Tag: Indie

All Cat’s Eyes for Nothing Rhymes With Orange’s New Single

Firstly, to clear up any confusion, as I know I was, a little, and I also accept it doesn’t take much these days, Devizes’ finest musical export since The Hoax, Nothing Rhymes With Orange will play a homecoming gig at The Three Crowns on the Friday 24th June, and not as previously advertised on the Saturday….

Reason being is symbolic of the monumental progress this young band is making nationally; on the Saturday they’re at the third heat of this year’s Pilton Stage party in Glastonbury, the winners of which will go on to share the stage with a major headliner in front of 8,000 people on Worthy Farm in September, that’s all!

Here at Devizine Towers we’ve got all fingers and toes crossed for the guys, it’s a tough cookie, but we look forward to catching up with them on Friday. If you need confirmation of my claims of their blossoming progress, check out the latest single, Cats Eyes, which they launched today, and you will realise I’m not making this up; shits got real.

If eyes are a window to the soul, and cats are sly, this bountifully bodacious banger is the wild romantic ride of Born to Run, with an nonchalant and stylised ring of youth. The narrative is elementary though noteworthy, the post-festival blues of confusing mental bedlam over a fleeting romance, and coming to terms with it all when homebound; it’s convincing, I get the inkling they’ve been there.

Yet it’s the professionalism of a lively style defined here which impresses, having watched these Devizes lads progress from the levels of fun yet amateur punky knockouts like Chow For Now. And it’s all contained within a relatively short space of time whereby each single is a moonwalk to initiating a universal style.

If the early singles like Chow and Manipulation fuelled a local fanbase of peers, Cats Eyes will play the same part in enthusing the big kahunas of the music industry, and if not, I want an inquiry as to why not. These songs they’ll undoubtedly look back on as stepping stones, yet while there’s a modification to a growing professional trend which sounds to me retrospective eighties indie-pop, the like I hail bands like Talk in Code for reverbating, their rawer punker influences aren’t completely saturated here. It doesn’t feel like selling out, it feels like a natural progression to a permeating and accomplished sound, which will equally not disappoint fans but amass newer ones too.

If we’ve always been impressed with Nothing Rhymes With Orange’s insatiable ability to energetically harmonise, it’s evident here in abundance too. They’ve mastered the hook, and taking it to a bridge, they detonate the pop formula with indie goodness, something which only gets better each time; Cat’s Eyes makes another positive leap forward.

The band have been consistently gigging across the South West at festivals and niche music venues since they met in a secondary school, and have been championed by many local radio stations including BBC Introducing who have featured two of their tracks. With a summer tour announced they’ll be playing a range of headline and support gigs right across Wiltshire and on to Hampshire, Bristol, Reading and London. 

But while it’s great to see them heading out, you know when they arrive back in Devizes, the party is on, and fans will be chanting their lyrics back to them; the highest accolade aside a blinding review from me, naturally!!

LinkTree HERE

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Steatopygous & SHOX: Two Teen Devizes Punk Bands Appear on Trowbridge’s Pump Triple-bill this Saturday

Two teen Devizes punker bands appear on Trowbridge’s Pump triple-bill this Saturday, as the search for the Future of Trowbridge reaches its eighth instalment; unsure if Flo, our youngest reporter (by a country mile!) will be on the scene, so I’m tempted to leave my embarrassing grandad cap in the drawer and have a nose myself….

A new one on me, Menthol Lungs headline the show, with an ambiguous base I’m taking a wild stab in the dark to be Trowvegas. They promise hardcore shenanigans which never fall below 180 bpm. I might try to attempt to keep up with that, but kids, please stop me if you see me turn purple!

Now, our town’s newcomers, riot front-grrrl Poppy Hillier, bassist Eliza Brindle and drummer boy Ewan Middleton, aka Steatopygous, take the middle slot. In accordance to Flo’s recent interview with them, in true punk DIY fashion this band formed at Devizes school, and was the one she was most excited to see at the youth gig set up by Devizes Youth Action Group at the Corn Exchange in Feb.

Progressive indie fusion with a drum n bass DJ, apparently, SHOX also played the gig, and Flo had only good words to say about them too, concluding thus, “these guys have some awesome ideas, which makes them stand out and make a unique sound that I would love to hear some original songs with.” A concept that leaves me intrigued, I must say.

There’s one damn decent way to further these band’s progression locally, and that’s to feature at the one true venue dedicated to being their, and so many other upcoming talents’ launchpads, The Pump. Whereas most venues want to bring in a big name, The Pump strives to introduce you to the next big names…. Bloomin’ lovely place too.

Bucking the trend of depleting support, this Trowbridge golden nugget goes above and beyond grassroots schematics to host what will surely be, The Future Sound of Trowbridge. Hats off to all who sail in her, and I’m over the moon if it is to be suggested Flo’s excellent coverage of the Devizes Youth Action Group gig on Devizine encouraged Mr Moore, our favourite-most promoter, to book these two. But, hey, if we’re talking hats, there’s bound to be some other codger to share gardening tips there, surely? What the hell, if I do attend this gen z hoedown I might take my grandad cap after all! Best of luck to Menthol Lungs, Steatopygous, and SHOX. 

Tickets are only a fiver, go, invite your grandad along too! HERE.

The Future Sound of Trowbridge #8

The Clones at the Three Crowns, Devizes

Forget your pedal board setup for a moment, it was as if The Clones knew precisely what buttons to press to rouse the party crowd at The Three Crowns in Devizes last night, and whilst I’d admit it doesn’t take a lot to get them going, this four-piece certainly put an earnest shift in…

It seems irrefutable, the Three Crowns is the go-to pub to party and let your hair down in Devizes right now, particularly for Millennials and those tipsy enough to think they’re also twentysomething, like, I dunno, me?!! These wheels have been in motion for a few years and show no sign of slowing yet. It’s busy but hospitable, uses card-only payments to speed up service, inside it serves a respectable plate, and if previous generations favoured DJs in club format, the modern method of live cover bands is the epoch The Three Crowns abides by, and delivers in a spacious heated and covered beer garden, with zest ….but you knew this already, right?!

Whilst there’s the obvious popularity of regularly returning local bands such as People Like Us, The Roughcut Rebels and Illingworth, it’s a blessing to see a new band to the pub attract the same colossal positive response. The Clones hail from Corsham, I was unaware of them and my curiosity paid off. As we witnessed in Devizes last night, they sure put the cor in Corsham. Akin to when Pewsey’s Humdinger arrived in a blaze of glory, the punters showed them the Devizes appreciation and the atmosphere was electric.

Through a motley genre-mapped setlist they delivered a range of covers all with gusto, sharp class and attention to detail. Two lead singers generally adopted different stances, one taking the funky, soul numbers, with a sublime medley of Superstition and equally funky classics, the other with a penchant for eighties new wave, mod to Britpop; the Jam’s A Town Called Malice being my fav of the set, if I was forced at gunpoint to provide one.

Yet both duetted on a number of miscellaneous pop and rock classics. There were few tunes you might consider cliché, but they handled this well because often the crowd wants this, and mostly though sing-a-longs, they weren’t the archetypal songs to falter a cover band setlist. Daring attempts too, from Bowie to Jacko’s Billie Jean, there were some your average cover band should only try at home! It was nonstop fun, never attempting to sooth with a love ballad, or experiment with a synth, just the rock n roll four-piece format of drums, bass and lead, brought up-to-date with an exemplary setlist to rouse any diverse demographic audience.

It was loud, proud, and teetering with polished enthusiasm and professionalism. Landlords, if you want a band to make your punters thirsty by jumping for joy, this might be the cover band for you.

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The Wiltshire Gothic; Deadlight Dance

With howling, coarse baritones Nick Fletcher, the main vocalist of Marlborough’s gothic duo, Deadlight Dance chants, “here comes the rain, and I love the rain, here she comes again,” proving two things: one; he’s never been a milkman, and two; they’ve covered the Cult classic Rain on their upcoming second album, The Wiltshire Gothic, released tomorrow, 29th March 20224. I’m one step ahead, you are advised to catch up….

If the time of the Black Death brought about radical advances in music and arts, we’re engulfed in a similar epoch post-lockdown; lone contemplation and plotting is paying off with overwhelming creative output, and Deadlight Dance is a perfect example. Messages exchanged between two members of an ex-St John’s Sixth Form late eighties gothic band, Nick, and multi-instrumentalist Tim Emery, was the root, a retrospective passion to return and pay homage to their influences. The result, a reunited touring duet finding a new-wave-gothic gap in the market, and the recording of an astounding debut album, Beyond Reverence last year.

The debut was superb original material top-heavy, nodding to their influences through substantial synths and drum machines; to suggest the Wiltshire Gothic is an addition to the concept is wildly off mark. Live, the pair appeased audiences through covers, with a strengthening acoustic take; think how Gary Jules stripped back Tears for Fear’s Mad World in 2003, add some lutes, you’re close enough to the picture. It was Tim’s idea to record them, and Nick’s wish to do so in an Anglo-Saxon church. Tim said, “we wanted to capture that side of the band. We were moving forward with the sound from the first album, but this was no more or no less valid.”

On 28th November 2023 Deadlight Dance played some of their favourite covers acoustically at the 12th century All Saints Church in Alton Priors and with help from filmmaker Haunting the Atom, shot a promotional video. They felt it vital to clarify the church had no heating and averaged 3o; but hey, you are goths, I thought you liked coldness?! “My initial idea was to involve Nick Beere of Mooncalf Studios,” Tim furthered, “and record them live there, with a view to perhaps releasing them.” Tomorrow you can hearken the result, essentially join them in that church.

The Wiltshire Gothic is a love letter to the songs of Deadlight Dance’s early days playing music, discovering bands, and then ultimately discovering themselves, through music. A love letter you can copy and paste because the effect is a thing of beauty. Three songs each from The Cure and The Cult, two of Joy Division, one being Love Will Tear Us Apart, naturally. Others from Bauhaus, Fields of the Nephilim, The Mission, The Weeknd, Sisters of Mercy, and lastly, the one alongside love tearing us apart which you need not have been a goth to appreciate, OMD’s Enola Gay. But hey, this is so encapsulating it’s enough to turn Roy Chubby Brown into a goth!!

If I award points for doing what it says on the tin, The Wiltshire Gothic is off the scale. For me, with mandolin, mandocello and bouzouki blessing these covers, subtle bass, and Nick’s evocative and mood-fluctuating vocal range, I’m taken back to my innocence of youth, and its drive, born of frustration and anxiety for the mysterious direction life might take me. New to the Marlborough area, as a teenager, friends took me exploring the sights they might’ve taken for granted, off the beaten track. I’m there again, sharing a bottle of red wine, perched atop West Kennet Long Barrow or the Devil’s Den, gazing into the sunrise. And Robert Plant resonates “oh, dance in the dark of night, sing to the morning light,” from a busted-up cassette recorder. The Wiltshire Gothic is this enchanting, the selection of lutes, the pure acoustics ringing out simplicity, breathes the fire of a dragon into authentic, timeless folk.

And there it is, yeah, Deadlight Dance are recapturing the gothic classics of their youth sublimely. In the video Nick stresses the flexibility of goth-rock compared to the confines of archetypal folk, but if these are the songs you took out with you, on your Walkman, even if just to Marlborough’s Priory Gardens during school lunchbreak, then they are, in essence, your folk. They may’ve broken the mould, and that’s good, isn’t it, that’s what post-punk was all about? And that is what The Wiltshire Gothic not only recaptures, but reimages, divinely. It’s as if Robert Smith sang his songs in an 18th century Wiltshire field, whilst uprooting turnips!

“Because of the unique instrumentation,” Nick explained, “we didn’t worry too much about staying too close to the original versions and felt we could be respectful to the original artists in how we interpreted their music. It’s not a radical shift in direction for us; this has always been part of our sound. I would imagine we’ll follow this up with another dramatic musical tangent.”

The Wiltshire Gothic is released via Ray Records on Friday 29th March 2024, streaming everywhere worldwide. Available on Bandcamp. A limited run of physical copies is available from the band. The album is accompanied by a short film of the day that is released on YouTube on release day, we will add the link tomorrow. Deadlight Dance have an album launch on Sunday 14th April at The Blue Boar in Aldbourne from 6pm.

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Ashes of Memory; New Single From M3G

The fifth single coming out from Chippenham singer-songwriter M3g on Friday, Ashes of Memory, and if I’ve said in the past what separates Meg from the average singer-songwriter is her stark individuality, this one stands out as the perfect paragon….

There’s a choric aura in the undertones of this acoustic dream, evocatively expressed as ever, but perhaps more ambient and succinct than any of Meg’s previous winsome outpourings. It’s rich with poignant and lucid definition, hope in turning a metaphorical new page in her life, and the sorrowful trajectory which succeeds fades into tears, literally.

It’s one of those three-minute marvels that leaves you breathless and in a dilemma of quite what to do now it’s over. Meg played many local festivals, and has supported the likes of Gaz Brookfield and Amelia Coburn; any musician following her better pray she doesn’t finish on this one! 

Find her Spotify page below, follow, or at least return here on Friday to hear it and judge for yourself, I think it’s a beauty!

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A View to a Thrill

“The Thrill of Love” at the Wharf Theatre by Ian Diddamsimages by Chris Watkins Media Just over a year ago, the Wharf theatre performed a…

Never Changing the Rules With Atari Pilot

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. 

Love it! I don’t want these rules to change!

LinkTree

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Something Of Nothing; New Single From Talk in Code

Swindon indie popsters Talk in Code return tomorrow (1st March) with a new single, Something Of Nothing …..hold tight to your Deely-Boppers, things are about to get eighties around here….

Every time Talk in Code releases a single I find myself pondering deeper into what makes good pop, and if the word pop is a suitable term to use to describe a song at all. Wikipedia defines ‘pop’ as a “genre of popular music,” a rather incontrovertible statement, being it defines ‘genre’ as “a conventional category that identifies pieces of music as belonging to a shared tradition or set of conventions.” Find me ‘shared conventions’ between Elvis’s Heartbreak Hotel and Doja Cat’s Agora Hills, other than both were commercially produced? If they weren’t ‘pop’ they would hardly fall into the same category. They’re styles apart, separated by time and influences, ergo ‘popular,’ at the time, and that’s an epoch, not a genre.

I’d argue pop is only a genre when thinking outside its own sphere, ie; classical, jazz, folk. Ergo, everything else is pop, making pop a blanket term. Not all pop songs are popular, even if the intention was; singles flop, or, era depending, they become timeworn. Ah, but we were discussing ‘good pop’ and for that there’s two distinct categories.

Category one is throwaway, only encapsulating briefly, fitting with a current trend. Think of those songs you bought back when, but you’re now horrified you liked them, compared with those songs you consider classics, and will still drag you down to the dancefloor today. I bet you thought of more classics than the once trendy ones, because the latter you block from your mind, until some radio DJ spins it and you think, did I really like that shite?! Therefore, good pop breaks the very rule of pop, it’s not trending, rather it’s timeless. Ask yourself why tribute acts are big business, or a current act feels the need to sample an eighties electronica riff, it’s nostalgia.

Talk in Code often cite The Killers and The 1975 as influences, and certainly their root lies in another ambiguous genre, indie. Indie to me implies nineties dance-indie or Britpop, but whenever I hear a new TIC single I’m contemplating eighties electronica pop, more with every release.

Something Of Nothing is no exception, it accentuates the euphoria of an eighties dancefloor filler, and wouldn’t sound out of place on a chart hits compilation of 1986. By the opening bars I thought Ah-Ha were making a comeback, I thought Roxette might sing. The fact that when I addressed this eighties influence with the band they were agreeable, despite citing nineties influences themselves; it’s what you want to hear, meaning one thing, that their sound is timelessly classic, ergo, good pop.

If it was so, that this tune was on a mid eighties hits album, I’m assured it would be a smash and Bruno Brookes would be introducing them on Top of the Pops. Equally with a nineties one. Talk in Code cherrypicks from era-spanning memorable and timeless pop songs, garnishing them with contemporary freshness.   

Subject is equally perennial for any good pop, they blurb this one as, “taking things at face value, over analysing and the scene of one person wanting more than the other from a relationship.” Woody Guthire wrote this lyric, “and it’s hard and it’s hard, ain’t it hard, To love one that never did love you?” in 1941, again, recurring themes are so because they’re eternally popular subject matter, ergo good pop!

The song will be available via Regent Street Records on all streaming platforms from tomorrow, 1st March. Recorded with Sam Winfield at Studio 91, Newbury. Talk in Code take their dynamic show on the road,  7th July – Minety Festival, 20th July – Southgate Inn, Devizes, 27th July – Fulltone Festival, Devizes, 2nd August – The Three Horseshoes, Bradford On Avon, 3rd August – The Castle Inn, Swindon and 26th August – Box Rocks, Box. The act which can neatly slip into these diverse events, can equally thrill an audience at say, FullTone, or the Three Horseshoes, proves my waffling point, I think!

Pre-save it HERE!

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The Tap at The Peppermill to Host Open Mic

Two local musicians have joined forces as Nightingale Sounds to host their first Open Mic Night at the new Tap at the Peppermill in Devizes….…

The Wiltshire Gothic; Deadlight Dance

With howling, coarse baritones Nick Fletcher, the main vocalist of Marlborough’s gothic duo, Deadlight Dance chants, “here comes the rain, and I love the rain,…

Wiltshire Legends Jesus Jones Announce Co-headline tour with EMF

Think early nineties dance-indie crossover and the Madchester circuit might understandably spring to mind. Yet Pop Will Eat Itself were Brunmies, The Shamen were Scots, but EMF and Jesus Jones were West Country, from Cinderford and Bradford-on-Avon respectively….

International, and bright, but perhaps not quite so young, Wiltshire’s own Jesus Jones announced a first ever co-headline tour with EMF this autumn with Echobelly in support; who said they were rivals?!

Right Here, Right Now two of the 90’s most enduring alternative-rock acts are delighted to confirm they will be going toe-to-toe on what’s shaping up to be an Unbelievable run of shows together. 

Taking over big rooms in Manchester, Bristol, plus a major date at London’s O2 Kentish Town Forum this October, the co-headliners will be sharing a bill for the first time ever. A tour that promises Great Things, EMF and Jesus Jones will also be joined by very Special Guests: Echobelly for the Manchester and London legs of the tour. The full list of dates are below.

Expressing their excitement for the Autumn tour, James and Ian of EMF state:

“We are so happy to finally be announcing these very special shows with our long term friends Jesus Jones, it’s been very hard keeping this news a secret! From EMF at these shows you can expect all the old hits with an added couple of bangers from our new album ’The Beauty and the Chaos’”. 

Echoing their sentiments in a year where Jesus Jones celebrate their 35th Anniversary, frontman Mike Edwards adds: 

“People always assume EMF and us were great rivals – nothing could be further from the truth, we’ve been best friends for more than thirty years! Then, the same people always assume we must have been on the same bill, loads of times. Incredibly, it has NEVER happened before, until now. These shows are going to be fantastic – and having Echobelly on the bill too – it’s a brilliant line-up.”

