yeah, sorry, it’s just me, couldn’t afford Stephen Mulhern.
Haven’t heard from them for a while, but they’re far from collecting dust in a loft like a retro game console. Swindon-based Atari Pilot return this week with a new single, Train of Life.
If choo-choos are a common metaphor in blues and reggae, moreso to describe the chugging beat, we’re on another platform from Sister Rosetta Tharpe, or Keith and Tex. Sonic indie rockers Atari Pilot have their joysticks calibrated to this philosophical theme, life’s long train comin’, and it sure is a grower. Especially, I’d fathom, if you’re new to this band’s unique style, I ask you take at least a few listens before passing judgement.
But with lyrics like “rolling on til the track runs out, is it the journey or the destinationyou dream about?” there’s thoughtful prose admist those sonic riffs, and it affirms Atari Pilot firmly on the right track.
It’s up on Bandcamp as a name your price. Linktree HERE, go give them a like on the book of Face too, while you’re standing on the platform waiting for the strikes to end!
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.
It’s Saturday morning on the 13th July 1985, and there’s a dilemma brewing in my household I’m indifferent with. I’m twelve, aware I should do what my mum tells me, but I’m easily persuaded by my older brother, who is adamant he doesn’t want to go to our town carnival, because Live Aid is being televised….
My mum insists, we are not staying in to watch television, no matter if it’s the greatest show we’d ever see, and fundraising for a vital cause, we are going to carnival, we “have” to go to carnival, everyone “has” to go to carnival!
With the sad news breaking that, due to a lack of funding, Trowbridge Carnival has had to be cancelled, I find myself dwelling on the memory; that, despite being a relatively average family far from raging revellers, my parents thought carnival was virtually a religious tradition we could not miss, whereas I found myself agreeing with my brother’s entreaty based on his plea that “carnival is for children,” and often, I still do.
For the record, thanks to our recent video recorder rental, the dilemma was resolved, as, using the newspaper’s schedule for Live Aid, my brother hastily and half-heartedly programmed its timer to catch the unmissable performances, while mum yelled at him to put his shoes on!
It didn’t go to plan. The consequence of my brother and I being disgruntled and publicly displaying our rebellion, meant no one in my family enjoyed the carnival as much as we might have done when we were younger. Plus, Live Aid suffered lengthy delays in its program, which didn’t align with my brother’s attempts to time the video recorder and we ended up missing several key moments!
Given a seemingly teenage consensus that carnival is too immature for them, I found this memory furthered by recalling my time spent in Marlborough where the view was similar among younger people, and even my move to Devizes as an adult, where the sentiment was also reflected.
Banter that our carnival was rather “sad” leaves me wondering if our generation caused the demise of town carnivals. That, perhaps, carnival committees need to address how they can create a diverse carnival to appeal to all ages, and if, and how, that’s even possible. Satisfying teenagers is no easy feat; should carnival be on TikTok it might yet be saved!
Yet, what is “sad” to me now is that, with the availability and rising trend of music festivals and other similar events, traditional carnivals cannot maintain the attraction they once did, are in decline, and Trowbridge’s isn’t the only one suffering; all readily made free events are.
We could point a finger at the government for underfunding The Arts Council, but historically, carnivals have always been self-funded, through local fundraising events, public subscriptions, and charity collections. Who recalls the joy of recklessly throwing coins onto floats?! Who got hit by one of those heavyweight two pence coins, kept calm and carried on?!
I could take the rose-tinted specs route, or get all patriotic on you, but, I’d rather not! Certainly, price rises for health and safety regulations, first aid, policing costs, and event management is a definite factor, but could the blame game really stop at the public, and their enthusiasm to contribute, financially and motivationally?
If so, it is with bittersweet sympathy I should look upon this with the “you don’t know what you’ve got till it’s gone” notion, and wonder if perhaps losing carnivals might in the future make us look upon what we missed, and reinvent carnival again. For which, losing a carnival is a shame now, but for them to make a Rocky style comeback, would be no bad thing.
Or maybe I’m totally wrong, losing town carnivals is bad, might be forever, and is a sad reflection on our era. We all should not be so patronising, that we should recall a time when we loved carnival, be more like our parent’s generation, insistent carnival is a must, and attempt to make them enjoyable for all by making an effort to fund and attend them as best we can in these trying times. For the sum of a carnival’s parts is nothing without the spirit of the folk attending, supporting.
In particular areas where carnival remains strong, from Bridgwater to Notting Hill via Pewsey, they miraculously find a way through the hard times, likely because of the full support of the community. I’m grateful to Devizes Town Council for stepping in and helping DOCA with our carnival, but maybe we should all address any timeworn ideas we might have that carnivals are “a bit naff,” or “for children,” because if we carry these notions they will be, because the folk make it what it is. And right now, it’s not progressing to much more than a tin of beans.
Live Aid, though, I remember seeing Queen via a dodgy VHS recording, and Sue Pollard from Hi-De-Hi too, and that’s as far as my memory stretches!
You don’t necessarily need a long pedigree to stage a successful music festival, but it certainly helps. Started way back in 1970, and now in its 55th year, Trowbridge Festival is definitely coming of age, leaving its long, long heritage as The Village Pump Folk Festival trailing in its stellar wake. This was the fourth year at its latest site in Southwick, and things are starting to settle back in again, attracting an increasingly large number of folks who want to buy a weekend ticket and camp in a field for three days of fabulous live music. This year was as near to a sell-out week-end as makes no difference….
Full disclosure – I was part of the Site Team that helped to build the arena (and knock it down again later), so I might be said to have something of a vested interest. I might also even have sneaked in an Open Mic appearance on one of the stages on Sunday. However, I had absolutely zero influence over the programming of the event, nor any over the truly excellent quality of the many fine artists who appeared this year. So what follows is my honest appreciation of what I saw and heard over the weekend (aided and abetted by fellow Devizine roving reporter Ian Diddams).
Apart all the usual random stuff going on all over the arena (yoga, tai-chi, impromptu music sessions, Morris dancers, stilt-walkers, SAT Co comedy troupe, demonstrations, book launches, photo booths), just like any other festival I suppose, there were three stages of scheduled entertainment to choose from and (thanks to some thoughtful programming) a nice overlap between time-slots, allowing folks to wander around and taste most of the wide variety of talent on show. The arena is not so large or crowded that you couldn’t get across from one venue to another fairly quickly, yet just far enough apart to ensure that there’s no sound leakage between the stages.
