Tag: grunge

Duality; Debut EP From Melksham’s Between The Lines

It was never just the fervent ambience created which made me go tingly with excitement about Melksham’s young indie band Between The Lines’ demo single Fading Time, it was the profusion of potential. A latent driving me to Swindon Shuffle this year, where they’d be playing at The Hop, but now a manifest for all to hear the reason for my tingle, as Between The Lines release their debut EP Duality………..

Four tunes including the demo Fading Time, flowing on an exceptionally defined style of breezy, female-fronted indie pop-rock. Age makes me contemplate Fleetwood Mac, younger might cite Florence & The Machine, I’m left thinking of The Corrs, particularly the opening track of hurt heart, Personal, with subtly building rich layers akin to grunge, but subtle and so incredibly cool. 

I interviewed bassist Belle upfront, lead guitarist George, and Ethan and Louis, who both switch between drums and guitars, the latter being the rhythm guitarist, back in February and their professionalism impressed me enough to go in with high expectations for this debut. I was expecting goodness, I got my earful and it was even better than I imagined it might be. This is delightful magic with universal appeal, charming yet biting with tender guitar riffs.   

Debatably Fading Time has the snappy hook, but Stuck in This is melodiously superior, the metaphorical drowning theme. Oh my, Belle’s vocals reflect off the water on this. I’m going out on a limb here to suggest something comparable to Kirsty MacColl, but don’t assume that’s sacrilegious or exaggeration until you’ve listened, please.

I worry I’m overusing the word sublime recently too, possibly reducing its impact, but I happen to like it, and can find no word more apt to describe Duality, and for a debut that it’s a fantastic achievement, an accolade they should all be very proud about.

But they saved the best till last. Simply titled Your Love, the final song is an uncomplicated rolling pop ballad, rich in ambience, and possibly the most durable, accomplished technically, and commercially viable. While fresh and contemporary with smooth indie-pop vibes, the EP flows akin to something timeless, even prog-rock, and if Your Love is the one to be accompanied with a dreamy showcasing video, which I believe it deserves to be, I’d like a slightly extended bridge, to really show the listeners what they’re made of.

And to meet Between The Lines isn’t the zesty teenage gang with stars in their eyes encounter, rather a modest and humble unity who seem thoroughly at ease with their talent, and while there’s a confidence which needs blossoming on stage, given the quality of Duality, it remains the boost they will naturally attain. I’ve high hopes, this is beautifully constructed and produced.

I See Orange….And Doll Guts!

There was a time not so long ago when I See Orange was the most exciting new band in Swindon. Their latest offering released at the end of August, a single entitled Doll Guts, truly positions them way above that pedestal and I predict and hope, onto the international market….

Though there’s a nod to the band’s roots in the accompanying picturesque video, in the way of stage show clips from Swindon’s premier venue The Victoria, it’s consolidated with professional storyboard shots of their playfully cute mien, contrasting their macabre component, commonly associated with grunge. It’s an original design identity they’ve manufactured to great success, but never has it been so symbolically recognisable as in this song, and video. The title alone reflects the winsome-dark contrast and their penchant for dolls, and horror, yet that’s only one element which causes me to hail it their greatest song to date, and the next level up.

Doll Guts is perhaps more melodiously memorable than anything I See Orange has put out in the past, the moreish affiliation of pop, without watering down those gorgeous roaring guitar riffs and thumping drums; greater than the chord simplicity of The Cardigans’ Losing My Favourite Game, but equally punchy. Imagine Hole writing the theme of Twin Peaks; this is evocatively fantasised themed, with a singalong chorus, rising and falling like the paragon of classic grunge, yet their own divine spin.

I loved the drive of Mental Rot, the spookiness of Witch, but Doll Guts is the delineation, incorporating all the elements and symbolism of I See Orange’s design and launching them back out there in true colours. You have to love this, everyone in the human race, surely?! You don’t have to be the number one Nirvana fanboy. In fact, while mawkish soft metal turned me away from rock in the late eighties, causing me to miss out on grunge, it has been through local bands like I See Orange, Life in Mono, The Belladonna Treatment and Liddington Hill, which has opened my eyes to its power and worth, so, thanks for that!

I See Orange match with a chemistry every band must envy. Formed in 2022 when frontgirl Giselle, originally a folk-pop singer-songwriter moved here from Mexico, and an impromptu rehearsal session with Cameron and Charlie established potential magic. Inspired by nineties and millennial alt-rock, they add their own unique post-grunge flavour. I have believed it works for sometime now, an accolade burgeoning with pace, seeing them gig in London and beyond, and this song confirms the praise they’re gaining is fully deserved. 