Sporting over 20x Top 40 hits between them, Jesus Jones, EMF, and Echobelly dominated the charts during a vintage era for indie and alternative-dance music. 

Forged in the cross-over crucible of the bubbling Acid House and Indie-Rock scenes of the time, Jesus Jones were formed in Wiltshire in 1988. Landing a Top 40 smash with their acclaimed debut album ‘Liquidizer’ (1989), the quintet would go on to find huge success in the early 1990s with major hits including “Real Real Real”, “Right Here, Right Now”, “International Bright Young Thing”, “The Devil You Know” and many more across the decade. Releasing their most recent studio album ‘Passages’ in 2018, the band are celebrating their 35th Anniversary this year with a world-wide tour, with shows across the US, Canada, Australia and these momentous UK co-headline shows this year.

Across the border in Gloucestershire, the stars were also aligning for fellow scenesters EMF. Founded in late 1989 the dance-rock quintet would quickly rise to fame with the release of their platinum certified debut album, ‘Schubert Dip’ just two years later. Shifting over a million copies sold and charting at #3 in the UK (and #12 in the US), it featured the infectious debut single “Unbelievable” a track that conquered the charts on both sides of the Atlantic and remains their calling card to this day. From there, the hit singles kept coming throughout the decade, with their next 7 singles all besieging the Top 40 including “I Believe,” “Children”, “Lies”, “Perfect Day”, “It’s You” and more. Releasing a further 3x Top 40 albums, the band would take an extended hiatus following the release of ‘Cha Cha Cha’ in 1995. Reuniting for special live shows and festivals since then, EMF returned with their acclaimed new album ‘Go Go Sapiens’ in 2022. Continuing their hot-streak of recent years, the band have just released a brand new album, ’The Beauty And The Chaos’. The first single from the album, “Hello People” featured a guest appearance by Stephen Fry and gleaned rave reviews. A second single, “Reach For The Lasers” will be released on 8th March 2024.

Fast forward to 2024 and the catalogues of EMF and Jesus Jones remain as vital as ever. Pooling their creative forces and impressive collection of hits for a series of major shows together in 2024, tickets for the EMF + JESUS JONES tour – will go on sale this Friday, 1st March @ 10AM. 

2024 TOUR DATES

Academy Events presents…

25/10/2024 – Manchester O2 Ritz* 

Academy Events presents…

26/10/2024 – London O2 Kentish Town Forum*

Pink Dot & Gigantic presents…

27/10/2024 – Bristol Marble Factory

* w/ Echobelly

*****

TICKETS

Tickets go on sale this Friday @ 10AM here: 

O2 Ritz: https://www.ticketmaster.co.uk/event/3E00603800AC2001

Kentish Forum: https://www.ticketmaster.co.uk/event/3E00603DF84725F5

Marble Factory: https://themarblefactory.seetickets.com/event/emf-jesus-jones/the-marble-factory/2954083

Goths in Devizes: Deadlight Dance at The Southgate and Vinyl Realm

Every weekend is a dilemma, with so much going on. Invitations to see The Beat at the big Cheese, Sorrel’s book launch in Lockeridge, but sometimes I just wanna go where…. .. cue the theme from Cheers…..

And they’re always glad you came, at the Southgate in Devizes, a truly landmark tavern for bringing the town a steadfast, free and happy music venue. With a spectacular month’s line-up, incredible yet forever modest hometown singer-songwriter Vince Bell today at 5pm, those flip, flop flying Junkyard Dogs next Saturday, outstanding virtuoso Ruzz Guitar the following Saturday, grungy Cobalt Fire nestled between them and the legendary Jon Amor Trio’s monthly residency shifted from the usual Sunday to Thursday 7th to allow a convenient opportunity for the incredibly cool Ian Siegal, yeah it caters for the town’s historic penchant for the blues and prog-rock, but the Southgate never stands on convention; last night proved this.

What Devizes anchors in blues, each local town has its own niche, Chippenham, folk, Trowbridge, indie, but eastwards, Marlborough way, the tendency leans towards post-punk and gothic. It was something intriguing, if a smidgen eerie to me, drafted there at a tender age from suburban Essex, only knowing black eyelined boys with wicker necklaces and stormtrooper boots from vampire movies. Accepting gothic was a necessity if I wanted to fit in, get off with “posh” girls, and avoid being bitten by the head vampire down Figgins Lane; none of which actually happened!

Something to look back on and laugh with Tim Emery, one half of duo Deadlight Dance, who was one of those goths in my school year. The other half, Nick Fletcher, arrived at St Johns for the sixth form but I was outta there by then. Together they formed teen bands, nowadays they’ve reunited to form Deadlight, playing here tonight after making a morning in-store appearance at Vinyl Realm, which I missed; could still taste the toothpaste.

In fondly reviewing their wares and gigs they’ve made me realise what I missed by only calling a meagre compromise of liking Robert Smith and teetering on the edge of full blown gothic; hence my reasoning for making a beeline to the Gate.

When the cumulation of the gig came to pass and Tim and Nick paid homage to their influences, I confess I’m in the dark about Sisters of Mercy or Fields of the Nephilim covers, but being in the dark for goths is a good thing, I thought?! I can, though, appreciate the more commercial or pioneering quarters, as they covered The Velvet Underground’s Waiting for my Man, or electronica classics from OMD and Joy Division; you know the ones.

Covers were sprinkled to begin with, as Deadlight Dance delivered their originals superbly, from a forthcoming album and their debut one, Beyond Reverence. With acoustic beginnings they built in layers from emotional melancholic expressions, on subjects like loving rain (despite wearing shades throughout the gig!), revolution, burning like fire in Cairo, and even a gothic sea shanty, to backing tracked beauties to enhance the second half of this poignant show with the new wave electronica and ethereal wave, and roused the crowd.

With a sorrowing rendition of Heartbreak Hotel, as found on their album, and these breathtaking impressions of gothic rock and electronica of yore, Deadlight Dance put the breath back into a genre often overshadowed these days by shoegazing pop or grunge; indie subgenres surely derivatives of post-punk but not as memorable for me.

If anyone’s going to bring out my inner-goth, it’s Deadlight Dance…pass my blood rose lined black corset and skull and cross pendant, pronto, because last night was another great night at the Southgate, again offering diversity to our town’s entertainment program. Bringing a touch of Marlborough to Devizes is a welcomed rarity imho, it often feels as if there’s an ocean between Avebury and Beckhampton rather than just a flooded roundabout!

Thanks to the Gate for parting the sea, and thanks to Nick and Tim for a splendid evening. Even got the opportunity to briefly chat with two other bands on our ever-growing must-see list, The Radio Makers and Static Moves; watch this space!

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The Worried Men Take the Pump

And Morpheus said unto Neo, “unfortunately, no one can be told what the Matrix is. You have to see it for yourself.” Funny cos, I kinda feel similar about The Worried Men! So much so, it’s worth forgoing my weekend cider ration to drive down to the Pump to catch them…

Fast becoming our flagship grass roots music venue, enough for Wiltshire Council’s area board to reward them with a grant, Kieran and his team have transformed The Pump in Trowbridge from its origins as a folk club, through offering a diverse programme, and we love it here at Devizine Towers. It’s quirky, quaint, and most importantly, it’s impressively welcoming.

The grant was used to purchase some new equipment for The Pump that will enhance the artist and customer experience. There is no need to up their game with the programme of events though, in my honest opinion. Every show is a gig in heaven already, if heaven has an antique pitcher pump as a feature! Kieran said, “we’re really trying to contribute to our community and thank you for joining us along the way!” The pleasure is all ours, thank you Mr M.

Their worthy Future Sound of Trowbridge project to promote youthful upcoming bands at the Pump may well be in full momentum, but was put on hold for this Saturday night to make way for experienced, marginally older musicians! One thing you could be certain of, Worried frontman Jamie Thyler handles his guitar like Michelangelo handled his paintbrush. Cruising that well-oiled machine through a medley of every known Renaissance blues and rock guitar riff, with the ladders of his highly accomplished bassist and drummer, moulds them into one beautiful Sistine Chapel ceiling.

The Worried Men show consists of a few originals from their extensive discography, which sound like rock classics anyway, meddled with this cascade of known riffs and only pauses to allow some time for Jamie’s quick-witted, Gilbert Shelton humoured quips. They’re not wholly covers, per say, more improv homages and nods to his influences, the guitar heroes of yore, the blues master axemen from Muddy to Howlin Wolf and Hendrix to prog-rock’s Deep Purple or Zeppelin. Enthusiastic trainspotters will pick out Mungo Jerry, Spencer Davis, The Stones, but never will Jamie simply re-enact, it’s simply acknowledged in a beautiful mesh.

Opening with a decidedly Muddy Water’s version of Just Make Love to Me, and ending with a Jumpin’ Jack Flash encore, it truly was a breathtaking barrelhouse of delta to electric blues, with enough psychedelic swirls to overspill a sugarcube at Woodstock, but more importantly, it was delivered with sublime passion and exceptional skill.

First time I caught the Worried Men was at our trusty Southgate in Devizes last April, I made an odd but fitting oral hygiene comparison, “Jamie holds an expression of concentration, occasionally looking up at you through these spellbinding Hendrix fashioned excursions, as if to ask “is that alright for you?” Like a dentist with his tools stuck in your gum, you feel like responding, “yes, fine, thank you doctor.”

But none of this magic occurred until after newly-formed indie-punkers Future Plan gave us a grand support. With an attention to the heady dawn of punk, Future Plan attacked an indie set with ferocity and fire, making for a wild ride of originals. It was confident, rocking, and having it. Particularly entrapping was a track they called Rinky Dink, Future Plan might just be the most bookable pub punk band, if the landlord wants drinks to fly off the bar. With a debut EP in the pipeline, and some singles pre-released from it, find them on Faceache here, and I look forward to catching them again on the local circuit.

Another, what might be usually fantastic night at The Pump, and a most agreeable double thumbs-up from me. Though, I’m still none the wiser as to what worries the Worried Men to call themselves such, if anything I’d say if it’s not ironic, it should be.

Trending…..

Let’s Clean up Devizes!

You’ve got to love our CUDS, the Clean up Devizes Squad, hardworking volunteers who make the town look tidy and presentable. Here’s your chance to…

Ashes of Memory; New Single From M3G

The fifth single coming out from Chippenham singer-songwriter M3g on Friday, Ashes of Memory, and if I’ve said in the past what separates Meg from…

Never Changing the Rules With Atari Pilot

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…

Daisy Chapman Took Flight

Okay, so, if I praised the Bradford Roots Festival last weekend and claimed to have had a fantastic time, it’s all as true as Harrison Ford retelling Daisy Ridley about the Force, with one embarrassing hiccup!

Finally, for a brief moment between closing fire doors I met Trowbridge-based singer-songwriter extraordinaire, Daisy Chapman. She was going in, with her daughter badgering her for ice cream, and I was wandering out, assuring her I’d check the release date of the album she had kindly sent me for review. All a bit embarrassing on my part, I should’ve checked prior, She Took Flight came out in May last year, so opps, apologies, I’m late for the party, again!

Maybe this Daisy has equal power over the Force as Daisy Ridley, granddaughter of the Sith emperor Palpatine, or maybe she’s thinking, please don’t make Star Wars references when reviewing my album, you stupid fanboy! but wowzers, this is one magically epic and euphoric seven-track strong album only a Jedi could’ve made!

I wasn’t going in blind though, fondly reviewing her 2017 album Good Luck Songs, albeit belated again, in 2021. By way of comparing the two, I’d say while as the name suggests, Good Luck Songs is a sublime selection of songs with random muses, She Took Flight is concentrated on a theme and flows much better, with an overall narrative of life, motherhood, loss and love. Far be it to suggest it’s a concept album, but the thought, perhaps, is.

Dare I also suggest, akin to how Taylor Swift has financially benefited bending the folk rulebook to incorporate pop, Daisy folds similar, uniquely through dramatic piano and violin to define a confident euphoric and epic sound, like a musical classic. Though, with elements from so many sources and influences, to create something inspiring and enchanting, something she defines as “anti-folk,” I call it, in a word, enchanting. The uplifting musical reference is particularly true in the opening tune, Starlight, it’s a grand start.

Porcelain draws again on the epic, though incoming is Daisy’s refined and expertly crafted writing, often of arduous or dejected souls. This song drawn from a diary entry of the day her father died in hospital. Though there’s optimistic prose, as if life is starting over, only to be knocked back by the darker, probably most beguiling tune of the album, Womxn.

Over a subtle drumbeat the piano cruises like a well-oiled machine, and Daisy’s voice enchants like Kate Bush at her finest. Womxn’ chronicles a list of women
whose work was credited by men.

At the summit of the album lies the only cover, a perfect rendition of The Kinks’ Waterloo Sunset, this sunny side of the street against all odds concept is gallantly captured, and Daisy makes this song her own. I couldn’t think of another song so absolutely fitting for this journey, which mood changes with such gorgeous subtly, it’s breath-taking.

The Gashlycrumb Tinies will then twist the narrative of the theme. An abject abecedarian, inspired by Idilia Dubb, a girl who met her fate trapped up a tower in 1851, and various other historic tragedies. Herein lies Daisy’s writing influence, the likes of Leonard Cohen, and her ability to weave magic in her wordplay.

Wind Horses takes on the penultimate melancholic trip to insure you’re suitably impressed before this amazing album ends, a poignant piece, a cinematic nod to all who’ve attempted to climb the world’s highest peaks.

Then there’s something downhearted lounge-room jazz about the building layers of Ballad of a Distracted Mother finishing you off in no uncertain terms, Daisy Chapman’s voice is breathtaking, her writing astute and perceptive, and the dramatic string arrangements over her own ‘Nymanesque’ piano makes a this harmonic composition truly something to behold.

After forming bands at University in Bristol, Daisy released her first solo album
in 2004, a collection of sombre songs for just vocals and piano. Her cover of Cohen’s Halleujah proved hugely popular at the time on the iTunes chart and caught the attention of German label ‘Songs & Whispers’ who have since formed a 15 year relationship with Daisy, booking her shows across Europe and beyond.

Another cover song, Umbrella, received her an International Independent Music Award (USA) in 2009, which inspired a self-booked tour of coffee houses up and down Highway One on California’s Pacific Coast. Upon returning to the UK, Daisy was asked to be part of super-group Crippled Black Phoenix alongside members of Portishead and Hawkwind.

I’m sorry to have her performance at Bradford Roots, and wonder why they put an artist of this calibre on so early, but after hearing this I endeavour to catch her live as soon as, and I believe you will too.  Find out more about Daisy Chapman, here.

Trending……

Peace, Love, Americana and Jol Rose

I trouble procrastinating upon being gifted a previously released CD from an artist for review, unfortunately they land on the backburner, prioritising upcoming news items.…

Date Set for Devizes Pride

Hear ye, oh, hear ye, with much yet to plan for the event, we’re pleased to announce the date of Saturday June 29th has been…

New Nothing Rhymes With Orange Single

Friday is over, I’m a day late to the party, but there’s a new single from Devizes-own Nothing Rhymes With Orange, and you’ve not heard anything like this from the boys before…..

Starter for ten, Friday is Over sounds four-five notches more professional than anything which went before, a result of 91 Studios in Newbury and a push to obtain a crisper sound for radio by our very own skateboarding Vernon Kay, James Threlfall! (I know, it probably bugs him when I call him that!) But tech is nothing without the skill to use it to your advantage, and from the off Friday is Over twinkles with a surprising eighties synth-pop intro. There’s retrospective elements of what local indie bands like Talk in Code, the Dirty Smooth and Atari Pilot aim to achieve, but not without the archetypical NRWO sound in the forefront.

So, Don’t go off thinking the band are the new A-Ha, the guitars roll and Elio’s vocals build to something we’re familiar with, as Nothing Rhymes With Orange fans. Still though, we’re on another level with this, the bridges and hooks, all chartable stuff from our hometown boys; for crying out loud Devizes Town Council, lets a get a statue of these kids in the Market Place, pronto!

If past tunes filled me with hope for them, this one fills me with assurance, knowing how hard they’ve all worked towards this, and pride too, to say we’ve been following and supporting them since day dot. Friday maybe over, but this is the start of a great adventure and we wish them all the best…. take a listen.

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Way to Start the Year; Bradford Roots Festival 2024

Hibernating since Christmas, now I feel like a turkey, making up for it, stuffing eighteen bands into eight hours, such is the beauty of Bradford Roots Festival…..

Impossible to provide detailed analysis of each with such a sizable quota, not without an essay-length review, and there’s the handful I missed. Suffice it to say, every act I witnessed at Bradford Roots Festival was top notch, and locally-sourced, just as we like it here on the De-viz-ine!

Over two years from 2019, our man Andy returned from the annual convention and reported back. I skipped through it and published. I need not doubt his words, dedicating my time writing something else. I wrongly assumed at the time, likely from its name, that the Bradford Roots Festival was a folk festival, rather “roots” I now believe refers geographically; it’s the music of the here and now. I discovered this for myself attending last year’s and unexpectedly hearing jazz and youthful grunge bands you wouldn’t usually hear at a folk festival!

Open any fire door to the wonderful Wiltshire Music Centre in Bradford-on-Avon, and there’s another surprise behind it. The festival is an annual indoor feast of music over four stages, fundraising for the Centre itself, their Zone Club, a musical group for disabled adults, and a chosen charity, this year’s being Parkinson’s support. I like to define it as a convention of local musicians rather than a festival, only because it’s all indoors and winter, but it doubles up as either. Either way you view it, it’s a brilliant event for all ages. For the elders there’s a bar and food options, for the youngest there’s craft rooms, workshops and naturally for a festival in January, ice cream!

You could also see it as a taster for the wealth of musical acts we have on this circuit; you’ll find them performing in our local venues. Some I’ve previously tried and tested, others were new to me, and some essential to check off my ever-growing must-see list.

The latter true of the first, gutted to have been too late for Daisy Chapman at the acoustic Gudeon stage, Jol Rose followed. He’s the Swindon-based Americana soloist I met at a Swindon Shuffle of yore and been meaning to catch perform. Like all others, he didn’t disappoint, despite only catching his finale. Here’s a prolific acoustic magician with the experience under his belt to engage an audience. An open mic hour followed at this stage.

If Jol, though, came as no surprise, Thieves did. My next venture to the Wild & Woolley stage where blues is the order by day, and youth gather for indie by the eve, Thieves were playing an acoustic harmony not unlike the Lost Trades, and hey presto, I’m standing next to the one only Phil Cooper, one third of said Trades! He’s compere for this stage, and will perform at the bar stage later. As Thieves progressed through a sublime set of bluegrass I likened it more to Concrete Prairie, and of similar quality. I’m staring at the frontman from a distance, thinking, by Jove, that’s Adam Woodhouse, who I know as a soloist with a penchant for rock n roll covers. This new outfit, Thieves, only formed in June and is barking up his alley, you’d imagine the four-piece to have done this all their life. Adam tells me they’re playing a Sunday at The Southgate, Devizes, in April, well worth your attention.