And, oh my, the entertainment on offer was simply stunning, both in terms of quality and quantity, to say nothing of the huge diversity of styles. We had original traditional folk, folk rock, roots, indie, comedy, punk, Irish, swing, bossa nova, big band jazz, dance & ceilidh, euro-romantic/ bohemian, singer/ songwriter, together with the traditional categories of the slightly bonkers, and the totally deluded. There were over sixty acts, across three stages, and nary a covers band or a tribute act anywhere to be seen. Whilst the latter certainly have their place in the festival scene, and there are those who really love them, this festival was absolutely not the place for that type of offering. Here it was all about original music, and whilst there was certainly a smattering of older, traditional folk tunes perhaps re-worked and re-interpreted for the modern era, that was very much in the minority. Long gone are the days of old men, with their fingers stuck in their ears, singing (ahem) unaccomplished. This weekend it was almost entirely new stuff- fresh, original, lively and an absolute bloody pleasure to listen to.
The selection available to the punters, very much aided by a comprehensive programme booklet, and by a helpful Clashfinder online (thank-you Kieran!), was:
The Pump Stage, at the top of the field, curated and marshalled by our old friend Kieran Moore, promoter, producer, rescuer of venues and general all-round good egg. This year his appearance was completed by his sporting of a wizard’s cloak – say no more! The eclectic array of acts included Water Thieves (excellent skiffle & folk trio), Andy Skellam & Anna Kissell (a little bit serious and too dour for me), our very own Vince Bell (local Devizes hero who, of course, delivered his usual excellent set), Concrete Prairie (best act on this stage on Friday), Ravetank (OK), Antoine & Owena (old folkie friends of mine and who were polished, amusing and really excellent), Woodkern (OK), Terry Sheppard (OK) and Merv Grist (veteran excellent comic poetry and stories).
Plus several more acts who I didn’t get to see personally (M/X, Fly Fly Triceratops (who I’m assured were a teenage indie outfit who were highly energetic and very, very LOUD), Butane Skies (a female-fronted band with a token male drummer delivering fun alt-rock, previously reviewed here by Darren in 2025), Bellyful, Kurt Alexander, Neverlove, Sunshine Frisbee, Brutalligators, Mexican Dave, a ceilidh with Juniper, Bob Gallie, Luke De-Sciscio & The Real Boys, Rob Quo, Toodles & The Hectic Pity, and the ever-hilarious Scott Doonican). Also headlining Friday night was none other than Salisbury upstarts, now turned globe trotting (and recently signed to one of the biggest and best talent agencies UTA) indie punkers Carsick. And the only reason I didn’t get to see all these wonderful people was not because I was lying in a field, blissed out on cider, but because I was too busy watching some great acts on the other stages. So much music, so little time!
The Bar Stage in the middle of the arena, pretending to be simply the Festival’s (Kettlesmith) Bar, run by Matt Cook and Simon Taylor of The Pump Acoustic Club, and featuring a varied mixture of artists. These included: Jennifer Crook (meh), The Cleverly Brothers (legendary comedy artists featuring Tim Webb of Spill The Whiskey, and local comic poet Merv Grist), Sid Bloomfield (another excellent veteran comedy performer), Xaphania (young, local, very impressive), Jane Langley (older, but lively and a bright performance), Seren Alyssa (young & upcoming, and recently seen at The Pump Acoustic Club and in The Fold in Devizes), and the Trowbridge Ukulele Strummers (don’t get me started on where strumming a ukulele can lead you!).
Again, there were several acts that I simply didn’t have the time to catch, including The Frukes, The Anglo-American Almost Allstars, John Coventry, J’s Tonic and the Silver Street Band.
And finally there was The Main Stage at the bottom end of the arena, offering the largest space to stand or dance, or else sit inside or outside the marquee, and featuring some twenty national and international figures. These were, I suppose, the bigger hitters of the festival. They included Chris Difford (ex-Squeeze) whose classic songs were willingly taken up (to his very obvious delight) by a packed audience, and whose stories of fellow “pop stars” of the 1980s and 1990s were simply hilarious, including the seemingly large number of other artists who’d managed over the years to keep Squeeze from the No. 1 spot in the charts. And the various “w**kers” who he thought would never amount to much, but who ended up playing Wembley six months later, whilst Squeeze were still playing at the back-street pub in Peckham…priceless!
There was the incomparable John Otway Band who delivered the usual hilarious and manic set, yet completely different to his recent appearance at Long Street Blues Club with Wild Willy Barratt. There was Martin Simpson whose impeccable delivery on vocals and guitar, woven with music stories was fascinating There was The Rob Lear Band (our friends from over the Welsh border, having recently played The Piggy Bank in Calne, and several events over the years in Devizes). Apart from a sudden mishap with Terry’s guitar at start of their tea-time slot, they were an absolute triumph, and the new songs (squirreled away onto a sneak preview EP CD) were a total delight.
Did I mention the three great bands closing the stage on the three nights? The Welsh band Rusty Shackle, who were an excellent Friday night band for dancing, 3 Daft Monkeys headline finishers on Saturday night with their loud, brash, and tight arrangements, and Merry Hell the superb Festival closers on Sunday with high energy, high comedy and great choruses.
But there were plenty of other bands too: Spill The Whiskey (one of this year’s ceilidhs), Harbottle & Jonas (really excellent), Luke James Williams (OK, bit samey), Liam Vincent & The Odd Foxes (best on main stage on Friday night), Banter (with loads of traditional/ classic songs but fabulously re-arranged), Gabrial Moreno & The Quivering Poets (Saturday starters, superb, interesting, poetic, definitely one of my “undiscovered” picks of the festival), Bluebeard & The Desperate Hours, (featuring our old friend Phil Cooper on bass), Michell, Pfeiffer & Kulesh (three nationalities, singing modern songs), Chris White & Julie Matthews (modern folk royalty, joined on stage with a surprise performance by the wonderful Miranda Sykes), The Terry Hall Big Band (superb jazz/ swing from the 1940s – a real toe-tapping starter on Sunday morning), The Magpies (OK, but a little lacklustre), and Juniper (a superb lively band for a Sunday tea-time).
In addition to all this there was plenty of stuff to have a go at yourself. Music, after all, is about participation (except in my own case of course). Apart from an extended Open Mic session each day, there were singing and ukulele workshops, two ceilidhs, and silent discos every night in the bar for the campers who didn’t want to go to sleep just yet.