JPU Records Link

Find Digital Streams and Downloads HERE

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Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward “E”) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes…

Burning the Midday Oil at The Muck

Highest season of goodwill praises must go to Chrissy Chapman today, who raised over £500 (at the last count) for His Grace Children’s Centre in…

Bits of Elation; Chatting with The Belladonna Treatment

One of Swindon’s premier grunge pop-punkers, The Belladonna Treatment released their debut single, Bits of Elation, with London-based SODEH Records earlier this month. I spoke about the single, the band and local circuits with the bassist in the band, Ian James, as he was the most punctual at a recent gig at the Vic!

Bits of Elation is fifteen seconds under a three-minute-hero which doesn’t come up for air, compensates for those missing seconds with a dynamic and retrospective Ramones-fashioned riff and the feelgood vibe of pop-punk this side of the millennium.

It is far from the Belladonna Treatment’s first outing to a recording studio, there was a single last year The Torture Garden, and a three-track EP called Pleasure from 2023, which cherry-picks the best elements of many punk subgenres and moulds them into an imitable and infectious house style. Though Ian expressed working with SODEH has opened doors for the band popular in Swindon, evidently blossoming elsewhere. “It’s being played on radio stations in Belgium, Brazil, USA and Canada,” he told me with delight.

The Belladonna Treatment I witnessed live once, in awe at how they rammed the Castle with adoring fans at Swindon Shuffle. Tonight they play a double-header with I See Orange, who alongside Liddington Hill and a number of others usually on this burgeoning Swindon grunge scene, have turned my head toward the subgenre which passed me by at its inception, save Smells Like Teen Spirit. The Belladonna Treatment are ahead of this game, their appeal is universal and seemingly not confined to aficionados of the grunge subgenre. That was clearly evident at the Castle gig, but other than playing Minety last year, I rarely see their name pop up on local circuits other than Old Town’s lively route of The Vic, Castle and Beehive.

Understanding there’s a number of local grassroots venues where The Belladonna Treatment would fit like a glove, I was surprised to note they hadn’t yet ventured to Trowbridge’s Pump, Bradford-on-Avon’s Three Horseshoes or even Chippenham’s Old Road Tavern. I pondered on bands which seem to get stuck in certain fanbase circuits, despite being fully deserved to be showcased across the county and beyond. “It all depends on what everyone wants to do,” Ian began, “things like this pop up and it’s nice to do them, but we do want to expand and do other gigs.”

“It is very easy to get stuck into that circuit, of doing the Castle, and those,” he expanded, “but it’s nice to get out too. I mean, we played a gig in London at the end of January; a cracking venue, which James put together. There were other bands there, all different, but it was a brilliant show, packed out. We were two or three under the bill, so there were loads of other band’s fans watching us and we can get more followers this way.”

Guitarist James has recently moved to London, hence the opportunities for gigs there, but originally the band were all from Stratton, and knew of each other prior to forming The Belladonna Treatment just over two years ago. “Lee and James accidentally got together about five years ago, wrote some songs and went around as an acoustic duo, but we’ve all known each other our whole lives. Then they decided they wanted to get a band together. I hadn’t seen either of them for about twenty years, but I was getting back into playing. Stu, our drummer has been around in lots of other bands, played Glastonbury and stuff like that, and again, we’ve known him, and for the last two and a half years we’ve been playing as a full band.”

The Belladonna Treatment have been honing their sound since, and Ian felt Bits of Elation is a milestone. Pigeonholing their style he cited Nirvana and The Manic Street Preachers as influences they grew up on, and also mentioned Bowie, “but if you listen to the songs they’re melodic, it’s not just head down thrash punk, it’s more melody-orientated, grunge too. That’s why we like playing with I See Orange, there’s a whole nineties feel about us, similar to them.”

We rapped over the idea of levelling off the thrashed out element for a more melodic preference might once have been considered as “selling out,” in punk’s heyday, rather now it’s more of a natural progression and causing the sound to become viable to a wider audience. “It can do,” Ian agreed, “it’s also a case of, you want to sell more records and if you want to be popular, you have to do this.” Such progression is kingpin to crowds turning up at the Vic tonight and ramming the Castle at The Shuffle, knowing there’s a motivated band which rocks!