The festival breaks for its foyer tradition of Holt’s morris dancers and children’s parade, known as the Wassall, then Phil Cooper takes the Bar Stage, kicking off with his own Road Songs, finding time to superbly cover Goodbye Yellow Brick Road.

Such is diversity on offer, when it’s time for some jazz hey presto, again, I’ve finally made my way to the Main Stage for The Graham Dent Trio. Jazz pianist with a double-bass player and Nick Sorensen on sax, this is divine melodic invention, contemporary and unique, though I knew what I was letting myself in for, I saw them last year.  

Drag myself away, for Bristol Uni indie four-piece, LilyPetals. New to me, confident youngsters with funky basslines over the archetypal rock, big tick from me. And a tick off my must-see list, Be Like Will on the main stage, a varied strong female-fronted three-piece pub circuit band who used the festival to play through their originals rather than their usual covers to appease a pub audience, which, either way, they’d accomplish with bells on. The new tune finale was a definite article to how rousing this band can take an audience.

The showstopper though, and it’s a big show to stop, came from Ruby Darbyshire at the Gudgeon. An absolutely spellbinding performance left the crowd in awe as others mingled outside praying someone would leave to replace them; few did. Ruby’s stage presence has drastically improved in a relatively short space of time, her talent to adapt from acoustic folk to jazz scat need not. With just the right balance of originals and covers, she held us in awe, was the only artist to get an encore, and through Sinéad O’Connor, Dylan, Bob Marley and Springsteen covers she nailed them all and made them her own. Particularly poignant, Ella Fitzgerald’s Misty, simply, wow!

Beguiling building layers of goth-rock were sounding from the Wild & Woolley, though, as Bristol’s female-fronted Life in Mono took to the stage. Evanescence in shape, yet solely idiosyncratic, here’s a euphoric original band to look out for. With Life in Mono indulgently ticked off my must-see, a new one on me rocked the main stage, the steady gypsy-dad-folk of The Mighty Rooster, prior to ensuring I was at the Bar for the unmissable Chippenham folk singer-songwriter, Meg. A passionate and thoughtful young artist, Meg delivers in such a unique yet proficient way I deem it impossible for anyone not to love her.

Such is the tight schedule though, should I need waiver artists we’ve seen and featured before in favour of ones I’ve yet to catch live? Trowbridge soul artist extraordinaire, Frankisoul is due on the main stage; anticipation brewing from the crowd while the band frustrate themselves with minimal setup times, resulting in a few technical mishaps, would, in any other circumstances be somewhat off-putting, but, fact is Frankisoul is such a character, and such a vibrant and sublime soul vocalist, hiccups were easy to polish over, still, they came up smiling and were my second showstoppers of the festival.       

Cliché is putty in Frankisoul’s hands, if his only cover, Gloria Gaynor’s I Will Survive is so, and they rinsed their originals with gusto and stylish proficiency, even down to a moment of hilarity upon Frankisoul mimicking the coat stage gimmick of James Brown. It’s these originals which gravitated me towards them, reviewed here, I shivered apprehension comparing him to likes of Luther Vandross, particularly Otis Redding, and yeah, live there’s a hint of eighties soul, of Kool & the Gang, but now I know he can live up to these.

Meanwhile the wonderful Courting Ghosts were unplugged at the Bar Stage, with their amazing blend of folk-rock, and Melksham’s finest youth band The Sunnies rocked the Wild & Woolley. One I’ve been aching to catch, yet I didn’t catch enough of due to Frankisoul gluing me to my seat, if I liken The Sunnies to Devizes-own sensation, Nothing Rhymes With Orange, I think it’s fair to now state, The Sunnies angle slightly to more indie-pop, their originals tinged with a carefree and indeed, sunny-side-of-the-street feel; a blessing to watch, bloomin’ marvellous!

With lively function band the Corporations attracting those left standing to the main stage, crowds lessened at the Wild & Woolley, sadly just when the epic finale was due. Yeah, it’s Devizes’ Nothing Rhymes with Orange’s headliner; those in the know and a few curious punters stayed to observe our hometown’s fever as the boys pulled out their typical energetic and competent show. Evermore is their attraction spreading, with gigs lined up as far as Manchester now, NRWO, I’ll be banging on about their brilliance for a while yet it seems!

Conclude this now, Worrow, in some manner, you’re sounding boring! I Know, but, over a colossal word-count only teetering on covering all the happenings at Bradford Roots Festival, and only the one day of it too, I struggle to find anything to grumble about. What a way to start the year, Bradford Roots Festival is amazing, the shell, The Wiltshire Music Centre is a blessing to our county, the value for money is righteous, the atmosphere is equable and convivial, and long may it be so.

Trending…..

Mantonfest 2024

Images: Gail Foster Whilst festivals around us come and go Mantonfest has been a constant of the Wiltshire music calendar since 2009….. The 29th of…

The Lost Trades to Release Live Album

To international acclaim on the folk circuit, we’ve loved to follow the progress of the Lost Trades since day dot, when Phil Cooper enthusiastically told…

Wormwood; Cracked Machine’s New Album

A third instalment of space rock swirls and cosmic heavy duty guitar riffs was unleashed in January from our homegrown purveyors of psychedelia, Cracked Machine.…

The Worried Men Take the Pump

And Morpheus said unto Neo, “unfortunately, no one can be told what the Matrix is. You have to see it for yourself.” Funny cos, I…

Gazelles: Follow-up Album from Billy Green 3

Our favourite loud Brit-popping local Geordie and gang are back with a second album. They’re calling it Gazelles, after the previously released single opener Endless Scrolling Gazelles, a sardonic rap on the overuse of social media. Yeah we reviewed that back in 2022, and it sure was a different approach for Billy Green 3, yet the breezy journey cruising interchanging archetypal indie styles dotted with experimentation puts them firmly back on the map…….

There’s three previously released singles on this eleven-track strong album which we’ve covered before, Garden being another stab at social media wrapped in quasi-rap poetry teetering with Geordie mockery, it holds an ironic slate against the charade of social media embodiment. “People posting inspirational memes in one post, and ruining people in the next,” Bill described its subject to me at the time.

Betwixt those, four tunes, Raised Scars is the dreamy side of indie, the Verve, the exotic hopeless romantic melody of I Don’t Really Sleep (‘til You Get Home) drifts more akin to Primal Scream, thumbs up for that, surely showing the trio at their finest. Back to the upbeat rock-rap with one called Not That Deep, swapping back to soulful ballad for With You.

Broken is the third, Britpop still, yeah, but with a melancholic riff drifting over a subtle Latino backdrop, I summed it as “Madchester in Ibiza” back in 2022. Four tunes follow, The Fire Works cherrypicks the euphoric element of the rest and embellishes it, there’s a spoken word section here, and the whole U2 album track feel displays yet another tactic that Billy Green 3 is no one trick pony.

Scars sends us carelessly drifting to shore, another previously released single, it seems, this technophobe must’ve missed due to all being on Spotty-fly these-a-days; hadaway and a shite, Bill, get in touch, oh and “up the toon!” (That’s the only saying I’ve got which sounds anything remotely Biffa Bacon.) Where was I? Lovesick, again a single release from 2023, fuses this hopeless romantic standard Billy Green 3 push, yet waivers between song and this spoken converse over a beat decidedly nineties indie-dance. 

And oh, another reference to the title, Gazelles plays out this beautiful album. Epic closure on the theme of the human disposition versus scrolling through endless media, this one encapsulates every angle explored on the album and rolls it into one conclusion, with a snippet Easter egg at the finale, and that’s my best gamer reference. Superb album, engineered at Potterne’s Badger Sett studio, especially for the wee brit-popper inside us all, though I expected as much, going on the debut Still.

Even if the second album is always a worry, Billy Green 3 can welcome in the new year confident. Put this on, grab yoorself a braan ale, n kick back like Guimaraes int nivvor leaving St James’ Park! But if you need further reading about Bill and his relation to Wiltshire, see here.

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Daisy Chapman Took Flight

Okay, so, if I praised the Bradford Roots Festival last weekend and claimed to have had a fantastic time, it’s all as true as Harrison…

New Nothing Rhymes With Orange Single

Friday is over, I’m a day late to the party, but there’s a new single from Devizes-own Nothing Rhymes With Orange, and you’ve not heard…

Nothing Rhymes With Orange Storm The Southgate

If The Southgate is Devizes’ finest and most reliable pub music venue, it’s usually favoured by an adult crowd. Yet it’s without doubt that Nothing Rhymes With Orange is the most cherished Gen Z band in town. Having not played Devizes since summer, it was a certainty such a free gig would crash the age demographic of the trusty tavern down a notch or three, never a bad thing, though not a given they’d raise its roof, but, they did that too…

It’s been on the cards for a while. After a long-lost summer Sunday when the band popped in to witness how it’s done, by the expertise of Jon Amor Trio’s monthly residency. Now, being their first time huddled in the infamous alcove, they brought the most diverse entourage we’ve seen at the Gate, and with zest and a righteous sense of confidence, they provided a proficient, high energy show of their unique brand of indie-punk. The atmosphere was fire.

Ageism didn’t turn up, it chose to stay home, cuddling the sensationalised myth blankie of teenage hooliganism other local media will have you believe, for clickbait. The youngest were respectful of the elder regulars, behaved accordingly, the regulars welcomed the youngsters, and surprisingly, behaved too! If Haribo temporarily replaced cider, the Gate issued a statement prior that all under eighteen must be accompanied by an adult, meeting the delicate balance needed. It’s one thing providing a safe space for the fledgling generation to enjoy, and I salute landlords Deb and Dave for this, but another in this economic climate to insure a gig is profitable for a pub through takings at the bar. 

Thus it made a most unusual evening at the Gate, one half as the matured yet lively and hospitable establishment it always is, the other town’s teenage fanbase, who wouldn’t usually frequent the place, dancing their socks off and hailing back the lyrics to the group in unison; the benchmark for any band in vogue.

There’s no mistaking the simple notion, Nothing Rhymes With Orange are at a peak right now, locally. How this widens geographically is down to their motivation and commitment, but I, for one, urge those outside our locality to check them out, as the sensation they’re attracting here is akin to Beatlemania. If their stage presence has flourished, their harmony and ability to execute intelligent and often witty narrative in the present, has always been an accomplishment and goal scorer from day dot.

They look like they really want to be there, that’s the ticket, as it reflects on the audience and reverberates equally to their wailing guitars. Frontman Elijah Eastonl is worshipped when he stands amidst the fans, it’s something to behold. The band play on, lead guitarist Fin Anderson-Farquhar covers the riff, splices vocals, bassist Sam Briggs layers it, enthusiastic drummer Lui Venables sets the pace, but more often than not, it’s their unison which compliments Elijah’s spontaneous spotlight moments.

The first half of this show fire-breathing their beloved originals, Monday, Chow for Now, Creatures, with an alternative downtempo take on Lidl Shoes, I felt a little experimentation was afoot, some crashing endings aliken to prog-rock rather than their archetypal punker base. Was this to appease the Southgate regulars or a new avenue for them, I’m unclear, but it was an interesting move.

After Butterflies, the second half was adroit covers heavy, ending with an encore of Manipulation, their most treasured original for audience participation. The boys are back in the studio soon, after having a brief break, and we look forward to hearing what they come out with, because last night at the Gate, they were positively buzzing, a real stocking filler!

Phase Rotate at the Southgate tonight, and leading up to brussel sprout day, Chrissy Chapman as One Trick Pony has a fundraiser on Friday 22nd, Marlborough’s blues aficionados Barrelhouse return on Saturday 23rd, and that’s always an unmissable one.

Viduals Release New Single

Is that ex still playing on your mind? It’s been an age, mate, but no amount of friends’ attempts to console you will help, or Domino’s pizza. You need a good old road closure. Yep, mobile traffic lights with a five mile queue to vent your grievances, take your mind off it; come to Devizes, we’ve got loads!

Okay, this isn’t Dear Deidre, that’s such a middle-aged Karen response it worries me to be honest. I do vaguely recall wallowing in self-pity, generally worsening it by listening to Portishead, nothing helped, but it was all so long ago. Thanks to Swindon’s dynamic indie four-piece, Viduals, for the reminder on how it feels!

Seriously though, a new belter from them today, fresh out of Western Audio Studios, called Where Did The Time Go? It’ll warm you up! After fondly reviewing their EP, On The Wayside just short of a year ago, Viduals have leaped and bounded. This is pro-indie-punk going places.

Despite the melancholic subject, this is throwing yourself into the mosh pit stuff, zesty and brim-full of youthful energy, but at the same time exhales a more universal and matured sound for the band. Sure presses my buttons and I’ve been happily married for …..ermm …..oh, where did the time go?!

At least you can be certain, this is a great tune, and if Mrs Devizine reads this I’ll be in the doghouse. Now, where’s that Portishead album, and what’s the number for Domino’s pizza?!

Trending….

Learn the Art of Chocolate with HollyChocs 

Devizes-based chocolate engineer Holly Garner, 2023 Chocolate Champion for the Southwest, has launched her new chocolate classes for the first half of 2024…… From learning…

Richard Wileman on the Forked Road

Fashionably late for the party, apologies, the fellow I’m not sure if he minds me calling “the Mike Oldfield of Swindon,” though it’s meant as…

Lego Club at Devizes Library Announced

Everything is looking awesome at Devizes Library as they announce the Lego Club for six to twelve year olds will begin on Saturday 27th January!…

Snakebite Tune From The Dirty Smooth

Snotty nose, change of weather, otherwise I’d have dragged my sorry ass down to Underground, formerly Level III in Swindon for last weekend’s Children in Need fundraiser with our heroes Talk in Code, and these Malmesbury guys, The Dirty Smooth. Instead I stayed in, feeling sorry for myself; man flu, the struggle is real….

Rub salt into the wound, why don’t you, Dirty Smooth, and put out a buzzing new single?! 

It’s a rare find, a single from The Dirty Smooth, last one was all out Guns n Roses fashioned power rock Black Jack City, last March. A welcomed return then, and Snakebite has a more pop feel, the like Talk in Code are putting out, and their punchy Seed The Spark. Snakebite is tempting, with this archetypal smooth bridge for the band, and it just rolls, slick, give a whirl, do yourself a favour…..

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Rootless; New Single Ushti Baba

Bristol’s fine purveyors of idiosyncratic folk-raving, Ushti Baba, who if you’re in Devizes you might recall played Street Festival in 2022, have a new single…..…

Timeslips; New Single from Sienna Wileman

With an album review in the pipeline for Dad which includes vocals from Sienna, our Swindon princess of melancholic poignancy has a new single, Timeslips…..…

Gazelles: Follow-up Album from Billy Green 3

Our favourite loud Brit-popping local Geordie and gang are back with a second album. They’re calling it Gazelles, after the previously released single opener Endless…

The Magic Teapot Gathering

Okay, so there must be a truckload of local social and political ranting to cover, but it’s new year’s day, I’m going to waffle about…

Devizine Review of 2023

Here we are again with another year under our belts and me trying to best sum it up without restraint; I reserve my right to…

New Single from Billy in the Lowground

The third single from Billy in the Lowground in as many months was released today, they’ve been ploughing their own furrow since 1991, been meaning…

Beyond Reverence: Deadlight Dance’s Debut Album

According to the confines of youth cultures of yore, I shouldn’t like Marlborough-based duo Deadlight Dance’s debut album, Beyond Reverence, as while attempts to fit into my new surroundings of Marlborough meant my teenage musical tastes meandered in a rock direction, I drew the line at “goth,” but on matured and eclectic reflection, still don’t like this, I love it……

Released on Friday (15th September 2023) the sublime Beyond Reverence will be digitally available via Ray Records. You can download it via Bandcamp, stream from all platforms, and a special small run of limited-edition CDs will be available through the band; I suggest you take one of these options, it goes way beyond my expectations.

The two-and-a-half-minute sombre bassline peregrination overture to the opening track, Nice Things sets mood and pace, and I’m knee-deep in retrospective melancholy, the desired effect I’d imagine. Contemplating growing up in suburban Essex, a friend of my elder brother, so cool attired in the look of the new romantic, all frilly shirt sleeves, black eyeliner, all Adam Ant, whereas I? Standard hand-me-downs! He gave my brother a new wave electronica mix tape I adored. Echoing the pop of the era, ergo, I was unaware though already accustomed, to a degree, just later washed away with the carefree and whimsical hip hop and electro fashion, pre-acts jumping the incensed bandwagon post Grandmaster Melle Mel’s The Message.

To reaccept the dejected goth element of new wave electronica would take puberty, frustration at the bling and gun direction hip hop was heading and attempts to acclimatise to the west country rural village I found myself dumped in. Solace in the wild romantic fantasy of soft metal and general rock like Springsteen I discovered, but those “goth” pupils of St Johns would require a radical shift to modify myself to. One of those St John’s pupils was Tim Emery, one half of the Deadlight Dance duo, something we can laugh about now, but then, I wasn’t ready for the plunge, no matter how newfound schoolfriends supplied me with Sisters of Mercy and The Fields of the Nephilim tapes. I ventured as far as the Cure, but only to improve my chances of getting off with girls; it failed miserably, but that’s another story for another time!

The origins of Deadlight Dance stem back to 1989, the year I left St Johns, when Tim formed a short-lived Sixth Form goth band with Nick Fletcher. Friends for the best part of thirty-five years, the two periodically worked on music together. Born from lockdown, Deadlight Dance is a project to merge their favoured retrospective bands, The Cult and The Mission, with contemporary acts like Bragolin, Actors, Twin Tribes and Molchat Doma.

Story goes, during an initial jam Tim “finally convinced Nick to sing,” a turnaround from the original collective idea to source guest singers. But it’s in Nick’s deep growling vocals and the elegant synths of the second tune, Innocent Beginnings, and up-tempo haunting Infectious where I get these reflections of the roots of gothic, the ominous, Bowie-esque component of new wave electronica, particularly of Joy Division, and herein lies my reasoning for taking to Beyond Reverence, even if I’m not about to dye what’s left of my hair black anytime soon!

At eleven tracks strong the album is epic, evolved from an original intention to record an EP, another crisp and proficient achievement for Nick Beere’s Mooncalf Studios. While the sound is retrospective themes are of contemporary social conscience, Innocent Beginnings comments on the environment, the following, Dark Circles about autism. Though the single Missives from the Sisters sticks to true goth prose, a classic tale of misogyny set in the time of witchcraft, and being “goth” it levels on this topic appropriately, and duly sullen. Though there’s a lot here which suggests you need not be in the niche, it has wider appeal than I imagined it might.

There’s an interesting instrumental interlude, Samuri Sunrise, which reprises a Sunset at the finale, with four tunes between them, two unorthodox cover choices. A quirky interpretation of Lou Reed’s I’m Waiting for my Man I get, but the latter I was far from suspecting, a sorrowing rendition of Heartbreak Hotel you must hear for yourself!