For children and younger adults there was an extensive programme of daily activities and entertainment, ranging from face-painting, to story sessions, roaming entertainers, circus skills, stilt walkers, a slapstick show and workshops for ukuleles and hula hoops. This wasn’t just an afterthought (we’d better do something for the kiddy-winks), but rather a fully integrated part of the festival. It was so good to see whole families enjoying themselves for the whole weekend. It sure helped to make this a multi-generational thing, and added to the friendly, safe atmosphere.
Add to this a good choice of pop-up food vendors, coffee etc, craft stalls of all types, Lycra Man (IYKYK), a visiting milk man for the camp site, and a breakfast bar, and you have yourself a pretty good set-up. There was no possible way of getting bored for more than a few minutes.
The sensible, friendly stewarding and security teams, with plenty of space for camping and parking, made this simply amazing bloody value for such a good festival and for so much entertainment. It was so good to see the festival supporting lots of local vendors and businesses, as well as encouraging plenty of local young up-and-coming performers.
This is and was a huge volunteer effort, back-boned by some hard professional services (power, water, security, marquees, sound and lighting, staging etc), and therefore retained a very warm and friendly atmosphere. The stewards and marshals were super-lovely and helpful, nobody behaved like a twat, and the atmosphere was therefore laid-back, relaxed and welcoming.
Chatting to Festival Director Nick Reed at the end of the festival, he pronounced himself absolutely delighted with this year’s festival. Numbers were up, the music had been great, and the positive feedback had been overwhelming. “Clearly, we’re very happy. We’ve still to do the final number-crunching, but the financials look positive. Keeping it small and laid-back has been the right formula and, as we’ve now built the festival to this point, we have both the physical space and the financial confidence to look at some gradual, but gentle, expansion over the next couple of years. We don’t want to lose the vibe and the atmosphere that we’ve slowly built up. So the future looks very positive.” Absolutely great news to hear that, especially in recent times where many live events and festivals have suffered lower ticket sales and/ or cancellation.
Like I said – I’m probably a teensy bit biased – but I have to say that this is now an extremely good local music festival. It’s extremely well organised and well curated. There’s truly something for everyone, it’s good value for money, and it’s also properly local. If you unfortunately managed to miss it this year, I’d highly recommend that you make a space in your diary for next year, allocate your festival budget accordingly, and buy the early-bird tickets as soon as they’re announced. This, truly, is how to run a music festival.
Our regular historian and Visiting Research Fellow of The Regional History Centre, UWE Bristol, Brian Edwards takes some time to sketch the FullTone Orchestra ahead…
The larger than life superstars from CSF PROFESSIONAL WRESTLING return to Devizes, Wiltshire on July 11th for a very special edition of SATURDAY NIGHT SLAM,…
Midnight oil has been burning at Potterne’s Badger Set studio as Devizes’ most impressive and talked about upcoming band, Burn The Midnight Oil takes it…
In In 1981 John Sullivan created a deadpan simpleton character for his sitcom, Only Fools and Horses. Immortalised by the late Roger Lloyd-Pack, Trigger would join a succession of timeless British comedy idiots. These days I don’t see any necessity in creating more when we have local Reform Facebook pages and their supporters commenting on them!
In a hilarious act of stupidity even the most renowned comedy writers couldn’t script, the North-East Somerset Reform group took to their Facebook page to slander Burnham for visiting Bath to show support for their bus ticket price cap, reducing the cap by a third. In doing so they’re rewarded my spanner of the week award, and it’s only Monday!
Sharing a Bath Echo article from last week, which explained the Prime Minister accompanied the West of England’s Labour Mayor Helen Godwin on a visit to First’s Weston Island depot to promote a measure to cap current fares until the end of March 2027, and reduce them from £3 to £2, they said “Burnham is not welcome in the Bath & North East Somerset Council area!”
Oh right? Does that include the bus users in the Bath and North East Somerset area? Of course it does, they love paying more if it stops Burnham coming!
“He won’t do anything to improve our local roads here,” they proclaimed about the proposal which so obviously improves local roads, by easing congestion with an improved and affordable public transport scheme. But it’s the last bit which is real comedy gold, affirms my complete and utter inability to comprehend what these rightwing fruitbats mean when they so idly use the term “woke,” and leaves me pondering if they even know themselves!
“Only by ejecting the woke left-wing parties from BathNES and Bristol can we even begin to solve our transport problems and get our roads moving again,” they continued. The only thing being ejected here is the bullshit spewing from their mouths.
Eh? So, public transport improvements are “woke” now? Who knew? Cheaper bus fares? “Woke” too?! That’s a real reflection from a party claiming to be for “the people.”
Can’t afford £3 for a bus? Walk, this seems to suggest; you woke peasants; I’ll kick dust into your face, roaring past you in my gas-gussling Chelsea tractor while the fields around us burn to the ground. But, hey, it’s just summer!
Needless to say, the post backfired via a collection of sensible comments, in which no one blamed immigration. But the final irony in the North-East Somerset Reform group speaking on behalf of the Bath & North East Somerset Council is me asking you to guess how many seats Reform actually has on that council.
Think hard, but don’t overthink it…..
Yep, you guessed right you leg-end mathematician; none, not one! Not even a footstall!! The council has a total of 59 seats, which are distributed among the following political groups: Liberal Democrats: 38 seats. Independent Group / Unaligned: 10 seats. Labour: 6 seats. Green Party: 3 seats. And Conservative: 2 seats.
And with posts as pathetically stupid and so obviously clutching at straws for slandering Burnham as this was, unless the constituency is full of Triggers, which I highly doubt, that, or a similar proxy is the way it will continue! Now, that’s as funny as a Binface win!
After near-on ten years at this, I assume Devizine has pretty much discovered all the local talent, when suddenly someone off our radar pops up to say hi! Devizes-based Sarah Tarry, is new to me, but I’ve had a sneaky peak at her new euphoric EP, Oh, The Deep, which is released on Friday 7th August and has a launch gig at the Devizes Cellar Bar…..
“It’s kind of a comeback EP,” Sarah explained, “my last one was around 2013.” The five-track EP of smooth and rootsy melodic acoustics over ambient soundscapes and backing vocals, is a collection of songs which Sarah has been working for some years on, and the time spent clearly shows. The third song, Ropes, concerns human frailty and hope, and is a good example, as Sarah wrote it over fourteen years ago.
The title tune homages sacred places, and with the delicate sounds of a coastline, breathes a rapture of blissful summery vibes. Sarah explains Where Can I Go is a “wrestle with a love that is so deep and unconditional that it just won’t let go,” leaving me in awe at the poignancy enveloped in this EP.