So I threw in the labour of love concept, and we talked cheerfully about while they’re sharpening their style to suit wider appeal, they’re also determined to strive for individuality, create their own methodology and not clone existing successful bands. Ian spoke of three new songs ready for release, the snowballing of radio plays and their determination to accomplish wider appeal, “that’s what we’re going for.” 

It was great to meet Ian, and the rest of the band briefly, when they turned up! Dad’s taxi was on duty and I could only remain until the end of the Wildcats game, unfortunately missing the gig. A valid reason for highlighting bands seemingly confined locally to our larger towns and encouraging venues to book them around here, because you only need to stream some of their infectious tunes to see what I mean, and why The Belladonna Treatment should be popping up at grassroots venues across the UK, at the very least; fingers and toes crossed.  

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For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlborough’s singer-songwriter Gus White’s debut album For Now, Anyway has been sitting on the backburner, and it’s more…

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Lade’s latest offering of soulful pop. It’s timelessly cool and…

Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a “large unlicenced music…

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCA’s Winter Festival, and…

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Mental Rot; New I See Orange Single

Hold on tight, the new single from I See Orange, Mental Rot embodies everything I love about this Swindon grunge trio, and takes no prisoners…..

If there are few bands on the local circuit to have turned my head and caused me to wallow in self-pity that I sorely missed out on the grunge zenith, I See Orange is the kingpin to this personal change of tide; proof you’re never too old!

With sublime professionalism abound, they’re creating riotous rock anthems; my untrained ear evaluates what I deem to be the conventions of grunge, and this tune in particular, while sits into the subgenre only subtly, relishes more in orthodox, good old punk rock, with perhaps a slice of metal, to be savoured, and not overly-pigeonholed.

In the words of Chuck Berry, who, face it, knew what he was talking about when it comes to rock n roll, ‘you can’t lose it, any old way you choose it.’ I’m getting more Joan Jett than Nirvana with this one, a timeless sound you cannot ignore, to that of what the Smalltown Tigers are more recently putting down.

Upon hearing the title was to be Mental Rot I wrongly assumed this new one would drift in the layers of melancholy and emotionally rise and fall, in that grunge formula many their past tracks follow, but this rocks out from beginning to end and sustains an explosive feel good energy aging punkers like me simply cannot whinge about! If, as the lyrics suggest, it’s “gnawing up and getting to the claw,” hey, I like it like that!

They’re one of six finalists to play The Finsbury in London tonight for a place in The Musos Awards Soccer-Six finals at the Electric Ballroom in March; we wish them the very best of luck. Play like this new single, and I reckon you’ve got it in the pocket I See Orange.

In Retrospect With Gary Martian

So yeah, not only has Cracked Machine and Clock Radio drummer Gary Martin added a letter A to his name to make it sound more extraterrestrial, he’s also fired a sonic blast back to planet Earth in the form of a whopper of a solo rock album! In Retrospect does what it says on the tin, taking inspiration from his most treasured rock bands of yore, and does it loud and proudly…..

Starter for ten, now Gary Martian, proves he’s a supernova of a multi-instrumentalist, taking the helm of every aspect from guitar to drum and the recording, mastering and distribution of this heavily-laced monster. If Cracked Machine are known for returning us to those heady days of space-rock, the intro to the opening track Lifeboats feels this is going the same direction, but in seconds we’re awash with slamming guitar and drum combos letting rip of a riff more akin to grunge. Whoa, it didn’t even wait for me to attach keychains to my flared cargo trozzers.

Yet while there’s rising and falling influences from nineties grunge like Nirvana and Therapy? I also taste nods not only to pioneers of the Seattle sound like Alice in Chains, but a broader spectrum of alt-rock too, and even rooted at the few tender moments, with electric blues and the soundscapes of Floyd, such as the closing of a few tracks, one called Bang in particular. Thing is, this value for your dollar, twelve dynamite tracks perpetually exploding at an average full four minutes each, and an epilogue song, Red Handed running into the twenty-minute margin, sublimely. Time enough then to input a carrossel of nods to every influence which has inspired Gary over time.

And there are Syd Barrett moments of whimsical psychedelia, something about Your Coffee Table, there’s metal grinding like Pearl Jam, breezy moments of The Smashing Pumpkins, such as Summer in the Autumn, and brief commercially viable moments like Jane’s Addiction. “It’s a big-ol’ rock album,” Gary told me, “inspired by the bands I love.”