Deadlight Dance are picking up radio play, and while usually they go out with pre-recorded synths and drum tracks, they equally operate acoustically on mandocellos and mandolins. If you came to my birthday bash early enough to find me semi-sober, you’ll have seen them, they’re opening the Saturday shift at the Beehive at Swindon Shuffle this weekend, alongside Concrete Prairie, the Lonely Road Band, Atari Pilot and Liddington Hill. Thursday 21st sees them at Nick Beere’s open mic at the Mildenhall Horseshoe, and Saturday 23rd they support Ghost Dance at Bath’s coolest record shop Chapter 22. They are delighted to be included on the bill of the legendary All that is Divine VI Festival in London in 2024, and with big plans I’m left with no doubt this album will push this the maximum.

Beyond Reverence is up for pre-order on Bandcamp, released tomorrow 15th September 2023. Find Deadlight Dance’s Website HERE, and on Facebook & Instagram. Find your inner goth and cheer them up a bit with this nice present, I enjoyed it so much I’m going to see if my lace trim gothic corset still fits and try it with this spikey rivet leather neck collar; somebody draw me a pentagram pronto!  

Trending……

The Closing of Cooper Tyres

By T.B.D and D Rose for Devizine.The author can be reached at housetyg@gmail.com This month the historic Cooper Tires factory in Melksham which began the…

Atari Pilot are Waiting for the Summer

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!

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Waiting for M3G’s new Single…..

So yeah, I thought I’d be funny by commenting “can’t wait” on Chippenham’s upcoming folk singer-songwriter Meg’s Facebook post announcing her latest single, because, you…

Bradford on Avon Green Man Festival

Featured Image: Colin Rayner Photography If I’ve recently been singing the praises of arts diversity in Bradford-on-Avon, centred around the Wiltshire Music Centre and not…

Viduals Release New Single

Is that ex still playing on your mind? It’s been an age, mate, but no amount of friends’ attempts to console you will help, or…

12 Bars Later Pop into The Badger Set

Must’ve been a sweaty August night last year at our trusty Southgate, when I turned up on the off chance, and staggered home mightily impressed…

Song of the Week: Paul Lappin

Another wonderful nugget of lonely contemplation from the chillaxed Britpop kahuna, Paul Lappin, formerly of Swindon now residing in the South of France. Unfortunately You makes for our song of the week, and you’ll be drawn into its five minutes of drifting prose and beautiful composition, of that I’m certain.

Paul Lappin

A man of many talents. I love the personal touch of designing your own cover too, in which Paul’s watercolour and pen work has nearly equalled his artistic skill in music. And it goes so well to accommodate the mood of the tune, which is melancholic bliss. 

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Wiltshire Music Centre; Proper Job!

Devizes celebrated rum bar, The Muck & Dundar are hosting a dub reggae night with Omega Nebula on Saturday, and received this week’s prestigious…

Nothing Rhymes With Orange Release New Single Monday, on Monday!

Rapping on this today, because Devizes young heroes Nothing Rhymes With Orange unleash their latest catchy banger, Monday, tomorrow, which is coincidently or not, a Monday, and we all know Mondays are a load of old tosh and if we had a half decent government Mondays would be banned by now, and being it’s Monday I doubt I’ll get time to mention it then, because it’s Monday, which is kind of what this indie-punk treat is about…..

I could direct the band’s attention to Smiley Lewis, who prior to The Boomtown Rats, New Order and The Bangles, had a single whinging about Mondays way back in 1954, and note the though the concept is far from new, Nothing Rhymes With Orange are not only the first to reference a Greggs steak bake in a song about Monday, but also, Smiley Lewis or none of the above ever drooled on their mate while sleeping on the bus, as far as history books reveal.

The band tells us the tune has “more of an indie-punk sound, a step away from the softer indie-rock of previous tracks and we’re exploring this genre with more songs of a similar style.” Though the subtle difference will, and does already, encourage the live audience into a frenzy at the bridge, to consider such may not be as commercially viable is to note it was the track picked up and played by BBC Introducing this month. Can’t blame them really, it’s a brilliant tune.

“The inspiration for our new single, ‘Monday’, came about when we were chatting about the ‘Monday morning dread’,  when you wake up tired and everything goes wrong,” they explain, though you could effectively walk into a lamppost on any other day, you can bet your bottom dollar it will be on a Monday, but I’m afraid, when it comes to pastries, you get what you pay for, boys; believe me, I’m something of an expert on them.

Image: Kiesha Films.

Timeworn romance topics can be a stable subject, but something which drops in some light-hearted humour it’s more often than not a chicken dinner, particularly within their genre. I pray you’ll recall Wheatus for Teenage Dirtbag rather than A Little Respect, or Foundations of Wayne for Stacey’s Mom rather than Someone’s Gonna Break Your Heart.

It sure is a great tune, with a lot of work gone into it, despite the festival season in full flight, and the band have certainly been gathering appeal and pushing new geographical boundaries, with 30K streams across all platforms. Still to come, they’re live on hometown Fantasy Radio from The Crown in Devizes on 24th August, and a couple of summer festivals remain, Honey Fest and Box Rocks. They also play The Pump on 1st September, The Lamb, Marlborough the next day, their self promoted gig at Devizes The Corn Exchange on the 10th, and its onto Moles in Bath, and we’re looking at 15th December for them to make their debut at the trusty Southgate. 

Pre-save Monday, for Monday, HERE!

Trending…….

Snakebite Tune From The Dirty Smooth

Snotty nose, change of weather, otherwise I’d have dragged my sorry ass down to Underground, formerly Level III in Swindon for last weekend’s Children in…

Nothing Rhymes with Orange at Devizes Corn Exchange

By Florence Lee. Images by Kiesha Films.

Booking Devizes’ most prestigious venue, The Corn Exchange was mighty ambitious for newly formed promoter Lost Monkey Productions, but to say that Nothing Rhymes with Orange was a marvel last night would be an understatement. They completely enthralled the whole hall and captivated the attention of everyone listening…..

Image: ©Kiesha Films

Last night kicked off with OverStory, a band only created earlier this year. They had a mix of exceptional covers and originals which were both extraordinary. They even brought on a female voice, which added diversity and elevated their performance. Their relaxed music created a chilled out mood that the audience enjoyed. You couldn’t tell they only called themselves a band early this year. These boys go to Bath College studying music and call their music phenomenon ‘messing around.’ I look forward to seeing Overstory ‘mess around’ again.  

Image: ©Kiesha Films

OverStory then handed the baton to Foxymoron, who exceeded all high expectations. They delivered originals, all with a unique sound that the crowd thoroughly enjoyed. Foxymoron portrayed both great charisma, and a natural ability to perform. Their song ‘signs’ was compelling to watch and listen to; I hope they release their music soon. The audience was enchanted with the band and was hanging on to every note. Their fan base is ever expanding with each performance and everyone is hoping to witness their flourishing successes.  

Image: ©Kiesha Films

As soon as Nothing Rhymes with Orange walked onto their stage, the audience was buzzing with anticipation. NRWO started their set with their new single ‘Butterflies’ whilst the crowd belted out every word, even though it was only released at the end of May. The dedication of their fanbase to know every lyric truly reflects how NRWO has a committed growing audience, which enjoy both their company and music. They continued their set and continued to amaze all that were there to witness it. They produced an astounding cover of the Kings of Leon’s ‘Sex on Fire.’

Image: ©Kiesha Films

The place was absorbed by the energy from the audience and the band’s connection with each other. Continuing from that remarkable cover, NRWO performed more originals and unreleased music, which had the audience engrossed in their show. They performed nearly all their released music, including ‘Creatures’ and ‘Chow for Now’ as well as their unreleased song ‘Monday,’ which was played on BBC Music Introducing. The fluidity between their own songs and a few covers was incredible and well practised. Their individual performances and characters are starting to develop as well as maturing into a tight band. Their bright guitar, interesting riffs, unique voice and insanely fast and technical drumming gives them an individual sound which separates them from the boy bands of this day in age. The love for their own music and the music of the other performers is projected through the interactions with both. It is clear to see that Nothing Rhymes with Orange appreciate the growth that their band is rightfully getting. 

Image: ©Kiesha Films

Nothing Rhymes with Orange shows the coming generation of musical talent in an amazing light. They are kind to their fans, respectful of everyone who helps them and show appreciation to any support that they receive. They are not only a band, but friends of the audience, which shows as they feel at home on stage. Coming from a local school, it shows that ‘ordinary’ people can create something which inspires and includes the people around them.  I can’t wait to see what all the bands come up with next. 

Image: ©Kiesha Films

Trending……..

Devizes Library Hopes To Start Lego Club

Everything is awesome upon hearing that Devizes Library is hoping to start a regular Lego Club, and they are asking folk to donate unwanted Lego…

Becca Maule’s Teenage Things

I mean, yeah, press releases can be as handy as sitting next to Einstein in a physics test, but reviewing music isn’t an exact science, and while they speed up the process it’s tempting to allow them to spoon-feed you. Sometimes it’s a pleasant surprise to go in blind, as it was with Teenage Things, the debut EP from Salisbury’s young singer-songwriter Becca Maule, due out this Saturday, the 15th July…..

I don’t know why, perhaps taken in by earlier images of Becca sporting a pink bob, and by her supporting Carsick, but as I’ve not had the opportunity to catch her performing I dove in with a preconception this was going to be an all-out riot grrrl explosive thrash of punker style emotional outpouring with little to credit her with other than, well, that was loud!

What I hadn’t taken into account was it was produced at Haxton’s Tunnel Rat Studios with backing by Jolyon Dixon, the studio’s wizard and one half of duo Illingworth, and as a result it’s a dreamy soundscape over acoustic goodness, as is the style Illingworth also purveys. But if the drifting musical ambience has something Pink Floyd-come-melancholic indie, like The Verve or Radiohead, about it, Becca’s voguish and relaxed vocals breath the freshness and vigour of youth into this, and it flows sublimely.

Opening tune Mother Nature is an obloquy commentary on the political ignorance of environmental concerns, and as such while Becca’s self-penned vilification drifts causally alongside the sound, this observation gives in to a spiralling angle of fury; a definite slice of the punk I was expecting slowly builds throughout the tune. This, I’d argue, is astute and profoundly crafted songwriting for someone twice Becca’s age; she’s eighteen and just completed an extended diploma in music performance & production at Wiltshire College.

Teenage Things is no whim project for Becca, the single was released shortly after she performed the title track two years ago, with another Poison Roses, to win a Tunnel Rat’s talent competition, telling the Salisbury Journal at the time, “winning the studio time is golden for me – as a student I don’t have much money and therefore booking studio time is really hard; winning the time means I can professionally record all the ideas in my head instead of trying to do it at home on my not-so-good laptop.”

Let’s just say, that paid off! Vocally I was immediately taken to imagining if Kirsty MacColl came after Lily Allen, she might sound a little something like this. Though not the rap of Kate Nash, her causal inflection brews hints of that voluble style, it’s refined singing still, and I mean this as a high compliment. Though there’s no mention of Kirsty MacColl, Becca replied, “I love Lily Allen, so defo a compliment,” after I put this to her. Am I showing my age now?!

This slightly more upbeat title track follows in this five track EP, and as the name suggests, the subject is teenage anxiety, and the curse of misunderstanding elders. It’s a woeful mard rather than Anthony Burgess fashioned vexation, over a steady beat. If antidepressants like Fluoxetine are insinuated it’s subtle but poignant nonetheless. From here you accept, Becca has more than a few things to say, and she does so with zest and expression. While her peers will identify with this song, parents should take heed too, and consider they’ve forgotten what it was like to be a teenager. This is a double edged sword.

With a conceptual running theme evolving, Little Girl continues on the subject of confusion over coming of age; this drifts so nicely, it is the song Madonna should’ve replaced Papa Don’t Preach with! Now, if Becca has got you onboard and you’re now contemplating how marvellously plotted this is, she throws Affliction of Melancholy Lies into the pot, and peps up the emotive intelligent songwriting another notch or twelve. This moves onto the next stage, relationships and their breakdowns, and is simply gorgeously ruminative. 

And though I don’t want this to end, Creatures has the most beguiling singalong chorus, folding in dark indie connotations, and I’m undecided if the safety of wild animals topic is metaphorical, or not, but it is a gratifying cumulation to a sublimely played EP which you really need to delve into wholeheartedly, rather than simply listen to, and that is a rare gem these days.

I’m so much more than pleasantly surprised, I’m in awe; use any part of this as a press release if you wish, Becca, but perhaps your astute words and the beautiful way you have presented them speak volumes for themselves, and as I said at the beginning, the wow-factor is often a dish best left as a revelation!

I’ll pop Becca’s Link-Tree HERE so you can check in on them on Saturday 15th and stream the EP, and will update this review too with links to it. 

Trending….

Shakespeare Live – Autumn Tour

An early and rarely-performed play, ‘Two Gentlemen of Verona’ has feisty heroines, lovelorn & bickering young men, dictatorial parents, foolish suitors, cross-dressing, letters galore, wild…

Retro Relics Games Cafe Opening In Lavington

With a wide selection of family-friendly and retro board games, RPGs such as Magic the Gathering, Warhammer and Pokémon, and serving tea, coffee, cakes and, oh,…

Nothing Rhymes With Orange at the Barge, and Beyond!

Another quick one from me, to say Devizes upcoming indie band Nothing Rhymes With Orange smashed it out of the park and down the Kennet & Avon all the way to the Barge on Honeystreet last night…..

Can’t give a full review as I only rocked up with a half-hour to spare, but it was plenty to witness, Nothing Rhymes With Orange are no hometown novelty. Punters at the Barge on Honeystreet were equally enthralled by their dynamic show of originals and the occasional cover. Of which one hailed out their request for an encore should be an original of theirs, which was interesting as it fully projects what we’ve been saying all along about this band; their dedication to creating an exclusive and prototypical sound is primary, yet while their ability to project that to an audience is something they’re continuously perfecting, the result is sheer exhilarating.

It was at this point then, I stress, Nothing Rhymes With Orange seemed more at home and familiar in these pub venue surroundings than ever before, despite what is a legendary local venue with an historic appreciation for the quirky and unusual, it didn’t phase them to perform confidently and superbly. I left thinking everywhere these young guys go they will imprint their music on those who attended and while they may have amassed a blossoming fanbase here, it will only extend further. But more to the point, it is so thoroughly deserved!

Heading a generational scene and finding time to network within it to showcase others is clearly making an impact, as a group of local youngsters form a new production company called Lost Monkey Productions, who aren’t taking things one step at a time, rather hosting NRWO with Foxymoron and Overstory in support at Devizes most prestigious venue, The Corn Exchange on Friday 14th July.

Tickets for a tenner (hurry!) HERE.

Trending…..

Swindon band Talk In Code in race to Glastonbury Pilton Party; show offs!

Those cheeky popsters who rocked up at my 50th with a beanie hat present from their own merch range and expected me to parade around wearing it like I was their personified billboard, yeah them, the fantabulous Talk in Code, well, right, haven’t seen them since, say they’ve been busy on the festival scene, when all of a sudden without a drop of notice, tell me they’re travelling to Pilton this Saturday, 17th June, and we all know what happens there!

Turns out Swindon’s toppermost indie-pop band are playing in the first heat of the Glastonbury Pilton Party competition to audition to win a coveted slot at the Glastonbury Pilton Party, held on the Worthy Farm site, home of the world-famous Glastonbury Festival; show offs!

This Glastonbury Pilton Party is held in early September, and previous headliners have included Liam Gallagher, Elbow, Fatboy Slim and Bastille. Talk In Code have been chosen from hundreds of hopefuls to audition, and I say, while it’s a bit warm for a beanie, thank you so much for my hat, and, oh yeah, also for playing an absolute blinder at the Three Crowns, I feel honoured and it will be a day if I hadn’t have overindulged in Thatcher’s Hazes I will never forget.

But all this aside, as I cannot be bought by showering me with gifts, in my book, Talk in Code would remain the best band in Swindon even if they dunked me in a bath of hot & sour piranhas in just my mankini till I cried like a baby, so I wanted to wish them all the very best of luck, and I hope you will join me in wishing them all the very best of luck, bloody good luck to them!

It’s all going down at Pilton Club, a stones throw from the Glastonbury Festival Site on Saturday 17th June. Tickets to come and support Swindon’s best indie pop band are available from HERE. 

Talk In Code are thrilled to be flying the flag for Swindon at this prestigious event, and I know they’ll knock ’em for six, and if not I want an inquiry as to why not. If you can’t make this, I get that, bit short notice, you should have a listen to Talk in Code, who have amassed over 400,000 streams and been added to over 700 Spotify playlists, HERE.

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Swindon Rocks for Children In Need

Saturday 4th November Underground, 73 Commercial Road, Swindon, SN1 5NX Swindon’s biggest indie pop Talk In Code are working alongside Underground, based on Commercial Road in Swindon, our…

Song of The Week: Meg

Quick one from me today, you’ll be happy to hear! Song of the week comes from Meg, dreamily expressing her romantic thoughts, hidden from the…

Devizine Podcast Sept 23

Pinky promise or idol threat? I’ll let you decide, but the aim is to produce a monthly podcast after prototypes at the end of last…

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.

Trending…..

Song of the Week: Canute’s Plastic Army

Swindon Celtic folk at it’s finest, Anish Harrison and Neil Mercer smash it again, this one is sublime, it’s called Wild, no spoilers, just…

Ed Byrne: Tragedy Plus Time

SYNDICATED INTERVIEW By Jason Barlow Images: Roslyn Gaunt Is there no end to the man’s talents? A staple of revered panel show Mock the…

Song of the Week: Meg

Chippenham’s folk singer-songwriter Meg gets our early song of the week this week, and The Cycle is only her debut single…. I’ve spoken twice…

Atari Pilot are Waiting for the Summer

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,…

Don’t Give Up Now, Ruby Darbyshire

As discoveries of young local talent never seem to wane here at Devizine, here’s one with a difference, we’ve not featured yet; you may…

Nothing Rhymes With Orange have Butterflies

If Lidl Shoes, April’s blast from our aspiring homegrown four-piece indie-punkers, Nothing Rhymes With Orange certainty raised the rafters with energetic enthusiasm, I held subtle solicitude, despite the amusing name, it did only a smidgen to progress the band any further than their mind-blowing debut EP Midsummer. By contrast today’s new single, Butterflies, is a Neil Armstrong sized leap in the maturing direction they need to be heading to attain a mass appeal.

With an infatuation theme, the band express a continuation of narrative relating to Lidl Shoes, yet while maintaining their archetypal jab of youthfulness, Butterflies ventures into a pensive mood, it’s dreamier, swapping guitar distortion and resounding choruses for a softer emotional sound. Don’t run off with Coldplay connotations, it remains punchy enough to warrant influences they cite, like Arctic Monkeys, The Killers and The Wombats, and it lies equally as beguiling as their most celebrated tune to-date, Manipulation.

If the chorus of Manipulation is hailed back at them by fans, Butterflies is clearly in the making to evoke the same effect. It’s instantly loveable, their best work so far, proving as I said since day dot, Nothing Rhymes With Orange are going places.

Nothing Rhymes With Orange Image: Gail Foster

With this interesting development, I wonder how their predominantly teenage fanbase have responded to this, as they will mature in-line with the band, and should, in theory, relate. Idolised acts of teenage years always rely on this familiarity with the path their fanbase are personally on, and their songs become stories of their own life. Butterflies identifies definitively, calls out to them, it’s an anthem, I tell you!