It comes with a sketchy cover illustration of wintery country walks, by Imogen Hobbs, causing the whole project to feel wholesome and endearing. Yeah, sounds nice to me! Plenty to encourage me to check out the Bear’s Cellar Bar on Friday 7th August; you coming?!
At least I think it was the sixth Devizes Scooter Rally; after three weekends spent at a sunkissed Lower Park Farm I’m getting a smidgen hazy! Nevertheless, I acknowledge and appreciate folk have their own valid reasons to cite either of these three major and hugely successful Devizes events as their favourite, but, personally this weekend was mine…..
It’s justifiable to suggest big sound and stages, renowned performers or a universal variety of tributes are elements as to why you might choose differently to me, and that’s all good. I’ve thoroughly enjoyed them all. Devizes Scooter Rally may not necessarily win these categories, it’s niche but knows what its punters want, and delivers it with passion, and utmost pride.
It also makes up for them all when the atmosphere is as electric as it was, the community feel extends to hoards of annually returning visitors from afar, the team’s dedication is second to none, and a campsite so jammed as to make Michael Eavis envious!
Not forgoing, for my personal taste, this one is a retrospective reflection on the music and fashions I grew up with and cherish to this day.
It might also be suggested, because of the success of Devizes Scooter Rally the others implemented similar; I’ve seen two Madness tributes prior to this weekend! But if tributes are essential elsewhere, while the rally had cover bands nodding to the era, and Madness will forever reserve a fair chunk of that respect, it had one tribute which must be as highly praised as those other acts, if not more.
Nestled between magical ska covers eight-piece Hampshire/Dorset collective, Skamageddon, and the sublime soul ensemble All That Soul, Bootleg Blondie rocked my world, and I’ve seen the real McCoy! If you think covering T-Rex’s Get it On in a Debbie Harry style for an encore at an event full of mods and skinheads is risqué, with a certain ease it worked and alongside all their hits, Bootleg Blondie brought the house down with it.
Bootleg Blondie is a concentrated marvel replicating the whole band, not just the adored frontgirl, and they were tight. Yet the latter must be said of all on the lineup.
The returning Butterfly Collective kicked Saturday’s proceedings off with a glorious and vast selection of covers, enveloping every subgenre and youth culture represented in the crowd. From punk to ska to mod, and modernising with Britpop, whatever they followed each song with was as well-received as the previous. From Oasis to Sex Pistols, they knocked them all out of the tent.
Most interesting was a finale where Tom Petty’s Freefalling was meshed into the Jam’s Town Called Malice, and after a ska-fused Woolly Bully encore they finished with a northern soul fashioned cover of Erasure’s A Little Respect. The lively frontman proudly told that it was their fourth time playing Devizes Scooter Rally and hailed it as “the best rally on the planet!” A sentiment reflected by the audience, and me.
With Soul Pressure DJ Terry Hendrick filling gaps, it was onto Skamageddon, who, with matched excellence, gave us a superb repertoire of classic Two-Tone, blended with ska versions of novelty hits and exceptional stage banter. From The Specials to Bad Manners they hit the spot, and took to everything from Nellie the Elephant, the theme from the Fresh Prince of Bell Air, and even Mr Brightside over the rhythm of The Maytal’s 54-46. It was a brilliant set for Bootleg Blondie to follow.
With Park Farm full of food choices, stalls from crafts to scooter parts, and the busiest bar this side of Munich’s Theresienwiese, The Devizes Scooter Club has captured the energy of the already established larger rallies, yet retained the community spirit of the smaller ones. Now nestling in-between them, that is what the returning attendees love about it most. For if last year blossomed because of the arrival of Ranking Junior’s incarnation of The Beat, this year’s didn’t support such a renowned headliner, yet it equalled the size and ultimate atmosphere of last year.
This should be particularly credited to the headline, All That Soul, for I couldn’t think of another tried and tested act by the Scooter Club who deserved it more. This soul singing trio of gospel rooted sisters, backed by an accomplished band, began with Motown classics and moved to a second half of funk and disco floorfillers. In a word, All That Soul is sublime.
Who dares to cover Motown? Most who do disgrace it, it was the crème of sixties soul singers, but All That Soul can replicate it like no other I’ve bore witness to.
Moreover, credit and the highest of praises must go to everyone at the Devizes Scooter Club, and their volunteering family and friends, who labour on making this event as well organised, welcoming and absolutely brilliant as it is.
If combined, this summer of local events proves we’ve a wide diversity of music options and great scenes here in Devizes, the rally provides something it sorely misrepresented; retro soul, ska and reggae. I’ve eclectic tastes, but these are what I love most, therefore I’ve got to get it while I can, and Devizes Scooter Rally does, with big brass bells on. And brass is class!
Sheez, I go away for five minutes and look what happens. Devizes Facebookland turns into the Ok Corral! Seems I must interrupt my lovely mountaineering holiday to broadcast an alternative viewpoint from what’s being said on a local Facebook group…again!
This, providing the post remains, proves what we’ve been saying about the political bias of Devizes Issues. Ooh, handbags at dawn; forever bad loser, the Munster of Lavington got his knickers in a twist with the head of Wiltshire Council Ian Thorn, took to poisoning Facebook with another rant, which, against every self-made rule of an apparent unbiased local information group, was successfully shared onto it.
As if Facebook isn’t toxic enough already with national politics, it seems local Tories are inclined to slander their opposition parties like they’re Andy Burnham before he’s even put his toothbrush in the holder at number ten.
I get that Thorn isn’t flavour of the month, and even MP Brian Matthew wrote to him to express concerns over the booking system trial at our recycling centres. For my tuppence on this, I agree with concerns about the flytipping it could encourage. Though Ben Reed for Devizes North points out “this pilot phase will be used to better understand the habits and needs of residents and ensure the service is tailored to their needs. It’s important to say up front that this is not a permanent change at this stage; if the trial doesn’t bring benefits, then the booking system will be amended or scrapped.”
That’s not a “u-turn” as suggested by Devizes Conservatives on that same Devizes Issues Facebook group, a group clearly so governed by the Devizes Conservatives it may as well change its name to The Devizes Daily Mail. It’s a trial. You don’t u-turn a trial, you try it, and if it doesn’t work, you scrap it, just as Ben said.
But we’re not waffling about recycling centres, it’ll cost nought to book a slot, ergo it’s a post-lockdown niggling storm in a teacup; flytippers are pricks, and will do their dirty business booking slots or not.