I’m not in my comfort zone connoting such heavy rock and nailing its influences, I confess. I just say what I like, and like recent outfits coming out of Swindon, I See Orange and Liddington Hill, this is the kind of thing which causes me to regret my ignorance to harder rock subgenres, particularly during the ravey nineties. I guess it was all that slushy “soft metal” previously, for it was an impermanent trend which put me off track; still time for me to catch up, isn’t there?!

This album erodes the Muppet’s Animal stereotype of drummers just being drummers and bit bonkers, as Gary excels in mastering not only all the instruments required to stage an entire rock band, but also in the composition of them. In Retrospect was released across all streaming platforms and is downloadable from Bandcamp, at the beginning of the month, apologies for the delay, but this will rock your cosy Christmas foozies off!

Spotify, Apple Music, iTunes, Deezer, etc…. https://distrokid.com/hyperfollow/garymartian/in-retrospect

Youtube Music: https://music.youtube.com/playlist…

Amazon Music: https://amazon.co.uk/music/player/albums/B0DPHGW1MT…

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Devizes Winter Festival This Friday and More!

Who’s ready for walking in the winter wonderland?! Devizes sets to magically transform into a winter wonderland this Friday when The Winter Festival and Lantern…

Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizes’ one and only Wharf Theatre last night, if forced to sum it up…

Chatting With Burn The Midnight Oil

It’s nice to hear when our features attract attention. Salisbury’s Radio Odstock  picked up on our interview with Devizes band Burn the Midnight Oil and…

“My Dad’s Bigger Than Your Dad” Festival, Old Town Gardens, Swindon July 20th 2024

by Ian and Paul Diddams
photos by Ian Diddams and MDBTYD Festival

The 4th iteration of MDBTYD Festival was held on Saturday at its home of homes, Swindon Town Gardens. Last year Devizine covered the proceedings with Darren venturing northwards, and his thoughts and explanations can be found here

My Dad’s Festival overcomes the rain and raises nearly £9,000 for Prospect Hospice

You can find all the background to the festival in Darren’s post, but I can add that this year in 2024 over £8000 will have been raised as I write this with other monies still coming in – in that vein it’s not too late to donate!  Just follow the link here.

If you CBA to read Darren’s 2023 post, a summary is that the MDBTYD Festival seeks to raise funds for Prospect Hospice in honour and recognition of Dave Young, a mover and shaker in the Swindon music scene before his passing in 2021. This is generously aided by the primary sponsorship of “Future Planning” Independent Financial Planners as well as support from Jovie Grill, Funky Corner Radio, Swindon PA Hire, Jamaican Me Crazy, The Tuppeny, Holmes Music, Vibish Brewery, SPR Garage, The Castle, South Swindon Parish Council, C.P. Jeffries, LF, Mamas Events, T Marshall Services, Originzone, Scarrots fun fairs, Hills and Platinum Security services.


While not totally perfect, nonetheless the weather this year was better than last year’s it has to be said although that bar was pretty low! Nine hundred souls joined in the fun in Old Town Gardens, and as in previous years enjoyed acts both in the festival arena on the main stage but also in the Acoustic stage in the band stand in the main park, as well as the craft market and fair ground. In fact it must be said so incessant was the music offerings in the main arena that these correspondents hardly managed to get to the Acoustic stage but that is no slight on the acts there – and if “Plummie Racket” was anything to go by when we did manage to squeeze a couple of numbers in the quality was high! For future reference to the great Devizine readership, the acoustic stage, craft market and fairground is open to the public though Im sure anybody availing themselves of the “free” offerings would be chucking a suitable donation in a bucket online of course.


So – the main arena. What a cornucopia of delights! All Swindon/Wiltshire based bands with local followings and the standard started high and maintained itself throughout. Without going into glorious technicolour detail across the board (else we’d be here until Christmas writing and reading it all) our musical pleasure zones were in turn tickled by “Copper Creek” with Americana style folk to start the toes a-tapping, “Broken Daylight” & “JB and The Mojo Makers” each with their own brand of driving rock and blues, and then “I See Orange” – a quite excellent Grunge, hard edged band with on stage attitude par excellence…  sporting a bright orange bass…  what came first the band name or the bass we wondered?!  “Thud” blew us away with more driving bluesy rock and were followed by the stunningly vocalled “Joli & The Souls”.
And lets not forget the “surprise” visits from “Ministry of Samba” !!