Frontman guitarist Elijah Easton, drummer Lui Venables, guitarist Fin Anderson-Farquhar and bassist Sam Briggs have cracked it again, furthering a natural development in their sound, and in conglomeration have penned another standout masterpiece; you’d be a fool to yourself for failing to make it down to the mainstage of Devizes Street Festival on Sunday by 2:30pm, where we should join in celebration at the remarkable achievement this young Devizes-based band has made, amidst the selection of international acts on show.

Nothing Rhymes With Orange. Image: Gail Foster

Here’s a linktree to all you need to know about Nothing Rhymes With Orange 

Trending…..

Some Work Experience At The Southgate!

Not as the title might suggest…. Since I peaked too soon over the bank holiday, coupled with working it, yeah, I sadly missed Monday’s entertainment…

Song of the Week: Becky Lawrence

Song of the week, on a Saturday, yeah I know, but this one’s just been released yesterday, and I’m a little behind, and opening myself…

20’s Plenty Says Devizes Town Councillors

Let’s face facts, they’re not referring to their average age here, are they?! Today’s topic is belting through town like a headless chicken escaping Colonel…

Devizes to Falafel Out Loud!

Here’s a Devizes foodie top secret I’m about to spill the chickpeas about; Anya of that delicious kitchen in the Shambles, Soupchick is launching a…

As Sweet as HoneyFest!

Imagine, it’s only just eight pm on the opening day of Honey-Fest at the legendary Barge on HoneyStreet, and the haystack-filled marquee is already positively…

Meg at The Neeld in Chippenham 

Yeah I know, those Nothing Rhymes With Orange lads were pepping up the Crown in Devizes for a Fantasy Radio live lounge last night, and…

Gen-Z Party; Nothing Rhymes with Orange and Guests In Lavington

Images by Gail Foster

I could’ve guaranteed myself a great night with peers and those purveyors of space rock, Cracked Machine down the trusty Gate, or danced socks off with twenty/thirty-somethings at the Three Crowns to the unique take on covers of the ever-entertaining People Like Us. But, oddly if not in the know, I opted for a Saturday night at West Lavington village hall, nodding my approval as frontman Elijah Easton mingled with a gen z frenzied crowd singing back to him their beguiling magnum opus, to-date, Manipulation, for an encore the fans will forever cherish…..

For if it’s Devizine’s intention to highlight all that’s great about our music scene, it’s surely a priority to point out what’s upcoming, and Nothing Rhymes With Orange are the freshest squeezed fruit on that tree right now. I’ve been singing their praises since reviewing their EP Midsummer, unseasonably released last November, and now I can tick catching them live off my must-do-list I’m only going to enforce my words on how astoundingly awesome these youngsters are.

With blow-up orange segments bouncing between them on stage and their enthused blossoming fanbase, I figure I’m witness to a burgeoning local phenomenon akin to the roots of any mainstream band, left pondering the pensioners once screaming teenagers at Liverpool’s Cavern Club, when Beatlemania was imminent. If you consider that’s a tall order for comparison, I’d shrug, but while NRWO can clearly rouse the crowd, it feels like the building hysteria is a newfound blessing for them and they’re unsure how to react. This is a wonderful inaugural experience for a blossoming band, exposing them to reactions to the hard work they’ve clearly put in, and digesting those streams are from real kids, appreciating their sound.

Nothing Rhymes With Orange

For the fanbase so young in our rural zone, it’s not so simple just to rock up to venues, particularly pubs, and if the village hall is kinda “village hall like,” it’s because it is, but it’s an adequate space with a hospitable outlook. The band and their families have self-organised this sell-out gig with the intention of making this a homecoming atmosphere for a local band venturing to Bristol, Bath and Trowbridge’s Pump, and who will undoubtedly take that road a lot further in the near future. 

For the time being, they are here and they are now. If seeing Springsteen in the eighties was an amazing experience, seeing Springsteen play New Jersey was another ballpark, ergo in this case, Lavington is those Badlands.

The sound is frenzied indie-pop, but not all-out ferociously punk, they find the perfect middle-ground; easy on the palate for any age demographic. Precisely why they’re subject to my highest acclaim, homing in on what the kids want, is, historically, the recipe for success. They did this with bells on, belting out their known EP tracks, a couple of defined Arctic Monkeys covers, their latest release Lidl Shoes, and treated the crowd to a sneak at the forthcoming two singles.

But not before a triple bill of support they’re introducing to home fans. First up Dauntsys own Paradigm, who, though I only caught the final couple I’d suggest are a promisingly tight young band to watch out for.

Paradigm

Secondly Frankcastre from Portsmouth with a frontman originating locally, even penning a song named after Great Cheverall, which has to be a first! Perhaps as oddly as their name, to generation X a band attired in Fred Perrys and skinheads might connote mod influences, but the confident frontman was looking decidedly teddy-boy!

Frankcastre

Trivial is the significance of the uniforms of youth cultures of yore to this era, their originals came fiery and skater-punk; they refined the contemporary noise with brewing confidence and it was welcomed by the NRWO fanbase, particularly the girls. Two covers either side of their set though revealed a penchant for sixties blues-rock, covering firstly The Doors’ Break on Through, and The Animals’ version of House of the Rising Sun, with gritty vocals and devine accuracy. Something for the parents to acknowledge, perhaps, though the frontman delighted to elucidate his fondness for the era to me and I had nothing but to accept his knowledge on the subject. Their sudden usage of a keyboard, for example, to replicate The Animals classic was different, tilting it to one side while playing was beyond Jerry Lee Lewis; put him in your Google search bar!

Arguably the more accomplished of the two, Bath’s StoneFace produced lengthier original compositions, evoking mood with pitch and tempo alterations. With an air of neo-emo Stooges, interestingly with saxophone, damn they looked the part of Iggy Pop to envy!

Though sounding as good as they looked, this volatile style didn’t seem to wash down quite as well with the teenagers as Frankcastre, who, like punk, seem to favour the frenzied three-minute hero, though I personally fished with their hook. Introducing a new track Blue for You, and a particularly adroit one called Cave, the downtempo was plodding indie of perhaps a previous generation, but they did it exceptionally.

StoneFace

To conclude, those in local media sensationalising a minority of hooliganism for click-bait would’ve had their tails between their legs if they’d bother to attend this last night, for all I saw was the new generation, clean-cut by comparison of formers, thoroughly enjoying themselves and causing no issues in the slightest. Just in awe of four of their own, who’ve worked tirelessly to perfect a cooperative brand and inspire others. The forthcoming single Rishi speaks volumes for a current tongue-in-cheek satire they’re intelligent self-penned anthems extend to, though for the most part politics are avoided in favour of topics relative to gen z, like romantic interludes breaking down, and for this Nothing Rhymes With Orange prove their diversity.

It was an astounding achievement, bringing some class acts to Lavington’s youth, and onwards for NRWO I’m pleased to say in collaboration with DOCA, Devizine is proud to now annually suggest a best upcoming local act to feature on the main stage at the Devizes Street Festival, and you can bet your bottom dollar they are the chosen ones to get that ball rolling on Sunday 28th May.

You can also catch them next Saturday, 29th, at the Pump in Trowbridge, Bath’s Party in the City at St James’ Vaults on 12th May, at Corsham Rugby Club’s CorrFest on Sunday 17th June, The Barge on Honey-Street on Saturday 1st July, Marlborough Festival July 8th, and Urchfont’s Boundary Bash on the 15th July…. The future is bright, and doesn’t rhyme with orange!

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Remotely possible he misses all the roundabouts, Paul Lappin came from Swindon, now resides in the South of France, yeah, across the water, which is also the title of his latest EP; coincidence? Remotely possible….

It’s been since last July when we mentioned Paul with previous EP, Flowers in the Snow, this new title track is dreamy family reminisces sailing across a tranquil sea. Plucked from his Britpop inspiration, Paul never fails to create a beautiful ambience of meaningful prose, and this hits the spot.

Sophia, the middle track picks up the beat, twirls with the guitar riff closer associated with Britpop, Lee Moulding and Jon Bucket adding drums to this Stone Roses fashioned track, at their smoothest.

Polishes off with Chasing Rainbows, and we return to the dreamy style of the title track, making a wonderful finale. Check it out today, it’s Sunday music for the soul.

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Song of the Week: Talk in Code

You can’t stay on the sunny side of the street; you’ve got to cross over at some point. But if the blurb I’m sent for Talk in Code’s latest single Hindsight suggests they’re showing “a darker side,” don’t run off with the notion they’ve come over all Radiohead.….

Taken from their second album, The Big Screen our single of the week is out on Friday 31st March, but you know how it goes, you can pre-save on the streaming platforms. And do, because yeah, so it’s perhaps a cliché theme of biblical teachings; penitent, should-have-known-better sentiments returned unto you with a cold, hard slap in the chops, but wake up, we’ve all been there, and Talk in Code project it with finesse, as ever, and of course it’s cradled in the uniformed indie-pop synth style. A chic instantly recognisable and beguiling, every Talk in Code single is ageless and unhindered from pigeonholing, it’s darn good pop, dammit!

Image: Helen PolarPix

Atmospheric thumper describes it best on the publicity, anthemic soundscape with swirling synths, shimmering guitars and soaring vocals. Recorded with Sam Winfield at Studio 91, Newbury (Amber Run, The Amazons, Fickle Friends) and out on Regent Street Records, continuously ascending, Talk in Code go from strength-to-strength and Hindsight exhibits precisely this.

https://www.facebook.com/talkincode/videos/1350060825774735/

Pre-save it HERE, and you’ll wake up Friday singing a new song!

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Song of the Week: Atari Pilot

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 destination you 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!

bandcamp width=100% height=120 track=539157991 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]

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.

Recent…..

Beating January Blues, Bradford-on-Avon Roots Style

If the last thing you’d expect as the final sound you hear before leaving a festival carpark is of scraping frost off windscreens, notion of festivals as a summer thing is about to be turned on its head. January blues is curable in Wiltshire, The Bradford Roots Music Festival is your prescription.…

Devizine is not Time Out, writing about our music scene is a personal voyage of discovery, but until now I’d not reached the core. Because Bradford-on-Avon boasts The Wiltshire Music Centre, a modern, purpose-built hub of music and arts, and I’m happy to confirm it’s a wonderful place.

Andy fondly reviewed their past roots festival, on the strength of this and the stunning line-up, it deserved sending my grumpiest of hibernating reviewers, so here I am, with beanie on.

Situated on a housing estate next to a school, first impressions are school-like, by design and decor. Interesting, a festival in a school, even has a coat rack, and fire doors held open by polite teenagers; imagine! If I get a detention here, I’ll be glad.

I believe it’s part-funded this way. Cause and effect are a wide age demographic; yes, a majority are those elders who can afford to fork out £20 in January, but it notably caters for the youngest too, with a vast craft area and workshops, a dinnertime finale of the latter being a Wassail kids’ procession led by Holt Morris Club in the foyer.

Also noteworthy, though I missed this, part of the proceeds goes to Zone Club, an in-house musical programme for learning disabled adults, who’s improv show opened the festival. The other half goes to the centre itself, which has charitable status, and is worth its rather hefty weight in gold.

Wowzers, I was impressed enough already, with plentiful to engage in, yet I’m told this three-stage single day is scaled-down post lockdown, previously housing two other stages and a food court, over three days. Though it was expressed this is the level they’d like to see it return to in future. I’m letting the cat out the bag, you can’t keep it a secret forever, Bradford, the south-west needs to know!

Though if food options were filtered to one, Bradford’s own Evie’s Mac N Cheese wagon is most definitely the one, my burger was to die for! There’s me, stomach-thinking first, when I’ve so much to report, so, so much great music, some completely new to me, others well-grounded in my favourites, and many to tick off my bottomless must-see list.

Aqaba

If I told you what I didn’t love, it’d be quicker, but blank! The only way to do this, is to get chronological, but before I do, it’s crucial to point out what’ll become clear by the end; the logo’s tree growing out of a guitar, and the whole name of Bradford Roots Music Festival can be a tad misconceiving; going in with the preconception it’s all folk, fiddles and hippy-chicks dancing barefoot, though these are present, to assume it’s the be-all-and-end-all is wildly off target. The diversity on offer here is its blessing, its quantity and quality is serious value for money, and likely the most important elements I need to express in order to sell next year’s to you, which I do, because it was utterly fantastic.

Not forgoing the hospitable atmosphere, its easy access under one roof, and its professionalism in staging the best indoor local festival I’ve been to, if not a forerunner for the best local community-driven festival, period. On programming I could point similarities to Swindon Shuffle, in so much as grabbing an international headline isn’t their thing, favouring promoting local acts. But unlike the Shuffle where you wander Old Town pub-to-pub, there’s a treasure behind nearly every fire-door.

Lodestone

Arriving as prompt as possible, unfortunately not as early as I’d have liked, finding Phil Cooper and Jamie R Hawkins packed up and chatting in the foyer, I consoled myself by noting there’s so much happening under this cathedral of music’s roof I won’t miss. Firstly, I found the main stage, a colossal acoustic-heaven seated hall, where came the cool mellow vibes of Chris Hoar’s Lodestone, soon to be renamed Courting Ghosts, with drummer Tim Watts from It’s Complicated, a band booked to headline the third stage, Wild and Woolley, but had to cancel.

Lightgarden

Though at this time, I’d not even found said third stage, dragging myself away from the balcony to the foyer, where a smaller makeshift middle stage hosted the duos and acoustic acts. The beautiful folk of Lightgarden currently attracting a crowd.

Mark Green’s Blues Collective

People tended to settle in one place, I rushed from stage to stage, excited as a sugared-up kid at Disneyland! Discovering the third stage was the best thing I did, as Mark Green’s Blues Collective thrilled with a reggae-riffed version of Knocking on Heaven’s Door.

The Graham Dent Quartet

Decided I need to settle down, smooth and accomplished piano-based jazz on the main stage by The Graham Dent Quartet could’ve easily helped, but hot-footing back to the third stage to catch Junkyard Dogs was a must.

Likely my acme of the daylight hours, if it’s nearly as impossible to rank the best thing any more than picking faults in the festival, Junkyard Dogs rocked this stage with sublimely executed Carl Perkins, Chuck Berry timeless classics of the raw RnB origins of rock n roll, (apt for a “roots” festival,) with added amusing originals, a downtempo Suzie Q, and a funky guitar chilled Dusty Springfield’s Spooky.

Junkyard Dogs

With fantastic delta blues in the foyer, via Westward, and a Wassail choir workshop in the main room, I tended to hover around the more unorthodox third stage, where Mod-type synths band Aqaba rolled out some damn fine originals.

Westward
Caroline Radcliffe Jazz Trio

Meanwhile joyful lounge jazz was blessing the foyer with the Caroline Radcliffe Jazz Trio, as I made my way to way to the main stage once more, to tick Billy in the Lowground off my must-see list. Missed this unique banjo and fiddle five-piece folk ensemble when they’ve graced the Southgate, but though their fiery foot-stomping loud ‘n’ proud scrumpy & western is hard-to-pigeonhole, I won’t be missing them next time.

Billy in the Lowground

This is where the stages vacated for dinnertime, and the Wassail children’s parade accompanied an entertaining Morris dance ruled the hour. It may’ve felt as if the festival was slowing pace, but it was only temporary. Outstanding Bristol-based soloist Zoe kicked off the foyer happenings again, a stalwart of the festival, while young Swindon popular post-grunge wild card, Viduals blasted the third stage.

Zoe
Viduals

It was great to meet the level-headed youths of Viduals, one to watch on the indie circuit, asserting the third stage now was for younger attendees. Man, they had some upfront drumming I likened to Animal from the Muppets, and some defined originals!

Foxymoron

The similarly youthful band, Foxymoron, to grace the headline at the third stage since It’s Complicated’s unfortunate cancellation, sounded prodigious, slightly more accomplished with slithers of retro post-punk, but I confess with so much going on, I didn’t catch enough for a full assessment. Because, I was equally surprised by Karport Collective at the main stage, but in a different way. Didn’t get any info on these guys, only to lean over to the frontman expressing my delight at them daring to cover Outkast classic Hey Ya at a roots event! If a pop repertoire of Fatboy Slim’s Praise You medlied with that Elvis breakbeat rework, wouldn’t fit at a folk festival, they did Bowie’s Let’s Dance too, engaging a mass-exodus to the dancefloor; surely a defining factor in my point about diversity here. Gallant five-piece, Karport Collective pulled a rabbit from their hat, and would be a superb booking for a function or large lively pub with universal appeal.

Karport Collective

Dilemmas over what to watch beached, the ultimate decision was the finale, where subtle yet powerful folk duo Fly Yeti Fly took the foyer, and my new favourite thing, Concrete Prairie played the main stage. Let’s get this straight, okay? Concrete Prairie are unmissable by my reckoning, though this is my third time seeing them live, and Fly Yeti Fly is one I so desperately want to tick off my list. The problem is solved by this easy access, we’re only one fire-door away from simultaneously viewing both, which I did; bloomin’ marvellous!

Complete with double-bass accompaniment, predicted gentle positive acoustic vibes from Fly Yeti Fly, if a song about burning the furniture for firewood on a frozen canal boat is gentle and positive! But, oh, how a duo can hold an audience spellbound, Fly Yeti Fly are the enchantment. My night was completed by their tune Shine a Light, which (plug) you can find on our Julia’s House compilation, together with swinging that fire-door to catch the sublime country-folk of Concrete Prairie as they polished off a set of debut album tracks, covers and new songs, with the magnum-opus Devil Dealt the Deck.

Concrete Prairie

Still at 1,000 feet of an impressive mountain; Bradford Roots Festival, I conclude, is faultless.

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Illingworth Celebrate Their 100th Gig!

Salisbury-based acoustic rock duo John Illingworth Smith and Jolyon Dixon play The High Post Golf Club, between Amesbury and Salisbury this Friday 2nd December, and celebrate that it’s their 100 gig.

Although the duo had been collaborating musically for over three decades, gigs dried out proir to 2019, and they stopped, as Jolyon vaguely explained, “for one reason or another!”

He told of how around the Christmas peroid of that year, “John and I were chatting about how we missed doing gigs, wondering if we should maybe get a set together and have go at performing again as a duo.”

“We wasn’t certain if anyone would want to listen,” Jolyon continued, “if we could actually get any gigs at all, or even how to get the songs working with just the two of us playing.” Today it’s still a wonder to us how they manage such a gorgeous sound as a duo, but they do! At Bishop’s Cannings’ CrownFest this summer they stole the stage following two heavy rocks bands, and to see Illingworth stamp their mark on a cover as technical as Pink Floyd’s Wish You Were Here, or The Beatles’ Hey Jude, is something really special.

To maintain a pub circuit, Illingworth have mastered the cover scene with a plethora of memorable and sing-along rock classics, but neither are they strangers to creating originals, knocking out two breathtaking albums to date. This is where their relationship with Salisbury’s Tunnel Rat studio producer, Eddie Prestidge, comes in handy.