No, we’re more concerned with airing dirty laundry in public and the Council’s time it wastes; W (Worrow) entered the chat. I might occasionally slobber it, but I don’t retype drivel. So, through the powers of screenshot, here’s the glorious package of allegations in full technicolor, as shared on the ominous Facebook group:
How did he get away with that utter baloney, on a group clearly stating no political misinformation, plus lifetime banning others who do similar?!
Could it possibly be, and this is purely speculation based on an assessment of frequently recurring incidents, that this vicious attack of hearsays, in which it must be noted the Munster himself uses the word “perceived” to loophole the fact what he’s saying hasn’t yet been proved, has been allowed by admin of the group to stay, because it has been immaturely presented by a fellow Conservative still grumpy the Lib Dems democratically won control of Wiltshire Council?!
I don’t know. Sounds like the whimpering of a spoiled toddler to me, but you be the judge. Conservatives had their own way for generations here, their silver spoons plopped from their mouths, and it’s understandable they’re tetchy about change; bless their cotton socks. But we should be concerned about the fairness of using a popular local Facebook group to level allegations that, as of yet, are unfounded. The group’s own rules should have meant that this post was not suitable for publication.
Ben Reed criticised the admin of the group, Conservative Devizes Town Councillor Iain Wallis, for his usage of the group as a biassed political platform. In a submitted post to the group, Mr Reed stated this would “probably” be his “last post on this group, since in my view it has become a Conservative mouthpiece.”
Yeah, it’s not your choice to make there, Ben! You have to ask yourself, given all the evidence, if Ben’s post will ever make the final cut and if he’ll be a group member for much longer. So, for your perusal, shock factor, or amusement, here it is:
As for Munster’s allegation, despite how he might perpetually cry about it, assume that for now, it is only an allegation because it’s only an allegation.
I will not side with any political party, I will form my opinion based on wider sources. But should it be proved correct, and Thorn is doing a dirty deal, I would gladly stand side by side with Dominic Muns at the Black Dog Crossroads or any other location of his choice, declare he was right, maybe eat a hat, and agree something needs to be done about it.
For now, I’ve probably got more important things I should do. There’s better than treating local council level like it’s the Imperial Council of the Galactic Empire on Coruscant. But, I guess this was always going to be a repercussion by some Conservatives when their majority befell to a democratic election.
“I’ve spent the last few weeks reflecting on the tone of our politics, and frankly I’m deeply troubled,” Cllr Taylor Wright mused on the subject.
“It has become far too common for politicians to casually throw around allegations of corruption, back-room deals, “brown envelopes” or other forms of dishonesty without producing a shred of evidence. Sometimes, those accusations are made directly. Sometimes they’re encouraged through innuendo. Sometimes they’re allowed to spread because too few people are willing to stand up and say, ‘No. That’s not true.’”
Taylor rightly added that it “should concern every one of us.”
In a heartfelt opinion, he stated that threats have been made against Cllr Ian Thorn’s home. “As someone in public office myself, there are times I genuinely wonder whether it’s sensible to take my three-year-old son into town because of the hostility that now seems to surround politics. That should horrify us all.”
“I have defended Cllr Ian Thorn because there has never been any evidence presented that he has acted corruptly or improperly. I will continue to do so. But my defence doesn’t stop there.”
“I extend exactly the same principle to every councillor serving Wiltshire Council, regardless of party. Unless there is credible evidence of wrongdoing, I will not stand by while colleagues have their reputations dragged through the mud by rumour, insinuation, or politically convenient fiction.”
Head of Devizes Guardians, Jonathan Hunter, has also spoken to us about the fiasco. “Local politics should bring communities together, not drive them apart,” he said.
“Residents rightly expect their elected representatives to debate issues, but always with courtesy, integrity, and respect. Healthy debate is an essential part of democracy. However, personal attacks, division, provocation, and inflammatory language help no one. Also, the promotion of personal attacks in any setting causes great harm.”
“Behind every social media post and every public role is a person, with family, friends, neighbours, and colleagues. The way we speak to each other, and also about one another, has a real impact, not only on those directly involved but also on the tone of the communities we serve. This reported behaviour is not what Devizes is about.”
It’s a shame, councillors stepping on thin ice formed by other vengeful councillors. But we, as the general public, need to not be convinced by this verbal sparring, because if we back it, it will only normalise petty squabbling, and just like national politics our council will get a revolving door system where nothing practical gets done.
There are some moments when history feels less like something written in books and more like something happening right in front of you….
Standing in Devizes Market Place, raising my voice with the traditional cry of “Oyez! Oyez! Oyez!”, I had the incredible honour of being nominated the first female Town Crier of Devizes.
I have done some scary things in my time, but I cannot remember the last time I felt quite so nervous. Yet there was something wonderful about standing there, surrounded by smiling faces and the history of this remarkable market town, knowing I was becoming part of its HERstory. Devizes, the home of Daphne Oram, a pioneer of electronic music and a founder of the radiophonic workshop.
Perhaps it was fitting that I should find myself drawn to a role built around making voices heard. I have always believed that when something matters, someone needs to be willing to stand up and say so. A Town Crier’s role has always been just that: to bring news, celebrate achievements and make sure the voice of the community is heard.
Before becoming Town Crier, I briefly held another unusual distinction as the world’s first fully licensed female boxing MC. Announcing fighters in a boxing ring certainly taught me how to project my voice, but proclaiming the story of Devizes felt like a very different kind of honour.
The tradition of Town Crying stretches back centuries. It is thought that early versions of the role appeared in Ancient Greece, where heralds announced important news and events. By medieval times, Town Criers had become an essential part of community life, bringing proclamations and announcements to those who gathered in marketplaces.
In 1066, King Harold is said to have granted Certificates of Protection to Town Criers, as they were often responsible for delivering unpopular news and could become the target of public anger. King John later decreed that anyone who harmed a Town Crier would face severe punishment for treason. And if my proclamations ever prove too loud, too enthusiastic, or occasionally too honest, I ask only that you remember your history and “don’t shoot the messenger”!
The familiar cry of “Oyez! Oyez! Oyez!” comes from the Old French meaning “listen” or “hear ye”!
Town Criers were not simply loud voices. They were the original news service: announcing royal proclamations, posting notices and sharing information before newspapers, radio, social media or even Devizine existed. Their tricorn feathers were not just decoration either; they were traditionally used as quills for writing those important notices.