Eventually as evening began the crowd got what many were here to see – “The Chaos Brothers” an eclectic mix of punk, glam and new wave covers from Calne and Dave Young’s last band. And thence to the total treat of “Gaz Brookfield and The Company of Thieves”.  Gaz is well known in these parts as a solo performer, but he has appeared for quite some while periodically with a bunch of assorted ne’er do wells “The Company of Thieves” and its becoming more common I have noticed of late for the full band experience to occur. But whether solo or a-Company-d (see what I did there?) Gaz’s tunes are a roller coaster of emotions from poignant, to laugh aloud, to reflective, to angry. He – and the Thieves – never disappoint.

Sadly our carriage awaited to return us to the depths of the county and Devizes so we missed SN Dubstation but their reputation precedes them and I have no doubt they were their spectacularly entertaining selves 🙂

Now of course festivals are so much more than the bands of course. There is one area that is on the lips of seemingly every festival goer to every festival I discuss …  the LOOS! Well, the loos were sparklingly clean, delightfully fresh on the nostrils and plentiful – I never had to queue all day! The bar – another important aspect of festival days of course – did have queues but that is testimony to the excellence of the products available and it is always lovely to spend time chatting to other attendees. On a personal note, we both felt the beer offering was absolutely spot on …  a Vibish pale ale with a hint of Melon (a nod to Dave Young’s quote that he didn’t want his beer to taste of melon!).  The bar was provisioned by “The Tuppeny” with some proceeds going to Prospect Hospice too.  That of course just leaves – the food! The usual popular array of burgers, hot dogs, and hog roast – and chips! – from “Jovie Grill”, but another personal hats off to “Jamaican Me Crazy” for their fantastic Caribbean food …  curry goat, jerked chicken, rice and peas etc. etc. etc. Simply great!


And so the day came to an end. It had flown by – a tribute to the high standard of acts and the enjoyment of the day. MDBTYD 2025 planning is already under way and it is sure to be even better if that is possible than this year’s.

See ya there ?

https://www.mydadsbiggerthanyourdad.co.uk/

And for more musical splendiferousness in the same vein for Prospect Hospice is the upcoming “The Shuffle” – Swindon’s biggest festival of unsigned grassroots music, 12th-15th September!

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The Lost Trades Float on New Single

I’ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quin…

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Keeping Secrets; New Single from Life in Mono

I do believe I got a taste of this new single when I saw Bristol’s premier symphonic grunge collective, Life in Mono at Bradford Roots, and was held spellbound…..

And I’m not usually in for Seattle Sound, but Life in Mono are the kind of layer-building specialists who could turn Björn, Benny, Agnetha and Anni-Frid into ripped jeans and flannel shirt-wearing grunge kid crowd surfers! In an Evanescence fashion they’ll take three minutes to build the ambience then bring the guitars crashing, and the result is sublimely encapsulating.

Filled to the brim with brooding noir drama and sensually immersive grunge, the secret is out, Life in Mono is gorgeously intertwined enchantment, and this is one finely-produced tune which expands to fill the room, as choranaptyxic as the Occamy, for want of a less Pottermaniac analogy! 

LinkTree

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Devizes Chamber Choir Christmas Concert

It’s not Christmas until the choir sings, and Devizes Chamber Choir intend to do precisely this by announcing their Christmas Concert, as they have done…

Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Z’s outlets to convey anger and rage, resulting in a generation of…

The Wurzels To Play At FullTone 2026!

If Devizes’ celebrated FullTone Festival is to relocate to Whistley Road’s Park Farm for next summer’s extravaganza, what better way to give it the rustic…

Has Swindon’s Liddington Hill Created Celtic Grunge?!

Explosive new EP from Liddington Hill released tomorrow, Edge of Insanity, begging the question, have they created a whole new subgenre?

As an impressionable Essex teenager coming from a hip hop background, thrust unwillingly into an eerie Wiltshire village like Sam Emerson in the Lost Boys, I endeavoured to align myself with the musical tastes of the natives. Yet, while I pre-gained a penchant for soft metal, the pop charts latest exploitation, I never envisioned lying semi-subconsciously under a fallen Christmas tree with a gang of crusty kids, while the needle stuck on the last notes of the Pouges’ Transmetropolitan, and everyone too drunk on Cinzano to change the record.