“Our good friend Eddie encouraged us to give it a try,” Jolyon said, “offered to become our manager and handle the bookings. So, we gladly accepted and sure enough we got our first booking in February 2020, with several more following soon after. Of course, early in March the lockdowns started and we couldn’t go out and play. We were gutted, but, undeterred we used the time to make a new album of original songs and we did gigs whenever the restrictions allowed.”

“Well, this weekend will be our 100th gig, So we would just like to say thank you so so much to all the excellent venues that have booked us, the weddings, parties, festivals, celebrations and absolutely everyone who has come to see us along the way! It’s been an absolute blast getting to this point. We still love doing what we do, and hope to make it to our 200th gig!”

With the trajectory these guys are flying on, I estimate that’ll be around spring! What more of an apt venue name, then, for their 100th gig than the High Post?! But seriously, these guys could bring joy to punters and provide a cracking night to any pub. I’d wager they could even raise the morale of the Queen Vic in Eastenders given half a chance!

Congratulations to John, Jolyon and Eddie, and hope to catch you again soon, guys.

Nothing Rhymes Orange, Fact

Oh, for the enthusiasm of emerging talent; new track from Nothing Rhymes with Orange is a surprisingly garage band delight……

My dad never revealed his feelings about being in an amateur teenage band. Though I knew he was, he played down its importance. Sacrificing his guitar for parenthood, he’d shrug and tell me they were never any good, anyway, then explain it was the trend of the era, everyone tried picking up a guitar. A tendency succumbed to electronica and the pop machine of my youth; we grew up hailing the DJ and the sound system. Yet the DIY ethos of swinging sixties is very much revitalised these days, and if there’s lots of current notable young bands on Wiltshire’s circuit, one to watch are called Nothing Rhymes Orange.

But, if it’s fact nothing does rhyme with orange, I confess to know little else about this emerging talent, save they’ve a Devizes connection, recently rocked up Lavington’s Churchill and supported Carsick at The Pump, as Sheer’s incentive to promote upcoming locals never fails to spot greatness. And greatness it is, if raw and somewhat undercooked; such is the delight of discovering a garage band, as they come out of Martin Spencer’s Badger Set studio with a blinding original track this week, Chow For Now.

Garage is an appropriate blanket term, I was pleasantly surprised not to hear some expected grunge-inspired thrash, rather the balance of indie-pop akin to the Coral, with occasional nod to post-punk, when fitting. This sounds garage, yeah, basslines of early Jam, even, which rings out a beguiling riff of contemporary sparkle, not forgoing an original concept for theme. Ah, Scouting for Girls, or more; taking on local favourites like Longcoats and Daydream Runaways.

Immediate like from me, guys; one to watch. Aside another two tunes in the works, you can find Nothing Rhymes Orange supporting Harmer James and Chasing Kites at a Freaky Friday down St James Vaults, Bath on 11th November. Link-tree is here, go figure.

This is what picking up a guitar is all about, albeit to suggest it takes perseverance; likely where my dad’s Who-like wannabes failed, but Nothing Rhymes Orange seem to excel. Guess I’ll never be sure about the first, but I’m certain of the latter.  

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Song of The Week: Beskar

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Talk in Code: The Big Screen

Talk in Code’s second album has been out a while, overdue to mention it……

January 2019, and I find myself making several eighties cultural references in reviewing Resolve, the debut album by Wiltshire’s own Talk in Code. A band which turned my aged preconceptions of the “indie” pigeonhole on its head.

For me, wedged in the nineties, imaginings of that somewhat depressing outlook of the riot-grrrl, the post-gothic period of indie my rave fixation required an abhorrence of by default. Though it was hardly mods and rockers in that era, as in we didn’t fight, “ravers” and “indie kids” simply didn’t recognise each other until the remerging of the crossover, through the likes of the Chemical Brothers and Prodigy, yet, reflecting, it was always there with Madchester and the progressive Primal Scream’s Screamadelica.

So, who’s up to debate it, does any of it matter now? I likely chewed the ears off of guitarist Alastair Sneddon on the most memorable occasion of a road trip with the band last March! We’re in a period where the trend is to cast-off that nineties flavour in favour of citing influences like U2 and Simple Minds, and I’m game for that, even if the band tend to name more modern inspirations.

The point is, Talk in Code build on this ethos, their sound ever strives towards it, ergo, everything after Resolve increasingly adds to this method, of its standout single Oxygen and its gorgeous dreamy emotions akin to a John Hughes soundtrack, and gradually onward. Yet somehow this panache isn’t regressive, forgive the eighties references, it’s retaining freshness in the contemporary, just allowing a serious nod toward early to mid-eighties feelgood pop.

It’s a fashion which Talk in Code hooked me onto bands like Longcoats, Daydream Runaways and Atari Pilot too, and a scene has developed to the point Swindon’s pop darlings are now Talk in Code; they played the Coleview Music Festival this weekend, entertained crowds during the interval of the Wildcats ice-hockey game at the Link, and generally, the excitement is consistently blossoming for them, and deservedly so.

Back on our outing to Portsmouth they stressed the importance of both gigs and recording, and since their connection to Regent Street Records, there was a keenness in the band to grab wider appeal in anticipation of the forthcoming album, The Big Screen. The release of it was pushed back to accommodate this collaboration but has been up-for-grabs since last month. Having already reviewed many of the tracks of singles I’ve been biding my time, apologies to Talk in Code, but here it is….

To begin, The Big Screen has had nearly as many singles coming off it as Jacko’s Bad, yet the comparisons end there. The opening title-track though, is exclusive, and it rings as the perfect intro as all the shaping I’ve described above. Illogical chronologically follows, their last single released, which I defined at the time as summing up “their undeviating style, upbeat and optimistic,” and suggested it was more danceable than the previous singles.

One of my personal favs follows, Talk Like That, came out back in January 2020, of which I suggested would “blow your diddy-boppers off!” Track four is Hindsight, an album track, perhaps, least one I haven’t heard of, but again, listening to it everything just falling so neatly into place. Talk in Code are so stylised, this flows as an album rather than a collection of singles, and nothing here will disappoint.

April 2020’s single Courage (Leave it Behind) is followed by a cooling new song, Someone Else’s Shoes, which takes on the Wham boys at their earlier best. This is a drifter, but yeah, I said Wham, I don’t know about you, but it got me reminiscing the greatness of Everything She Wants, a hidden gem of their discography often obscured by later hits.

But Save It returns to paced euphoric, and one can’t go wrong towards the finale, as the last three tracks are recently celebrated singles. The Molly Ringwald moment of Young Loves Dream, autumn during lockdown’s neon song Secret and ending on the summery Taste the Sun, dripping in fun, and sunshine…. club tropicana’s drinks are free, y’ know? And in that, a certain moreish finesse we’ve come to accept as standard from Talk in Code shines on.

In all, despite reviewing the singles as and when they were released, it’s worth revisiting as together in the compilation of The Big Screen, you can hear what I’ve been waffling on about with each and every single review, about the tightness of the band to create this uniformed joyous chic of universal pop appeal. Honest, in a Tardis, feels like you could pull out a Smash Hits poster of Talk in Code and blu-tac it to your wall, and your dad will approve. Whatever did happen to Terrence Trent D’Arby?!

Get the album here, s’ only seven quid.

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Devizes, We Are Sustainable!

Bingo, someone came up to me in the Market Place while I was chatting with Devizes Greens chief, Margaret Green about all random matters of…

We’ve Found You, Danni W!

Right you lot, listen up; I’m fully aware this debut album, Lost to be Found, from Swindon’s Danni W has been out, what, a fortnight…

The Best He Could Do at The Time, Joe Hicks’ Debut Album

A little late for the party, as ever, I’ve been procrastinating, and my computer is equally as listless; failing to save my original words on this. Meanwhile Newbury good guy, but welcomed regular on our circuit, Joe Hicks has been busy with a debut album launched yesterday, worthy of a rewrite……

Titled The Best I Could Do at The Time, Joe is seriously playing it down, like the nerd at college who tells you they “haven’t done much” for their assignment, so you follow suit only to find them offering a feasible cure for all known diseases in a presentation with U2 providing the soundtrack, while the best you can offer is a scribbling of your pet cat, which you did on the bus journey there.

The opening tune, Sail Away, for example, is far punchier than David Gray’s appellation of the same name, and we won’t contemplate sailing down the Rod Stewart route. Though it’s best pigeonholed like Gray’s, as folktronica, there’s a whole lot more going on here from this stalwart who could just as easily fit comfortably into a blues dance as he could a folk festival, and does.        

The blurb suggests The Best I Could Do at the Time is “a journey through many of the emotional peaks and troughs we go through as humans,” Joe explained, “and more specifically me as a musician in such uncertain times. It’s about acknowledging them, living in those feelings for a while and ultimately finding the hope we all have within us to take control and rise above the worst of them. It’s about doing the best we can with the tools that we have.”

The first thing to hit you is the sheer production quality, a euphoric yet upbeat anthemic joy from the off, Sail Away, sustains the timeless pop formula, making him balance on the edge between aforementioned folk and blues, and allowing this album to flow tidy, but traverse any given pop subgenre at will, while retaining originality and stylised inimitability.

If One More Step, the timeless pop second track is a prime example, it builds on layers like a contemporary hit of say a George Ezra-Bruno Marrs hybrid, Maybe When It’s Over follows, and this stretches back further, reeking of unruffled seventies soul, like Curtis Mayfield.

Four tracks in and you’re safe in knowledge to accept anything, Pieces is sublime acoustic fluff, and there was a line in the subtle skank of Lost in Love, “oh, such a reckless emotion,” where I paused for thought on a comparison which I couldn’t quite put my finger on, until it came to me; the velvety vocals of Paul Young, especially when he sang Come Back and Stay.

Mirror Mirror reflects an indie side-order, while Out of My Mind surprisingly nods of township jive, designating a hint of Paul Simon’s Graceland. Hand in Hand settles the pace once again to this euphoria, so that even if the narrative traverses the downhearted at times, it’s always a musical ride with the glass half full. And herein is my point; this is ageless pop goodness, borrowing from what went before, but fresh and contemporary throughout, which is the even balance of magnitude.

The final trio of tracks on this eleven-strong album returns to the early eighties pop formula with, Alive, folktronica goodness with the inspiring Make It Home, and Weightless polishes it off with the pop roll of The Corrs, or something along those lines, though the whole shebang holds itself in its own pocket.

It’s a wonderful album, deservedly to be considered a remarkable achievement; The Best I Could Do at The Time huh? Well, the time is nigh. Having made a name for himself as a session guitarist, Joe Hicks was ‘BBC Introducing Artist of the Week’, directly from his first solo single in 2017. Since he’s built up a sizable online following, touring the UK and Europe, appearing at CarFest, The Big Feastival, Are You Listening? Festival, Pub in the Park, over thirty Sofar Sounds shows and slots supporting Sam Fender, James Walsh and Starsailor.

Here in Devizes, he’s regularly appeared at Long Street Blues Club and Saddleback, and is always a delight to chat with; just a genuine modest talent, of which this album truly blows the lid off his cover. I got your number, Hicks; bloomin’ amazing album, my son!

Link-Tree to Buy

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Sheer Music Grand Return to Devizes

Ah, it’s on the grapevine alright; godfather of Wiltshire’s millennial live indie scene, Kieran Moore isn’t sneaking in the back door with his tail between his legs like the prodigal son, rather he’s returning to Devizes, the origins of his promotional stamp Sheer Music, in a blaze of heavy rock glory.

Not content with setting the soul of live music in the bright light city of viva Trowvegas on fire, or getting those stakes up higher at Komedia in Bath and legendary venue the Vic in Swindon, he’s
just a devil with love to spare…. for his roots!

It’ll be loud and proud, that much is for sure, when Sheer takes the Corn Exchange on Friday 7th October, and, hold your breath, it’ll be a free gig, yes I said free. When was the last time you got in the Corn Exchange for nought? Obviously as chief blagger I’m not at liberty to answer that question myself, but you catch my drift I hope!

They’ve got that kick-ass skater punk collaboration of Trowbridge, Devizes, Westbury and Wotton Bassett, Start The Sirens as support. A promising upcomer we handsomely reviewed their debut “Just the Beginning,” back in June.

Next up is two-thirds homegrown purveyors of noise NervEndings, who should need no introduction locally, abielt to note the boys are creating quite the stir forever further abound, headlining this Saturday at the very same Victoria, for the Swindon Shuffle.

Plus hard-rocking contemporary punkers Lucky Number Seven, which I’ll confess is a new one to me, but they certainly sound like a belter, featured alongside NervEndings at the Shuffle, and who tore Bristol’s Fleece apart at the beginning of the month.

Kieran labels his promo posts with “shit the bed, Devizes,” leaving me pondering; are you sure you’re ready for this, Devizes? Stage diving all the way to Chick-O-Land?!

Really Got Me Now; The Roughcut Rebels Storm the Three Crowns

Prince Akeem of Zamunda, that’s the bugger, least the fictional character played by Eddie Murphy in Coming to America, who walks over a shower of rose petals; that’s the Roughcut Rebels gigging in their hometown right now, but replace the petals with “party!” Yes, they dance over a bed of party, waltzing the crowd with them, and punch above their weight for the mod covers championship belt.….

For a band that know they can switch from the Beatles’, Hard Day’s Night, to Jack Bug’s Lighting Bolt, a local crowd will lay the petals for them. More so, they bring the party, as they saunter through them with a breeze of confidence. Confidence in their younger frontman, Fin, but also in the tightness of the knowledgeable band; it’s one not to be missed, as it was in the Three Crowns last night.

In pub with a McDonald’s-paced drinks service, due to its cashless agenda, there’s a marvellous outside venue completely covered with sparkling canope. The boss here knows his customers as he flicks me through his diary; The Three Crowns pays particular attention to accomplished local live cover acts it knows will bring the party, such as People Like Us, Illingworth, Paradox and, as clearly evident last night, those Roughcut Rebels.

They push the boundaries of eras, spanning in comfort any anthem with a mod tinge, and saunter from sixties to eighties, from Rolling Stones to The Jam, yet slide equally as neatly and timelessly as a Fred Perry shirt into Britpop and into contemporary indie sing-a-longs.

Polishing the evening off with the Stereophonics’ Dakota, it’s a scooter rideout through time, from The Who to Oasis, and everything in between. This equates to a highly entertaining show, akin to a Now, That’s What I Call Mod Music compilation album, but live and with Wiltshire hint; I honour Fin doesn’t attempt a cockney accent when reenacting Phil Daniels’ Parklife monologue, because it’s a little west country thing, and it rocks!

With a extensive gourmet burger type menu, The Three Crowns is a golden nugget on our pub circuit, and Finley and Mark of the band are the next stop musically, playing the bank holiday Monday in support of The Reason.

The Roughcuts can be seen again at The Barge in Seend Cleeve on September 2nd, and appear at the highly anticipated Party For Life fundraiser at Melksham Town FC on the 10th September.

Talk In Code Return to Swindon for a Homecoming Show & Album Release

We love ‘em here at Devizine, and Swindon-based indie pop quartet, Talk In Code are set to return to The Victoria in Old Town Swindon on Saturday 23rd September for a massive homecoming celebration show following a packed summer of festival appearances at Lechlade Festival, Minety Festival, Home Farm Festival, Taunton Pride, Box Rocks, Great West Fest and many Foodies Festivals all over the UK…..

The band have spent the summer playing to packed audiences across Wiltshire and all over the UK, supporting esteemed names such as Jesus Jones, Cast, Scouting For Girls, My Life Story, Blue and The Feeling.

Talk In Code, recently signed to London based Regent Street Records, released their instantly danceable, upbeat single “Illogical” in June of this year, playing a headline set at Pimms In The Park at Lydiard Park on release day.

Image: Helen’s PolarPix

The gig at The Victoria on 23rd September will also see the release of the bands new single “The Big Screen” and also their third album of the same name which will be available to purchase on CD on the night.

Chris Stevens, lead vocalist said “Swindon is our home, and it feels so right to be returning to The Victoria, which is one of our favourite venues to play.. Darren and Violet from The Victoria have been incredibly supportive of Talk In Code over the years and we cannot think of a better place to showcase our new album than The Vic! We are proud to be Swindon!”

Join Talk In Code for what promises to be an incredible night of live music, with support from Riveria Arcade and Tom Moore.

Tickets are just £6.00 in advance from https://www.seetickets.com/event/talk-in-code-riviera-arcade-tom-moore/the-vic/2319587 Listen to Talk In Code here.

Ah, my road trip with Talk in Code!

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Summer Roots Festival….In Keevil?!

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Flowers in the Snow; Paul Lappin’s New EP

For want of content during lockdown I broke borders and publicised about music worldwide, gradually crawling Devizine back to its original ethos of focussing on local happenings. Pardon me if I don’t get all Royston Vasey on this EP, recorded in the South of France, for the reasoning is twofold; Paul Lappin originates from Swindon only partially significant, mostly it’s because for music this good I’m willing to break any rules about content I might’ve once made!

Through the album The Boy Who Wanted to Fly, if in October 2020 I raved about the Britpop goodness of Paul and his band, the Keylines, a following live unplugged and largely acoustic release Christmas last year, Live at Pink Moon Studios simply knocked it out of the park for me. Stripped back and set within an intimate lockdown performance, Live at Pink Moon Studios not only reinforced the absolute brilliance of Lappin, it earmarked its place in my all-time favourites, outside the confines of what we review here.

No pressure then, Paul, if I don’t compare this new release to other items currently in review, rather provide assurance to our readers, this again dreamy, mostly acoustic new EP Flowers in the Snow, is immediately enchanting, best paralleled with John Martyn, Jeff Buckley, or Nick Drake, the latter of whom I’d imagine Paul to cite, being the studio name refers to a Drake album.

Though, I feel at times, aforementioned comparisons are somewhat lost in their own era, Paul reflects this too, his work never retrospective, it sounds fresh for the now, as Britpop comes of age, this is matured indie, favourably over a beechwood fireplace in a cabin recollecting times past, with a customary glass of wine.

Three average-length tunes make up this EP, though as suspected, that’s all which is average here. A tale of better times on their way begins the proceedings, a best served acoustically title track. It smooths the soul, quite literally. Moodier soundscape introduction of subtle guitar riff following for track two, Blue and Gold, brings out the best in Johannes Saal’s drums and bass, and Thomas Monnier’s subtle congas.

“The rest of my band were busy with other projects,” Paul explains of springtime, “I spent a week at Pink Moon residential studios in the south of France working on some new ideas with producer and recording artist Saal.” The result is this EP; three songs loosely linked by the theme of the seasons and mixed on a beautiful 1980’s GDR era broadcast desk. “The download includes a 14-minute bonus track of all three songs linked together, as was originally intended.”

Okay, so I’m guessing spring on Flowers in the Snow, dead reckoning Blue and Gold is summer, but the last tune confirms, it’s winter; Not Hiding Just Sliding is perhaps the most experimental, such a beguilingly unassuming melody, holding you out to dry in want for more. This is an exceptional set of flowing songs, no two-ways about it, if the seasons really came and went as smoothly as this, I’d still be wearing a t-shirt and khaki shorts through the bleak midwinter!