Women, too, have played their part in this history. One of the earliest recorded female Town Criers was Beetty (Betty) Dick of Dalkeith, Scotland, in the 18th century. Rather than using the traditional bell, she is said to have used a saucepan to attract attention before making her announcements. Women, haven’t we all felt we needed to do that occasionally?
Now, centuries later, another woman, me, has added her voice to that tradition, this time here in Devizes.
The role of Town Crier is not just about volume. It is about celebrating a place, its people and its stories. And what a privilege it was to proclaim a town like Devizes: a place of Moonrakers and music, canal and community; where the Market Cross, the Corn Exchange and the mighty Caen Hill Locks tell stories of trade, ingenuity and resilience.
The occasion felt even more special because I was able to represent Devizes while wearing Devizes.
My dress came from The Wardrobe, my underwear (ahem) from Amelie and the magnificent robes I wore were kindly loaned by Dig It Vintage on 10 John Street. I was deeply honoured to discover that they once belonged to Betty Boothroyd, the first female Speaker of the House of Commons and a fellow past showgirl like me.
To wear robes connected to such an important woman in British history, while becoming the first female Town Crier of Devizes, feels like a remarkable meeting of past and present and I am deeply moved and honoured.
From Betty Dick with her saucepan, to Betty Boothroyd in the House of Commons, to a woman (not called Betty!) standing in Devizes Market Place with a bell, a voice and a whole lot of sass.
I was proud to stand there representing every woman who has ever felt overlooked, underestimated or told to “tone it down”. Like many menopausal women, I have reached a point where I don’t care what people think of me and I know my voice matters, and there is very little anyone can do about it, because I have a big bell… and the historic protection of the King!
I look forward to using my voice to celebrate this town: its independent businesses, its events, its charities, its volunteers and all the people who make Devizes such a special place. Oyez! Oyez! Oyez! God Save The King!
Well my friends the time has come; Park Farm Music Festival sure went from zero to hero in one swift and fantastic Saturday……
Nestled between Fulltone and the Scooter Rally, two established events on the calendar at the same Devizes site, Park Farm, the self-titled music festival’s inaugural outing last year deserved more attention. Perhaps with Nirvana and AC/DC tributes its lineup greatly directed towards rock, but more so because it takes time for the worth of any new festival to become realised.
If I’ve waffled about how, despite it being a new venture in Devizes, the organisers have twenty-five plus years of experience hosting Mantonfest, a gorgeous family event adored in Marlborough, I could only hope folk took heed. The organisers this year went with more universal appeal for its lineup. For whatever reason, it worked, and I was delighted by the announcement that Park Farm Music Festival sold out this year.
Those who had cottoned on left impressed. I’m not here to flatter anyone, I say it like it is, you know this. But proof the organisers aimed to impress, particularly Devizes folk, use the example of the town’s most beloved blues legend Jon Amor and his drum and bass section Tom and Gerry, rocking the stage while I could still taste toothpaste. A brilliant beginning to what will be a mighty fine day.
The other Devizes favourite present, Ben Borrill and Pat Ward’s Matchbox Mutiny took twice to a side stage towards the end, and with their fun but proficiently delivered covers they absolutely rinsed any expectations the side stage was merely an interim whilst tribute acts soundchecked.
Knowing how amazing they are, I expected this much of Ben and Pat. My pleasant surprise on the alternative “Moonrakers” stage was a young Hungerford-based trio called Station. They’ve gone from gigging Marlborough’s Green Dragon to national tours, and it was easy to see why.
Feelgood and carefree songs of oceans, driving away and how fake gold jewellery makes your finger turn green, were joyfully delivered with zest in a unique eighties mod-Two Tone punkish come subtle Levellers-esque mesh. Though I love what I’ve heard of them, I’m not completely informed, but would liken Station to the Coral, and believe it’s an apt and deserved comparison. I went straight for the Instagram follow, because they delighted the crowd with natural flair.
Mantonfest wouldn’t be Mantonfest without veterans Barrelhouse, and equally they bring their vintage blues with a groove to its baby sister Park Farm. If it’s standard issue, it’s a deserved badge of honour. Following Jon Amor wasn’t going to be easy, being this is Devizes, and Devizes loves Jon. Yet, Barrelhouse’s show is so insatiable it’s catching on here, via memorable gigs at The Southgate and hey, didn’t I book them at Rowdefest for this very reason?! Ah, they did it, as they do each time, an explosion of jump blues mixing covers with originals which no one bothers to untangle, because it so absolutely rocks.
The remaining day at this brilliant communal and genial festival was vetted tributes. In chronological order, too hot for mirror-disc top hats, Slade tribute Slyde wonderfully homaged the seventies glam era, got elders worked into an early frenzy and younger onlookers mesmerised by the catchiness of those ostentatious anthems. I knew they would, I’ve seen them before, albeit it was a Mantonfest Christmas party, still, yeah, they had to encore with the unseasonal classic Slade yell, and with exceptional expertise.
The stage was ready for the second tribute to seventies/eighties pop, and undoubtedly the most invariably treasured, Abba. Abba Inferno hail from Swindon rather than Sweden and with Scandinavian accents intended to jest about this. The general banter and party-dance crowd encouragement of Inferno was second-to-none, and if Abba tributes are two-to-a-penny, with apt costumes and their dedication to the defining sound, this was the best one I’ve bore witness to.
With the evening still young I could criticise we peeked too soon with tribute acts, but with the crowds roused now, I remained confident the organisers know better, and know exactly what buttons to press. The penultimate act was ultimate for my personal tastes and seemingly the majority at Park Farm too. Self-styled Badness attributes Madness, Bad Manners and merges other Two-Tone acts into one of the most entertaining, lively and Northern humoured amusing tribute acts I’ve ever seen. It’s one of those who will force anyone younger and unaware of the music of the period into some dedicated after-study, while thoroughly skanking those in the know.
Fulltone may have had a great and energetic Madness tribute, but I wished those at Lower Park Farm last weekend were here once again, because Badness would have banged them to rights. This was the peak of the evening, not forgoing Matchbox Mutiny filled in the gap with another astounding second half.
While talking about badness, bad was my research for our preview of Park Farm, as the Queen tribute I had seen at a previous Mantonfest wasn’t the same one as here. They were The Boheniems, and they were the best Queen tribute I’ve ever seen, but, apologies for the assumption, that mistake; this Queen tribute was called One Vision, and unfortunately, while satisfactory, failed to deliver quite the same impact. Nevertheless, it was late, folk had had so much fun, and with sufficient alcohol in their system, it did not matter. One Vision was enjoyable, and a great end to an absolutely fantastic festival at Park Farm.