Fair to assume The Pouges belted me hard in the bum-fluffed chops, it would be unthinkably embarrassing to show affection for folk music, surely? But this, this was fast and furious, like the punk of a bygone childhood, and turned my preconceptions on its head. Now it’s commonplace, the Celtic punk of Flogging Molly and The Dropkick Murphys are instant likes, but I’ve become immune to their ferociousness; the violent police response to break up parties, and mass of abandoned fires burning across a post-apocalyptic looking Glasto main stage after The Levellers spoke out about not letting the travellers in that year made sure of it.

Yet a want for angry music never extended to grunge by the time it arrived, though I now see it’s worth and power, I was a raver, and felt reggae was the only meaningful source left I’d consider; dance music was blithe and fantastical. So, as I’ve only ever been a window shopper of grunge, I confess dubiousness when Matthew of Liddington Hill emailed me, “it’s a bit grungier.” Not forgoing, it’s been two years since we featured them last, reviewing their debut EP Cow, and if I liked it, which I did, there was always a niggly its songs of traditional Irish shanty and tales of Swindon pub crawls lacked that archetypal anger commonly associated with Celtic punk; they’ve sure made up for that now.

New EP then, out tomorrow (2nd June) called Edge of Insanity, rips a new hole in the fabric of what’s acceptable and very possibly creates a subgenre, for Google searching “Celtic Grunge” doesn’t amass much more than separate Celtic punk and grunge offerings. The Swindon five-piece ask on their blog, “is Celtic grunge a thing yet?” It is now, well done you, because it works, take it from someone for whom grunge is not usually their cuppa.

With some band changes and maternity leave, Edge of Insanity goes much further up Liddington Hill. Peering down on themes of serial killers and the Aberfan disaster, it takes no prisoners itself, carelessly teetering on the edge, as it suggests on the tin. The Celtic riffs against grunge chords is a match made in heaven and a wonder no one thought of it before, bands like Ferocious Dog only meeting part of the way. It’s this blend staring us in the face which makes it for me, bending my grunge preconceptions of ‘yeah Nirvana was great, but I’m delving no deeper than the baby on the cover;’ I’m a Celtic folk hussy, add a slice of it and I’m yours!

Another winner is, beneath the dark and angry dispositions on offer, there’s historical gospel in the narrative. The opening tune In Rosie’s Room concerns a real mid-19th Century prostitute in gold rush America who tried to steal from a gold mine with her lover. With a hypnotic riff it rings how this EP is going to play out; indignantly dynamic and in your face.

Hold onto your hat though, as it’s about to get real screamy. Keep Hold of your Heart really is a furious thrashed punk expression from the perspective of an inmate in a Sanitorium. Illustrates my point though, usually my toes would curl at this intensity, but given this Celtic roots riff running through it, I can get aboard; it makes The Pouges sound like Brotherhood of Man!

The edge chills off, slightly, Capped in Black is the Aberfan themed song, possibly the ace of spades here, the balance of grunge and Celtic punk is refined and the anger within comes to a dramatic close leaving you aghast at the notion this disaster was allowed to have happened; the effect is achieved.

American serial killer Aileen Wuornos under Liddington Hill’s radar next, the track Maid Of Mayhem is perhaps my personal favourite, retrospectively punk with their new bassist Alannah on first person vocals and making a wonderful job of it, it’s akin to Siouxsie Sioux reworking Springsteen’s Nebraska, on fire!

The 1940s Lipstick Killer, William Heirens is next on the band’s unglorified hall of serial killer fame with the finale, Lipstick. The band explained, “Liam, for some reason became inspired after reading about a few serial killers and the reasons behind such terrible actions. So he wrote a few songs and we put some together with a couple of other heart-wrenching songs we’d written.” The grunge element seems to wane in favour of upfront punk rock, as we progress past Keep Hold of your Heart, and I’m grateful for this. Lipstick polishes this explosive caliginous EP off, suitably akin to The Stooges or even early Ramones, while retaining this Celtic folk riff credited to The Pouges, and for this, plus it’s astounding step up in expression and production, is a yes from me.

Free entry to the Vic in Swindon on Thursday 15th June for the EP’s launch party with support from Lucky Number Seven and Dark Prophecy. Find out more info about tomorrow’s release on Liddington Hill’s website, HERE and Facebook HERE.