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CSF Professional Wrestling returns to Devizes

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Broken, with Billy Green 3

Rain after a heatwave can be “refreshing” rather than its normal, “annoying.” Save drizzle, though forecast, we’re still waiting for the storm. If it’s refreshing you want in the meantime, local Britpop trio, Billy Green 3 paid a visit to Potterne’s Badger Set studio, and the result is Madchester in Ibiza….

Melancholically drifting over a subtle Latino riff, Broken is the surprising new single, out tomorrow (Friday 22nd July,) and it’s gorgeously chilled, like lounging on a porch-swing with a touch of bourbon, while mizzle rejuvenates the charred grass. It’s the morning-after pill from a heady beach party, yet don’t rush off with the idea Bill has done gone turned into a bossa nova star or anything rash like that!

Thankfully more air-conditioned Santana than gold bikini-clad Shakira, we’re some way even off what Oakenfold might spin at some Balearic archipelago chillout zone, because Broken retains the model Verve-Embrace come new wave mod indie sound of Billy Green’s past tracks, just with a subtle nod to something retrospectively Latino, akin to Morcheeba’s Big Calm, or Screamadelica; something like that. “Think Cafe Del Mar…in Newcastle,” our Geordie frontman Bill pitches it to me, rightfully.

Phone speaker listening never does a song justice, I must break the habit, but it took me seconds to fall in love with this tune, despite lack of amplification. Fond of this, because it works, key is the simplicity against overthinking, at least with such a style, I put to Bill.

“I think so,” he replied, “I had an idea that I wanted to have a two-chord structure, and the emotion would come through the story in the lyrics, I’m not really had any songs with a complete narrative arc, so that was the very loose plan, once I had that we just build the instrumentals around the lyrics and that ebbed and flowed…” And it has itinerant romantic narrative, as tranquil as the sound, working as a cruising solo song, or maxing-relaxing with a loved one… just don’t try the aforementioned gold bikini-clad Shakira look in an accompanying video, Bill, it’s only going to lower the poignant nuance of a superb tune; well done, guys, very summery!

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Film Review: Translations

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Hooch on Streaming

Once a cover band, east Wiltshire’s rootsy four-piece Hooch have moved to writing and recording original material. Their discography goes onto music streaming sites today (Sunday 3rd July,) and if you like your country-rock breezy and uplifting, with a subtle touch of psychedelia and surf, then it’s worthy of your attention…..

The instrumental Eagle Ray is particularly awash with this aforementioned surf-rock style, while all tracks have this sunny-side-of-the-street, retrospective feel about them. Slowburn, for instance, is good time mid-era-Beatles in nature and Voodoo Hair is outright groovy.

Well even if you don’t do the streaming platforms you can get a listen direct from their website.Ten tunes on offer here, enough for an album, guys? An album of ten jumpy, anthemic ballads like Sweet Maria would see us fine, this one in particular is a beguiling peach I could imagine fans chanting back at them after only a few listens.

Live is a bigger part to Hooch, I’m certain you’ll make a beeline for a gig upon hearing these well crafted tunes, they’re at the Seven Stars in Bottlesford Saturday July 16th, tickets are a purple one, I believe this includes a barbecue thrown into the bargin, and a summer mini-fest at the Horseshoe Inn, Mildenhall July 23rd.

Expect “unusual” covers choices, they say, but I’d argue the cited Depeche Mode, Space and The Coral are apt, this upbeat melodic blend from Martyn Appleford, Nesh Thompson, Simon Dryland and Matt Ryan reflects this, with a dash more roots than perhaps, new wave mod, but with a move to electrification enhacing their acoustic roots, they weave perfect pop simplicity into their lyrics, and that’s where it is to pinning an imitatble, memorable style.

If the name derives from the late 19th century abbreviation of Hoochinoo, a North American tribe in Alaska renowned for brewing booze, this is certainly fun time drinking music, but the sound is far more matured than its commonly associated brand of alcopop. Ha, whatever happened to that, do they still sell it? It certainly took the brunt of the blame for underage drinking in the nineties, as if they invented the concept and no kid ever tried alcohol before their ingenious bottle of wobbly lemonade came onto the market!

Sickly sweet though, wasn’t it? Precursor to the Bacardi Breezer and Smirnoff Ice, but try the tune Aluna for size, and you’ll see, though there’s elements of the Kinks at their most comical, or subtle Bonzo Dog Doo-Dah Band at times, it’s a choice for grownups, with no immature persuasion; I love it, and hope they’re encouraged to perform their own tunes live, rather than an all-covers set; the difference between buying spirits and mixing it to your own taste or letting mainstream brewers decide on your sugar levels!

Talk in Code get Illogical

The only person who isn’t going to love this is Mr Spock! Swindon’s Talk in Code released a new single today, Illogical, their first release on Regent Street Records, since signing at the beginning of the year……

Only seconds of a Tangerine Dream fashioned intro elapses before the boys’ flare that uniformed indie-pop at you; the kind they’ve grown into and we’ve come to love them for. Again, Illogical sums up their undeviating style, upbeat and optimistic, each new title shimmeringly fresh and more astute to the “code.”

Built-in euphoric backing consecrates this imitable style; yeah, there’s tinges of eighties pop while retentive of the contemporary knowhow, so to have discovered it on an “Hits Album” of the era would’ve likely caused a seizure of excitement for the listener, and a technical enquiry call from Kraftwerk for the band.

Recorded and produced with Sam Winfield and Tom Millar at Studio 91 (Amber Run, The Amazons, Fickle Friends), the ‘guilty by design’ theme connotes relationship complexity, contradiction and confusion. Yet, as with universal pop formula, their leitmotifs pale by the energetic beat, until the bridge which winds down and highlights subtle narrative. Talk in Code find that perfect balance, which I why I tip them one of the very best on our local circuit. More so, the theme of the song seems to suggest this.

But their strive for wider appeal is deservedly paying off independently amassing 170k streams and over 600 Spotify playlist adds, radio airplay from Amazing Radio and BBC Introducing, and thriving festival appearances.

If you’re expecting covers at their gig, you might be disappointed, but Talk in Code’s beguiling singles are immediately palpable by effect, and will have you thinking you’ve heard them before; “catchy” is a word I try to avoid, but is apt. Illogical is perhaps more danceable then their power-pop previous single, Young Love’s Dream, and more akin to 2020’s Talk Like That. With such an amazing discography gradually building, probably best now to compare Talk in Code singles with Talk in Code singles rather than cite influences. Progression is the only issue here is, each one seems to better the previous and each new one binds this aforementioned uniform style.

“Analysis please, Mr Spock……”

“Given variables, Captain, it would be illogical to find fault with this new Talk in Code single!”    

Showing off the day I made a rubbish roadie on the road with Talk in Code!

Trending….

Song of the Week: Canute’s Plastic Army

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Female of the Species Announce 2023 Date!

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Waiting for Godot @ The Mission Theatre

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Cobalt Fire’s Butterfly

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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Kyla Brox; Throw Away your Blues

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Helen’s Poem on BBC Upload

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Billy Green’s Garden

To deal with my forgetfulness I have a to-do-list. The only issue with my to-do-list is I forget I started it; Billy Green released a new single last month, it’s a poetic stonker of indie-rap, with his usual nod to Britpop, and still it fell through the floodgate. Apologies to Bill, but it’s a convenient time to bring it up, as he gigs at Trowbridge’s Pump next Friday, May 27th, for Sheer Music.…..

What makes it even more exasperating for me, is that I was gossiping about the man himself, with Pip Phillips of People Like Us at Long Street Blues Club, what was it, just last week?! All good things, reminiscent of when they were in the nineties indie band, Still, together. Because Billy Green has a history, and it’s savoured in a nimble and accomplished style of the time; zip your tracksuit jacket up to the chin and hide your swirly pupils under a Kangol bucket cap!

The impression of Still remains a forefront for Bill, who named his 2020 album after the band, and followed it with a preceding collection of lost demos, made with the band mid-nineties. Tales of musical happenings in times of yore, before I landed on planet Devizes, always fascinate me, and I never tire of hearing about the blues bands of an era long past, with good folk like Exchange-owner Ian James. Yet Billy echoes out his antiquity, The Pump gig will incorporate his songs from the Still album, which relish in this bygone fashion, adroitly.

Billy Green @ Still

Surprised I was to note the quasi-rap poetry of this new tune, Garden, but twas a pleasant one. Teetering with his Geordie mockery it holds an ironic slate against the charade of social media embodiment, “people posting inspirational memes in one post, and ruining people in the next,” Bill describes it to me; I know that sentiment, probably a smidgen guilty myself, Bill, you bloody stickler!

Though hints of the everyday rap style of The Streets, it’s wrapped rather in the upbeat jaunty attitude of Blur, awash with Britpop influences of acts like James, for example. But don’t take my word for it, ere, have a listen yourself mate, and you’ll be mad-for-it too; sorted.

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Carsick Pump It!

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King Alfred’s Tower Charity Abseil

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Thirty Years in the Dreadzone

Dreadzone, the Phoenix rising from the ashes of Big Audio Dynamite’s success, when drummer Greg Roberts and keyboardist Dan Donovan teamed with Julian Cope’s…

Daydream Runaways, with Butterflies

Daydream Runaways have released their first single for a while, and it’s got superpowers!

Being a little over four years old, Devizine has grown up with a number of young bands and acts on the local circuit and it’s always nice to hear back from them. I overuse the word “matured” to describe the progression they’ve made since we first met, but it’s not a word I’d use today, as part Swindon-based part Devizes-based indie-pop fourpiece Daydream Runaways, release their first single since their amalgamation EP Dreamlands in November 2020.

Benjamin Heathcote, Nathaniel Heathcote, Cameron Bianchi and Bradley Kinsey promote the new single, Butterflies with images of them head locked into golden age American comics. I spammed the social media post with a selfie of me reading an antique Dandy, one nearly as antique as me!

It’s not the first time the band have used imagery conveying what some might deem nerdy or adolescent pop culture references, from childlike depictions of fairgrounds, cuddly toy mascots etc, and though, in some ways the retrospective nods to the eighties power-pop of a John Hughes soundtrack and youthful themes of unrequited love and romantic obsession might return us to our coming-of-age era, there’s nothing technically in this new song to suggest they’ve matured necessarily, because that air of ripened quality and proficiency in their sound has been there since day-dot.

Akin to Robert Johnson, did they sell their souls to the devil at a crossroads to be, like, automatically this good?! Doubt it, it takes time and dedication, two elements really on show here.

So, I put them on a pedestal and they knock it right over, Butterflies is an absolutely awesome song, I expected nothing less. I’ve called them one of the most underrated bands around these waters, I stick by that. Again, it’s this delicate balance between sounding fresh and replicating a fond era, fused with a sturdy appetite and palpable passion which creates these eternally sublime indie-pop belters, the like I praise Talk in Code, The Dirty Smooth and the Longcoats with too. Ah, it’s like the eighties never ended, just got better, cos, as with their others, perhaps even more so with Butterflies, you could fit these on an eighty’s movie soundtrack, or Now compilation and they’d blend perfectly with the likes of Simple Minds, U2, Echo & the Bunnymen, et al.

I hope you catch my drift, Butterflies certainly is skilfully progressive, the band seem tighter than ever before, the timeless subject of unrequited obsession has been used to full efficiency, and it just works on all levels, but Daydream Runaways always had that in them, ergo it’s not worthy of the term matured. Beguiling via hook-laden layers, building and crashing drums and guitars, it drives with optimistic emotion and screams authority till the point it’s impossible to deem this anything other than anthemic.

It’s also embracingly DIY, sticking with their indie roots, they release Butterflies completely independently. Recording, mixing and mastering was the task of drummer Bradley Kinsey, and the artwork designed by frequent collaborator and friend ‘Ezra Mae Art’.

The band suggest the lonely heart theme, has a twist; the lyrics are written from “the perspective of the titular superhero, Butterfly Boy.” Wanting to write a song fit for a comic book hero, they created their own rather than “going the route of existing meta-humans from the likes of comic giants Marvel & DC.” Maybe I need to align my spidey-senses, or just give it a few more listens to see the connection, but that’s easy to do with a track so invitingly good.

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41 Fords are Not Dead Yet!

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Frankisoul on Fire!

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Gazette & Herald to Buy Out Devizine

In a deal I’ve been trying to clench for a year now, Newsquest, owners of Wiltshire based newspapers, including the Gazette & Herald have taken…

On The Road With Talk in Code!

You know that millennial movie, Almost Famous, set mid-seventies, where Rolling Stone Magazine mistake a nerdy teenager for a music journalist and send him on the road with an outrageous prog-rock band? It was nothing like that. Neither did it resemble 200 Motels, where a man dressed as a vacuum cleaner convinces you Ringo Starr is actually Frank Zappa in some freaky acid flashback. But I did have an awesome adventure yesterday, on the road with local premier indie-pop favs, Talk in Code.…..

There were no campervans with CND slogans painted on the side-door, no sign of Goldie Hawn’s daughter unfortunately, and though my bubbles of anachronistic pre-imaginings burst, it allowed me to chart the regular labour of a touring band, rather than my usual practise of slouching up halfway through a performance with lame excuse. For if I’m going to write on the subject, I need to comprehend the inner workings, and the thoughts of a band going to a gig; even though I’m far from teenage music journalist with an advance from Rolling Stone!

So, by dinnertime I’m lone with guitarist Alastair Sneddon at the steering wheel, hereafter referred to as “Snedds,” with an amp case knocking in the rear of his car, and distracted by my inane waffling, weaving between musical subjects, badly following his sat-nav to Portsmouth.

Likely the eldest of this four-piece band, Snedds is a family man with a wealth of musical experience. He fondly recalls playing in cover bands, jazz and blues groups and our chat swifts across his past, musical influence brushing off on his children, current past gigs and local venues, to the importance, or insignificance of pop culture, the mainstream music industry and current trends of listening to music from streaming platforms to amplification to listening through phone speakers; we could’ve chatted all night on his passionate chosen subject, least it perceived to reduce the travel time.  

Before I knew it, we were awkwardly parked on a busy street in Southsea. Awash with cheesy club type pubs, restaurants, kebab houses and chippies, lies an equally misplaced theatre to our right, and a more traditional looking city tavern, The Lord John Russell, which will be our venue for the evening. Like a true roadie I felt a sense of haughtiness as I assisted lugging equipment through the already bustling pub; make way, yes, I’m with the band, ladies control yourselves!

But nothing felt ostentatious for the band as they amassed their kit in a corner, greeted each other and the promoter; here’s a tight working team despite the geographic distance between them. Talk in Code are part from Swindon, Reading and Devizes, but here they are with an excited air of anticipation brewing. There’s a trio of bands on tonight, Talk in Code are second on, while the first are already sound checking, locally based to Portsmouth, Southerlies are a seven-piece covers band, fusing Americana with punchy hooks into contemporary pop; they proficiently delivered their set with good male-female vocal harmonies, and being local I observe they attracted a fanbase.

Quite eclectic then, to switch to Talk in Code’s more electronica indie-pop, which as I discussed in the car with Snedds, perpetually seemed to fuse conventional nineties indie sound to a more inimitable eighties synth-pop style with every new tune. Yet tricker still was the notion the Talkers insist to play only their originals, which would be unknown to this rather heterogenous crowd. Besides, frontman Chris gets his fill of covers with the Britpop Boys.

Seems Friday live music nights are relatively new-fangled for the Lord John Russell, with a promoter keen to create the venture, the pub also adhered to cater for the pull on it’s street with screens showing sport and archetypical club music between acts. As much as market town pubs like Devizes’ Southgate work here, with a penchant for original live music and solely that, it wouldn’t work in this busy city location judging by the footfall. But a splendid, convivial and dynamic pub it was with a wide demographic.

One thing I was keen to gage from Talk in Code, the priorities and feelings towards playing a gig outside their usual stomping ground as opposed to returning to a venue like Swindon’s Victoria where a fanbase would be welcoming. They stressed the importance of both, and being their recent connection to Regent Street Records, there’s a keenness in the band to grab wider-appeal in anticipation of the forthcoming album. The release of which has been pushed back to accommodate this collaboration.

Still, all the band are united in praising recent local gigs, particularly Trowbridge Town Hall where they supported The Worried Men, and were keen to pick out the importance of the many locally-based festivals they’re booked at, from Minety to Live at Lydiard and IWild in Gloucestershire. And with appearances at places like Oxford’s HMV, things are really looking up for them post-lockdown.

And it’s easy to see why when they bounced on stage last night at the Lord John Russell, after their virtually nail-biting eagerness while the Southerlies launched into their final song, Chris already polishing his guitar and Snedds confessing the waiting game is a pet hate. A technical issue with leads to the backing tracks solved, the band applauded the previous and proficiently executed their thing, introducing themselves and delivering their songs with panache.

For me it was a blessing, being I’m aware of much of their discography, to finally get to witness them do it live, and had to stop to ponder their stage presence is as exhilarating as their recorded work. Yet, my view of the performance differed from the crowd as the band were likely new to them. Still, they got the place jumping, sprightlier, and louder than the previous band. They confessed a spirit of fair competition was unavoidable in them, yet affirmed their ethos to never do their set and bunk, in respect for other bands; Talk in Code come off as outgoing throughout and it was an honour to be welcomed into their web.

Also present, I spent time chatting connections, her background as music journalist and her fanzine making past, with manager Lyndsey. From Milton Keynes she avidly followed the group in their early years, falling in love with their sound it seemed only natural to mutually agree for her to manage. And part-time freelance photographer Helen, whose PolarPix Facebook page is dominated with Talk in Code shots. I put it to her she seems to have another band photographed then a Talk in Code one, then another Talk in Code one, then another random band. She acknowledged most of the other bands were on the same bill as TIC! A true “Talker,” as is their fanbase appellation.

Percival Elliott

A pleasant change from trudging the local circuit, as the finale was a euphoric rock band named Percival Elliott, who, with barefoot frontman on keys, executed a sublime set, the like you’d want Coldplay to achieve. In many ways here was a band apt for our own fond venues such as aforementioned Southgate and Trowbridge Town Hall. Without boast, coming highly recommended by yours truly occasionally has some clout, though there was part of me who, if in control of this triple-bill, would’ve put Talk in Code as the final band, being more upbeat popish.

We give no more review of The Lord John Russell for the sake of it being outside our boundaries, but if you’re Pompy bound this would be an ideal pub to consider, offering a variety of free live music dates on Fridays. Now I’m home, unpacked my Peppa Pig bucket and spade, but while I unfortunately didn’t see the seaside, or Kate Hudson, I was in good company with a band which goes from strength-to-strength.  

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A Gecko in Trowbridge Town Hall

It’s always a warm greeting as you enter Trowbridge Town Hall, even if, like me on this occasion, you’re running late…..