Just like glorious Mantonfests of yore, this festival was so carefree and friendly. With an adequate scattering of food and drink options, there may need to be more to entertain the kids, and we look forward to side-attractions blossoming here, but for the music lovers this is one mighty fine event, and one you should mark on next year’s calendar if you’ve not already. If I’m singing Abba songs all week, please excuse me!!
If both Claire and Chloe Grist jest their working and marital relationships are of “left” and “right tit,” respectively, it might explain the reason for their chosen species of bird on the logo of their popular music promotion Facebook page, Bird is the Word!
However, in order to incorporate the letter B on the logo of their latest adventure, a new music venue for Trowbridge town centre which opens tonight, Friday 17th July, the bird this time more resembles a chubby pigeon! After poking my nose into the new gaff at a private invite opening party last night, I’d favour comparing The Birdhouse to a phoenix, rising from the ashes of political ballyhoo surrounding property in the area, and hopefully proving hospitality will better save the High Street over retail.
Swindon’s Old Town is an already established example, where bars, restaurants and music venues co-exist within walking distance. With The Pump a stone’s throw away, already bucking the unfortunate trend of venues closing, and The Old Town Hall, just next door to this new venue breathing life back into entertainment and community-driven events in Trowbridge, seems the time is nigh for the Birdhouse, a comfy but lively and friendly free music venue, with bar and a menu of sharing platters.
It was a popular “soft” opening, and great fun, as guests gathered to celebrate the coming of The Birdhouse. To dot the few remaining i’s and cross the t’s I expect the team will be busy today, for the mayor arrives at 6pm to officially open the venue. Then it starts as it means to go on, with Trowbridge punkers Brakelight being the first official band to grace The Birdhouse stage at 8:30pm. Entrance is free, please support it, because, from what we’ve seen of it so far, it looks fantastic!
The Sir Issac Pitman building on Trowbridge’s Silver Street is a listed building from 1976, and architecturally many of its grand features are retained. Nine years after Wetherspoons relocated, Claire and Chloe have teamed with the former operator of The Boathouse and director of SD Hospitality Management Ltd, Sam Dean, to see this glorious reformation as a music venue, The Birdhouse.
Aesthetically it’s also comfy, with lots of sofas and soft chairs, and functionally it serves its purpose aptly, with a lengthy bar reaching across the back, a convertible stage area, and ground floor spacious enough for a dancefloor. And you just know, with that Cracking Pair’s dedication to the local music scene, it’s going to get a lot of use!
Soloist and one half of The Hot Juice Project duo, Jake Lockhart was actually and unofficially the first person to grace the new stage at The Birdhouse, entertaining the guests, as nibbles were handed out and Sam, Claire and Chloe gave an improv speech declaring their gratitude from their supporters and of dreams coming true. We wish them all the very best with their new project, and look forward to the prospect of partying with them as soon as possible!
Not all of them yet, but some of the top five nominations for this coming Wiltshire Music Awards are being released. Let’s take a look at them, shall we?!
Best Desk DJ nominations go to: DJ Paul Alex, DJ Dion, Sound Image Roadshow, Rock the Boat, and James Threlfall.
Saturday at Fulltone ’26
For Best Venue: The Victoria, Swindon. Salisbury Arts Centre. The Pump, Trowbridge. The Three Crowns, Devizes. The Ruze, Chippenham.
The Pump, Trowbridge
For the Contribution to Music in the Community award: Swindon 105.5FM. Dave Wright at The Southgate, Devizes. Jemma Brown & Fulltone Festival. Peggy-Sue Ford of Don’t Stop the Music radio show, and us, Devizine and myself! Thanks to everyone who thought of me!
The Southgate, Devizes
And finally, for now, The Best Band award:
The top 5 nominations are Burn The Midnight Oil, Talk in Code, 5 Nights at Adyans, Butane Skies and Ednostic.
Talk in Code at CrownFest
While there’s more to come, organiser Eddie Prestidge congratulated the top 5 finalists, and said “being shortlisted is a fantastic achievement, especially considering the high standard of nominations we received this year. We would also like to extend a huge thank you to everyone who was nominated. The support shown by the Wiltshire music community has been incredible, and every nomination is a testament to the hard work and dedication of our nominees.”
The winners will remain a closely guarded secret until the Awards Ceremony on Saturday 14th November at Melksham Assembly Hall. Book your tickets now and be there when the winners are revealed!
Wiltshire Music Awards is looking for sponsors of the various categories. For sponsorship enquiries: hello@stonecirclemusicevents.uk
Matchbox Mutiny at Wiltshire Music Awards 2025 Image: Helen Polapix
This extensive belter of eighties-fashioned high-fidelity pop waits for no man, a sonic blast opens it, and the riff wouldn’t sound alien appearing in a John Hughes coming-of-age eighties movie. Visualise Jud, Molly, Emilio et all, dancing around a school library to this latest track from Swindon’s Atari Pilot.
After our glorious appraisal of their previous single Right Crew, Wrong Captain in July, they reckon I’m going to be fair on them again, but really, there’s nothing to dislike about Blank Pages. A review in which they quoted me suggesting, “this sound is fresh, kind of straddling a bridge between space-rock and danceable indie.” Here though, save the strong bassline, the space-rock element is lessened and retrospective synth-pop chimes in a racing beat, twisting this into a real grower on the ears.
Press release aptly cites “everything from Springsteen to Daft punk, Kathleen Edwards to Love,” as influences. As if Daft Punk would work with Springsteen, but if they did, I’d imagine something rather like this. And that alone, makes for an interesting sound, again akin to what Talk in Code are putting out locally, perhaps more so for this single. While we could hinge on an inglorious comeback from an eighties pop star and be thoroughly disappointed by their timeworn platitude and fame induced narcissistic attitude, nostalgia has never been so energetic and fresh when it’s channelled as an influence rather than comeback or tacky tribute act.
There’s a backstory about Atari Pilot, I may have mentioned before but worth reminding. After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle for Onze. But getting a second chance at life gave him the inspiration to get back to writing, and Atari Pilot reformed in 2018 with an acoustic set at the Swindon Shuffle. Reforming the band was actually planned from his hospital bed.
With this in mind, Onze describes the thinking behind this great song, “Blank Pages, like the other songs for the struggle, were inspired by being diagnosed with and recovering from cancer. The songs reflect the highs and lows of life and the struggles we are faced with and have to overcome to reach where we want to be.”