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DOCA’s Young Urban Digitals

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

Jol Rose’s Ragged Stories

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

On The Wayside with Viduals

Akin to Ghostbuster’s nemesis Slimer when he appears over the hotdog stand, I was squatting a spacious windowsill at Wiltshire Music Centre with an Evie’s burger summoning me to munch, when a mature lady swung open the fire-door to the third stage at Bradford Roots Music Festival a couple of weeks ago. She looked agitated, speechless at the brash raucous reverberations of the next band’s soundcheck, as if this wasn’t what she ordered at a “roots” festival, and not alone in her opinion. Naturally, I smirked….

In this much, I consider, not being Peter Pan established, if there’s something psychologically wrong with me. I’m pushing fifty, and welcome the unforeseen, refuse to join pensioner grumpy club. Hark, I say, to the sounds of youthful post-punk indie rock, retains faith musical progression is eternal, and I’m game for upcoming, fledgling bands to do their worst and try turn me into a fuddy-duddy with progression above my capacity. For try as they might, it doesn’t wash; I’m going in if they’re coming out.

The festival’s age demographic was wider than I imagined, and salute the organisers for supplying wild cards, things to appease younger attendees. There was a couple of bands which fit into this pigeonhole, I’m focussing on the one I managed to catch, Swindon-based four-piece Viduals.

This hard-hitting fury, in-your-face indie rock with flavours of skater punk and post-grunge, but never with an air of melancholy, though awash of surprisingly universal dejected romantic topics is a dish best served at a pub-like venue, known for diversity, if not Reading Festival. Our own Nervendings do it with cherries on, and along with a plethora of bands I cite Devizes-own Nothing Rhymes with Orange. The guys of Viduals know both these bands from gigging at The Vic and elsewhere, as I bought up comparisons chatting to them outside.

What came across from our brief conversation was, although not without a touch of understandable adolescent carefree banter, these young guys are level-headed and have a clear understanding what they want and where they wish to take this. Just mentioned that for the sweeping generalisations of stick-in-the-muds! Because, while the performance suffered somewhat with poor technical engineering, causing the Muppet’s Animal-like drummer to be too upfront and drowning out vocals, there was something which grabbed me about these guys, and their EP The Wayside confirms my suspicions.

Five songs pack a punch, Viduals don’t come up for air, the production on this EP affirms the perfect balance of a united group, working as a unit, and the splendour of Viduals shines through. It kicks off with Separate, like a little toe in the water, Look Away increases this degenerate, dysfunctional youthful amorousness theme, both never faulter to a bridge of forlorn downtempo mood, just rocks loud and proud throughout.

To mumble this general theme is cliché, Viduals do it with finesse. Drums roll like velvet over nimble guitar-thrashed riffs and intelligent lyrics, Embraces perhaps the best example. Here’s a thing though; contemplating the aggression of punk of yore, metal or hardcore, while there’s bursts of adolescent emotion within these upcoming bands, the like of The Karios and Mellor, it’s never as incensed or furious as punk’s roots, it takes you with it rather than sticks two-fingers up at you.

Viduals do this with exceptional balance, it’s tolerable universally, unlike, say, The Sex Pistols’ fashion of deliberately offending. I feel it collates various influences along the way, such as the mod-rock garage bands of the eighties, grunge, and in this it ceases to become a “noise,” living in a limbo between acceptable and unacceptable, a kind of halfway house.

But the thing is, taking hardcore bands like Black Flag, through to grunge, there’s never been a more progressive, and consequently, creative time for this genre than now; it has matured into pop, officially and naturally. Enthusing youths to pick up instruments, motivating them to self-promote and persevere with creativity, is a surely good thing. Coming Back to You, being prime to what I’m getting at, perhaps the politest song on offer here; there’s a need to rock, but not spit at or nick the audience’s belongings while doing it!

The finale Permanent Daylight feels something of a magnum-opus, at least to-date, and is symbolic of my overall valuation; in layman’s terms, it kicks ass!

Ironic EP title, in my honest opinion, playing it down. Viduals are a young Swindon-based band destined not to fall by the wayside, rather stand solid and secure on that highway to hell, likely above one of those massive motorway signs straddling this borderline; if the lane is closed, shit, you’re gonna know about it, blasting their non-harshness sublime sound across the stratosphere! Yeah, love it, it’s unexpectedly refined rather than raw, with bags more potential to boot.

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Ah, hark the beatific resonances of an adolescent choir, in their prime; Swindon’s metal-skater-punk three-piece Drag me Down have a new single out, destined to take no prisoners.….