There’s a heartening theme of struggle in the face of change, “it’s also about trying to recognise that we can’t escape ourselves, and asks whether we can use our history and baggage to fire a brighter future,” Onze explains.
It’s a DIY production, recorded and mixed in Onze’s home studio by using Logic Pro X, but sounds stunningly professional. Atari Pilot are Onze (vox,) Paj (bass,) Frosty (guitar) and drummer Andy, and we look forward to hearing more from them. I even managed to review this one without mentioning retro-gaming:
Only gamers of a certain age will know of The Attic Bug. Hedonistic socialiser, Miner Willy had a party in his manor and wanted to retire for the evening. Just how a miner in the eighties could’ve afforded a manor remains a mystery; but that erroneous flaw was the tip of the iceberg. In this ground-breaking ZX Spectrum platform game, the Ribena Kid’s mum appeared to guard Willy’s bedroom, tapping her foot impatiently. Touch this mean rotund mama and she’d kill you, unless you’d tided every bit of leftovers from the bash. Turned out, months after the game’s release, one piece, in the Attic, was impossible to collect. Until this glitch became public knowledge, players were fuming as an intolerable bleeping version of “If I was a Rich Man,” perpetually looped them to insanity.
I swear, if I hear that tune, even some forty years on I cringe; the haunting memory of my perseverance with the impossible Jetset Willy. Music in videogames has come a long way, thank your chosen deity. Yet in this trend of retrospection I terror at musical artists influenced by these cringeworthy clunky, bleeping melodies of early Mario, or Sonic soundtracks; like techno never happened, what are they thinking of? It was with caution, then, when I pressed play on the new single from Swindon band “Atari Pilot.” I had heard of them, but not heard them. I was pleasantly surprised.
For starters, this is rock, rather than, taken from the band’s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geek’s wet dream. While there is something undeniably retrospective gamer about the sonic synth blasts in Right Crew, Wrong Captain, it is done well, with taste and this track drives on a slight, space-rock tip. Though comparisons are tricky, Atari Pilot has a unique pop sound. No stranger to retrospection, with echoey vocals and a cover akin to an illustration from Captain Pugwash, still this sound is fresh, kind of straddling a bridge between space-rock and danceable indie. Oh, and it’s certainly loud and proud.
A grower, takes a few listens and I’m hooked. Their Facebook blurb claims to “change the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.” After their debut album “Navigation of The World by Sound” in 2011, a long hiatus took in a serious cancer battle. But Atari Pilot returned in 2018 with an acoustic set at the Swindon Shuffle. The full band gathered once again the following year with live shows and a new set of “Songs for the Struggle.” This will be the title of their forthcoming follow-up album, “When we were Children” being the first single from it, and now this one, “Right Crew, Wrong Captain,” is available from the end of July.
Its theme is of isolation, “and defiance, after the ship has gone down,” frontman Onze informs me. There’s a haunting metaphor within the intelligent lyrics, “you nail yourself to the mast and you pray that everything lasts, you just want to know hope floats, when the water rises, coz it’s gonna rise, take a deep breath and count to ten, sink to the bottom and start again.”
There’s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands I’ve highlighted previously, Talk in Code and Daydream Runaways, Atari Pilot would not look out of place billed in a festival line-up with these acts, and would add that clever cross between space-rock with shards of the videogames of yore, yet, not enough to warrant my aforementioned fears of cringeworthy bleeps. Here’s hoping it’s “game over” for that genre. That said, thinking back, when you bought your Atari 2600, if you recall, oldie, you got the entire package of two joysticks and those circler controllers too, as standard; could you imagine that much hardware included with a modern console? Na, mate, one controller, you’ve got to buy others separately.
So, if decades to come we have a band called X-Box or PlayStation Pilot, I’d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!
If you rarely venture into Swindon, July is the month in which to make the journey. Swindon Shuffle celebrates and backs local music, since 2007 hosting a weeklong town music festival at its hottest venues; namely The Victoria, The Beehive, The Hop, The Tuppenny and Baila Coffee & Vinyl. In association with Swindon Link and the West Berkshire Brewery, last year they presented forty-four bands over the weekend, all free, and supported mental health charity MIND.
I was forgiven in thinking this year would be virtual, saving some petrol money at least, but the organisers inform me this weekend’s Virtual Shuffle is only to breeze over this gloomy, Groundhog Day isolation period, and they cross their fingers for the real thing on the 16th-19th July; crossing my toes too!
So, yeah, but yeah, whoop-whoop, Swindon Shuffle will indeed fill this gap with plentiful live streams this Saturday 11th April, kicking off at 3:15pm. Streamed direct from their Facebook page, expect to catch all local acts; Jim Blair of Hip Route, the bearer of Devizine’s heart Miss Tamsin Quin, Mr Love & Justice himself, Steve Cox, jazz pianist, singer-songwriter Will Lawton, Harry Leigh, frontman of indie-pop outfit Stay Lunar, experimental Karda Estra project runner Richard Wileman, Onze from Atari Pilot, Joe Rose and Nash.
Mr Love & Justice, Steve Cox
Our favourite Swindonian music journalist, the one and only Dave Franklin, if there’s another he’s a phoney, is all over helping organise this sofa bash. He states “obviously there’s more important things going on in the world right now than worrying about a local music festival, but it is also at times like these that music, art, creativity in general, helps get us through or at least offers an oasis of calm where we can retreat to and forget the day-to-day worries for a bit.”
Karda Estra
For me personally, I’m continuing to toil with the worth of the live stream against a real gig, ponder it’s currently all we have, worry either punter or musician are forced onto the ropes when it comes to how they should be arranged and financed and have even encountered and engaged in heated debates as we scramble in the dark trying to make this work best for everyone. This said, if anyone can I’m reckoning the Shuffle team will make an amazing job of it. If there is an upside to it, it is that one can check these artists out for when the gig scene does take off, and boy, I’m predicting it’ll go off like an atomic blast, and it will encourage many to take the journey to festivals such as Swindon Shuffle, in this example.
Will Lawton
In the meantime, enjoy the streams and not let it miff us too much at missing the real thing. I tell myself the scene is dormant; it will erupt again. It should go without saying, but I’m going to spell it out; B, for BUY, U for Yourself (sort of,) Y for some local music, (okay, that didn’t work) Look, just support the artists and buy their music from their websites and Bandcamp sites!
devizine.com 