Released on 26th August (2022) Invincible is fresh loud and proud, if contemporary pop-punk bands like Sum41, just as a for example, are sounding tad commercialised and lite, either/or, Limp Bizkit be too rappy for your palette, this local garage powerhouse packs the punch of metal’s finest hour and plunges the rest of said genre against the ropes.

And they sent it to me for my appraisal, unaware I’m approaching fifty and should be looking over my glasses at them in disgust, complaining about skateboards in the park while sucking on a pipe and adjusting my slippers until the nurse passes me my meds; and I reckon it’s having it.

Its intro is unpredictably electronica, but kicks within ten seconds with a grungy carefree “this is our time” notion, and rolling drums of pop-punk is the hook which confirms it is exactly that, a beguiling up-to-date anthem. If, like me, you were unaware of these guys, this will permanently scar them into your neurons as they go from strength to strength, claiming to have learned “a few new tricks along the way.”

Formed in Swindon, the band have been friends since their pre-teen years and suggest they’ve “gone through every trial a young person could face while growing up in the UK,” yet emerge from the other end as a “no-nonsense unit of friends with only one goal: to put smiles on the faces of everyone who listens to us.” Ah, I can’t give ’em that, sorry, they don’t know they’ve been born!

If there was any truth in what I just said, least they’ve top marks on how to rock.

In true counterculture ethos, they’ve a DIY label, Whatevercords, and have teamed up with The Bottom Line, Hightail, and From Here On Out producer Zac Pritchett to whisk an ever-growing discography. They’ve played Furnace Fest at Swindon’s Level III with the likes of Polar, TRC and our purveyors of noise buddies NervEndings.

I forgo my right to a free bus pass unless it’ll take me to a Drag me Down gig, because based on this single alone, they’ve got every ingredient firmly placed for the lively, youthful denotation you need to be at when it goes off. So, yeah, I’m predicting these kids will go far, and as for pensioner whinges I’ll stop at: if not I want a full enquiry into why not.

Pre-save said ticking-timebomb HERE, and wait for detonation Friday week (26th August.)

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In the words of the great Suggs, “but I like to stay in, and watch TV, on my own, every now and then,” after three gigs on the previous weekend, I opted a weekend off, albeit I was with the family, and succumbed to Britain’s Got Talent for my entertainment, one little part of me wishing I’d headed down the Southgate.….

To rub salt in the wound, Swindon-(I think)-based Cobalt Fire, who were providing the sounds at Devizes most dependable pub for original music last Saturday, also released a debut album called Butterfly, so naturally I wanted to hear what I missed.

Self-defined as a fusion of “the retro sound of 90’s grunge and post-punk with a modern take on folk,” I can see where they’re coming from, and it’s no new thing for them, formerly known as Ells and the Southern Wild, the band developed their fresh sound from acoustic roots, and yes, there’s tinges of this still in them. Though their bio suggests they formed in 2103, I gather there’s either a typo or a gothic timelord in there! But in their switch to electric they strive to retain the core features of the songs, “creating a more muscular beast in the process,” they put it.

And they’ve certainly achieved this, Butterfly, usually more bug than beast, is a boom of emotional overdrive, as grunge commands, with echoes more of Evanescence than Nirvana, what with Ells Chadd’s haunting vocal range. It packs punches from beginning to end, the finale of which, Another Round, particularly poignant to this nod to acoustic roots, middle tracks like His Words Lie Heavy breath an air of eighties post-punk, ah, goth tinge, Siouxsie Sioux style, while it begins strictly grunge, with those rising and falling echoes of emotive authority.

The magnum opus, though, is three tracks in, Crimson Red summarises everything great about this potent four-piece, it’s dynamitic, driving.

It’s basically ten professionally executed, blindingly touching three-minute heroes, in a fashion not usually my cuppa. But if I sing praises for a genre more me, that’s easy work, for music to make me consider oh yeah, I like this though pigeonholing obligation says I shouldn’t, the result is even more impressive, and with Butterfly I’m near to breaking out some multi-belt buckle platform boots, growing my hair and dying it black!

This is a powerful and emotive creation, indulgent of all rock subgenres, yet beguiling grunge, and it never strays from its unique sound. See now, I’m sorry I missed you guys, another time and I’m beeline; embarrassingly for BGT too, though I’ve given my best cat ate my homework excuse, and though I doubt you’ll turn Simon Cowell’s frown upside-down, going on this album, you’d have got my golden buzzer.

Ah, it’s all lies, anyway; not sure my hair will grow back!

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