Prior to my arrival I digested the fact I’d likely forgone the supposed support act, Gavin Osborn, but was dammed if I’d miss Gecko, as since reviewing his sublime second album Climbing Frame back in October 2020, I’ve been aching with the understandable desire to see him pull it off live.

Mellowed piano song oozed from the humble hall ahead, oh no, I figured, Gecko has already begun. Such it is that Gavin recently resigned event coordination at the hall to the capable hands of then sound engineer, Kieran Moore, I assumed he was billed as a kind of farewell to his previous position, unmindful I’d emerge from the Hall a Gavin Osborn fan too. Even by the evening’s culmination I was also dubious of suggestions the two were collaborative, or if it was just banter between them.

But it seems a tag-touring-team is a reality, and given I’d mistaken Gavin for Gecko in the vestibule, who could be more apt to work with for the reptilian-named poet-esque singer? For luckily, Gavin was still on the subtle stage, virtually stripped bare of instrumentation save a banjo, microphone, music stand and randomly placed hardback chair.

Yet a guy looking remarkably like photos I’d used of Gecko accompanied him on a piano, tucked away by a side door. After the song I’d made my stealth entrance to was over, the pianist sat behind me. Uncertain glances behind affirmed, if there was a gecko in the room it was undeniably him, giggling at Gavin’s witty prose. I suppose this, coupled with their styles so similar I mistook the pair, should’ve been damming evidence this was more than a headliner and support act thrown in for sentiment, but what can I defend myself with, naivety caused by surviving on powernaps?!

In this, is the delight of the communal venue too. If there’s a stage green room it’s unused every time I visit; awaiting performers merge into the audience. This is no venue for egotistical celebs, and with barely raised stage and modest lighting, it’s a non-gimmick venue which bases solely on performance rather than dazzling affects. Professionalism and proficiency given, if you can hold an audience spellbound with such minimal affects and props.

Both did with bells on, and while I suspected the case with Gecko, Gavin was the surprise element. Akin to Gecko, Gavin is more storyteller than singer, though splices of prominent points were executed through great folky vocals, and highly amusing prose. Unlike Gecko, Gavin’s baseplate is folk, who through exceptionally crafted verse reminded me of the sentimentality of our own folk hero, Jamie R Hawkins.

Perhaps more akin to Beans on Toast, lacking Ozzie tinge, through observational narratives he weaved through subjects with spellbinding accuracy, hinging on familiarisation; I identified with many, particularly the amusing banjo led ditty of an aged fellow sneaking out to gigs while his wife seemed blissfully unaware in her slumber! But with heart-melting twists, Gavin wraps them up amusingly, either echoing retrospective contemplation or hinting at his political stance.

Time for Gecko’s opening song; could be anything less than the hilarious start of his album, Can’t Know all the Songs, which counteracts those who shout requests. Virtually unplugged he executed highlights of the album acoustically, and gave us unheard of tunes too, passing off his lack of backing as witty repartee. Such as pausing the song to switch from singing to kazoo during an amusing and uplifting tale of the Tamworth Two pigs, Butch and Sundance, who escaped their fate at a Malmsbury abattoir in 1998.

On this note it’s appropriate to highlight the major reason Gecko is so utterly entertaining, for not through particular quality of musician, though he is a natural, rather his choice of content and subject is so original, and his method of metaphorically weaving it into a more general point. Who writes a song from the POV of escaping pigs, or a dog sent into space? But better still, who can bend such narrative into a point you identify with? It’s Jonathan Livingston Seagull, in song.

It’s a classic formula attributed to authors rather than songwriters, and Gecko reigns as either, acting with pseudo-confidence, encouraging audience participation to save him hiring a gospel choir, planning out a cliché encore by hiding behind the piano, even submitting profit margin differences between buying his CD here and streaming his music.

I think I put too much emphasis on hip hop in my album review, as his rap-fashion tendency contradicts his indie-pop overall, making it his unique style, part nerdy, part too cool for skool, but through stripped back live performance it is clear his devotion is with the latter, indie-pop acoustic goodness. A fashion with ageless attraction. But whatever pigeonhole you opt for, it’s undeniably entertaining.

If I’ve an only criticism the show was too short, the comeback is both Gavin and Gecko can suck you into their stories so time passes unnoticed, coupled with my late arrival of which I’ve only myself to blame!

Another wonderful evening at Trowbridge Town Hall, building a reputation for introducing a variety of interesting and upcoming acts, affordably; you need to be putting future dates in your diary.

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An Amazing Devizes Concert for Opendoors

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Three Crowns and Some People, Like Us

Red level weather warning, they said, only make essential journeys they said, but fail to define the terms of what is essential. Is helping an elderly relative essential, getting to work, or a doctor’s appointment? What about People Like Us playing the Three Crowns, Devizes?!

To those hunting original live music, perhaps not, for this local trio covers is their game, fully aware what will rouse a standard pub crowd, and they do precisely this with such uniqueness and deliver it with such passion, for everyone else it is, totally essential!

To catch Nicky, back on two legs after an injury which I might add, failed to prevent her performing, and behind that faithful scarlet keyboard, Dean at the strings, switching lead to bass guitars, and now skinheaded Pip, (shaved his head fundraising for our Carmela, but seems to like it,) who, even not best postured for delivering vocals, slouched over a cajon, still somehow manages to professionaly grace the moment, is, in the words of the great Yogi Bear, smarter than the average pub covers group.

Putting a finger on why opens a Pandora’s Box, aforementioned drive, skill and professionalism evident in many a covers band. Still, People Like Us submits all these qualities as if a sponge cake, then they add icing. Observing the demographic of the crowd at the Three Crowns holds a clue, every landlord desires a cross section of punter and the repertoire of this trio truly caters for them all.

Short notes I make to jog my gradually degrading memory mystify me this morning, as one simply read, “new song” adding my daughter’s name; she knows it! Silly to have thought it useful at the time, but relevant to my point. Expect a few contemporary among their plethora of pop hits, but an also era-spanning setlist to leave you guessing.

Yep, walked in to an Oasis cover, Adele’s Rolling in the Deep, Snow Patrol’s Chasing Cars, and The Stereophonics’ Dakota particularly adroitly enacted modern indie tearjerkers followed, with eighties electronica power pop such as Together in Electric Dreams, or even The Police’s Every Little Thing She Does is Magic, blended with this balanced collection. Yet with similar dedication Metallica’s Nothing Else Matters got the breathtaking PLus makeover.

Yet I believe, for People Like Us, no decade within the crowd’s indivdual most cherished era is as off the cards as genres are. They will take you back to the seventies with ELO, Fleetwood Mac, even a possible Abba(?!) covers, and with similar assertion slip in nineties britpop and indie anthems too. Tonight saw plenty of this, wonderful was Take Your Mama, by the Scissor Sisters, but particularly captivating was their rendition of the Cranberries’ Zombie, with perhaps a little too “lite” on riotous version of the Kaiser Chiefs’ classic, but Nicky wowed with authority upon covering Alanis Morissette’s You Oughta Know.

Bottom line is, it makes zero odds what the tune they’re covering is pigeonholed as, they add their stamp, and with banter between songs often verging on near tiffs, they represent reality, comfortable being what’s written on their tin; people, just like us.

Zero multiplied by anything is zero, and that should be a landlord’s percentage of doubt in considering booking this trio, if they wish their punters to return home satisfied they had a fantastic night, for that’s precisely how I’m certain the crowd at the Three Crowns last night feel this morning, perhaps with a shadowing hangover!

Talk in Code; Young Loves Dreamers

Set to release their new single ‘Young Loves Dream’ on Friday 11th February across all digital platforms, Talk in Code are rinsing their inimitable and uniformed sound with anthemic pop goodness; it’s to be expected……

Coincidently, three years and one day ago Devizine reviewed this Swindon indie-pop four-piece’s album, Resolve, with the retrospective angle of eighties power-pop rock, yet subtle nods to indie shifts through the heady nineties. Though as the band progress through four further singles we’ve seen the latter dwindle and this take on a classic eighties sound coming through more and more.

Though Talk in Code is no tribute, this is progressive, refreshingly contemporary and exclusively perfected, a hi-fidelity ambience where instruments simply meld as flawlessly as those eighties’ gods of pop. An era of one-hit-wonders, accepted, but those who succeeded beyond this point did so by creating a defining sound, so no youth would confuse their Spandau Ballet with their Human League, and this is precisely where Talk in Code now stand; nowadays we compare their singles with their previous singles rather than cite influences, because their uniqueness is peerless.  

The reason why, I consider, the band strive with matchless momentum on the local circuit, having headlined three of Wiltshire’s largest music events last year, the big named bookings of pop-fused Mfor at Lydiard Park, the memorable rock for cancer Concert At The Kings and Swindon’s homegrown talent showcase, the Shuffle. Also, it is why Talk in Code have shared billings with Scouting For Girls, Sophie Ellis-Bextor, Craig David, SAS Band, 10cc and Lindisfarne, why devotees are dubbed “talkers” and they’ve accumulated 180,000 Spotify streams, or added to over 700 Spotify playlists.

So, this new single, ‘Young Loves Dream’ is of no exception, it gloriously follows the formula, which is, as suggested, key to their brilliance. It booms straight in, breaks when it needs to and reaches an undefinable bridge, flowing nicely with steady BPMs, and a bright, uplifting vibe. As suggested by the title, it’s romantically themed, exploring the hopefulness of youth; an ode to the potentials of initial infatuation, prior to the twists and turns life throws at you. In that, the mood of the enriching instrumentation reflects the vocals sublimely, and will have you pondering that butterfly moment of early romance, you know the kind of emotion which will make you hug the pillow in their absence, as their scent lingers, or, oh, was that just me?!

Anyway, where was I? Oh yeah, all the previous singles we’ve fondly reviewed can be found on this here Spotify link, and with this progressive new track, will make up part of ‘The Big Screen,’ Talk in Code’s second album, due on Friday 15th April, playing the launch at Swindon’s Level 3, Swindon, on Saturday April 16th 2022.

Just prior, I’m hopeful we can set up an interview with Chris and the band, one crucial question will be what’s in a name, as Talk in Code’s style is never cryptic, you need not untangle painstaking poetic wordplay, it is good, honest pop kept simple, and they do it so well it’s mainstream in the making. Love’s Young Dream takes this pattern and truly celebrates it, projecting positive evolution for this radical band.

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Paul Lappin & The Keylines Live at Pink Moon Studios

If you need a breather from the perpetual cycle of cliche Christmas song mush, do yourself a favour; Paul Lappin & The Keylines released a live EP last week, it’s as “name your price” on Bandcamp, and I’ll wager my Christmas stocking and all of its contents, you’ll eternally thank me for the advice.….

On the 12th November 2021 Paul Lappin & The Keylines invited a few close friends and family to Pink Music Studios in France for a chilled evening of wine, food and live music. This EP is a recording of five of the songs performed during that session. For a tenacious link to our ambiguous local rule, note while now residing in France, Paul is originally from Swindon.

Back in October 2020 we fondly reviewed his studio album The Boy Who Wants to Fly, celebrating its vibrant Britpop rock, immersed in some astute and genius song writing prose. And in turn, we were allowed to use the outstanding single Broken Record for our Julia’s House charity compilation. For which, you might suggest, I’m duty bound to sing the praises of everyone who contributed, to which I’d reply, yeah, only partly but unnecessary, just shut up and listen to this; Live at Pink Moon Studios is utterly gorgeous.

If Broken Record packs a punch, and The Boy Who Wants to Fly meanders between forthright rock and tenderer acoustics, this little piece of wonderful revels in the latter. So much so, it smooths out of the restrictions of a label like Britpop, though subtle shards of it remain, and is comparable to acoustic folk rock from way beyond the subgenre, say, as steady and emotive as Nick Drake.

In the past I’ve made comparison to our own song-writing local legend Jamie R Hawkins, in their shared ability to twist a narrative so deeply into sentiment, tears will well; this EP comes closer to my point than I’ve ever heard from Paul. It’s so wonderfully placed subjects, wistfully glides your mind away, on the journey with Paul, like all good acoustic should.

The first two tunes, After the Rain, and Lying Awake in the Dark both come unplugged versions from The Boy Who Wants to Fly, Slow and Steady featured on his 2018 album, Move On, and I’m uncertain of the last two, Seeds of Doubt and Set in Stone, perhaps they’re new, or exclusive to this EP. I’m far from all out intending to research their origin, as it’s just to easy to be set adrift on the songs, relishing in the moment.

Morish simplicity, man and guitar composition you’ll crave it never ends, and I can honestly say, I don’t think I’ve hit the replay button with such haste before! Paul is at his dreamiest, fluffiest and virtually subterranean in his deliverance of these masterpieces.

Subjects not so unusual but handled with the proficiency to wow, of lost or found love, picking up with a bongo drumbeat and wailing electric backing guitar at track three, Slow and Steady, with a chorus dripping of anthemic Britpop, of Oasis or Verve in their prime, yet maintaining that spellbinding acoustic goodness.

And for the last two tunes of mysterious origins, are perhaps my favourites, Seeds of Doubt, is a self-analysis theme, mind-bogglingly passionate, and the parable soulful finale, Set in Stone, as is with a live album, there’s a wholesome rawness about it, echoing honesty and scrupulousness throughout, you feel like you’re a guest into a secret meeting, you feel a part of it, and that, is simply, beautiful.

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Song of the Week: Atari Pilot

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…

Running with a Timid Deer

An absolutely spellbinding new electronica jazz-blues single out this week, of which I’d expect nothing less from what I believe to be one of Wiltshire’s most underrated bands, Salisbury’s Timid Deer, and produced by the brilliant Jason Allen.

With a grand piano opening, their evocative part-indie-part-trip hop ambience is accomplished to a new standard here, with Naomi Henstridge’s both soothing yet haunting vocals embracing howling strings and, wow, this rolling piano. It’s reflective of nineties nu-cool, the brilliance of Morcheeba or Portishead, yet without so much inspired of acid jazz or trip hop to make it cliché, rather it’s owning this refreshing edge to appeal to the more guitar-laced indie fans, too.

Run, their first single since February’s Crossed Wires, and they never cease to amaze me. This is cooler than the climate outside, just beautiful. “Here’s something we’ve been working on for what feels like an age,” Timid Deer say, finishing by saying they’re aiming for a new EP early in New Year, and for some Salisbury gigs, but I say no, please gig organisers, let’s get these guys aiming much further afield too; we need to see you in Devizes (Deborah Bufton Barnett, Ian Hopkins and Phil Moakes, I’m talking to you, make my Christmas wish come true!) Trowbridge, (Mr Moore) too!

And yes, Find Timid Deer with 45 other amazing artists on our 4 Julia’s House Compilation by clicking here!

Trending….

Trouble at the Vic, Ant Trouble….

Something of a family reunion at Swindon’s Vic last night, then, if as Adam Ant chanted, we are the family, the dandy highwayman so sick…

Song of the Week: Ajay Srivastav

New one on me, Bracknell-based Graham Steel Music Company being my gateway to this astounding London rootsy acoustic soloist, and I’m impressed. With the subtle…

Swan Dies in Road Accident at The Crammer

A swan from the Crammer hit on the road between Morrison’s roundabout and the traffic lights this morning, has died…. In territorial disputes, the wildfowl…

Survival of the Friendliest with Beans on Toast

Another year, another birthday for Jay McAllister, aptly codenamed Beans on Toast. Staying true to his birthday tradition, he’s opened a new tin, and this one has little sausages of optimism in it.…..

Aptly named, because I like Beans on Toast, as much as I like beans on toast, and I really like beans on toast, for the tastiness in its simplicity. There’s a poignant message here, without overthinking. Nothing on Survival of the Friendliest, his new album released this Wednesday via Bot Music, is indulged with riddles and cryptic clues, the motives are clear and precise.

Just as the title of last year’s album, Knee Deep in Nostalgia, summed up the running theme of parenthood and reminiscing on your own youth, so does this abridge. Survival of the Friendliest is Three Little Birds, or Don’t Worry, Be Happy throughout; in the face of depressing times, the simple but effective prose is not to let problems get you down. The result is indie-folk goodness, with sunny side of the street vibes. Beans on Toast presents a charming premise, and executes it perfectly, leaving you uplifted and smiling no matter what the weather might throw at you.

Beans on Toast

The boundless negativity of social media, political grandstanding, scandal and undesirable news are mentioned, but tossed aside in favour of eternal hope and optimism, peace and possibilities. It’s filled with environmental references, trees, stones on a beach, endangered species, yet advocates the notion the planet is naturally rejuvenating, and man’s effect can be reversed by the will of human kindness.

Taking its title from Humankind by modern thinker, Rutger Bregman, the book’s positive philosophies play a pivotal influence in shaping the course of the record. If this Always Look on the Bright Side of Life thought might be this long-established protest singer changing his tune, it suits. The Commons the only exception to the rule, even this track has cheery and carefree undercurrents, through the banjo riff. Written earlier in the year, with old friends Blaine Harrison and Jack Flanagan of the Mystery Jets, Survival of the Friendliest is the wonderful and entertaining ride I’d expect from Beans.

Delightfully carefree, the opening song, A Beautiful Place sums the premise as well as the album title, Stones is simply stunning, and the conservation theme runs until Tree of the Year. Not Everyone Thinks We’re Doomed projects the aforementioned faithful sanguinity, so, so cleverly it’ll give you goosebumps.

Even the album’s love song advocates the allure of marriage, as he charmingly chaunts “Let’s Get Married Again.” Garnished in sentiment perhaps, but there’s reality driven into his words, “It’s something we’re now going to do” Jay grinned. This is honest song writing, delivered with cheeriness, buoyancy and effervescence, but more importantly it rubs off, leaving you in high spirits; musical Prozac!

Get the album HERE

Trending…..

Song of the Week: Sienna Wileman

Okay, I admit it, our Song of the Day feature was too optimistic, and failing every day to post a tune meant it fell by…

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…

Old Wharf Café to Become Meeting Room

The Kennet & Avon Trust today revealed plans to convert the old café on Devizes Wharf, Couch Lane, into a meeting facility; how exciting! It…

Sheer Music to Host Frank Turner and the Sleeping Souls UK Tour at Bath Forum

Featured Image by Clair McAllister

Little doubt Frank Turner is the top of his game, the prolific indie-rocker’s ninth studio album, “FTHC” is highly anticipated….

The previously released lead single, “The Gathering” only gives a small insight into the new direction of the record. Though Frank is not only able to feature guest appearances from Muse, Nine Inch Nails, Biffy Clyro and more, the supporting tour allows him to cherry-pick venues and promoters.

Frank will be doing a unique tour playing all thirty-nine English historic counties, plus nine districts of Scotland, eight counties in Wales, six in N. Ireland and a further eight counties in Ireland. The ambition is to reach all of his fans with his new record and play where most artists will not go.

Sheer Music is the obvious choice for the west country, and promoter, Kieran J Moore is delighted to have been asked. Frank has chosen The Forum in Bath for his Somerset date, which will be Friday 18th February 2022.

The beautiful art-deco Forum gave Frank one of his last shows from his previous album tour, just prior to lockdown. The venue remains a firm favourite with artists and fans alike. It will be Sheer’s first show at the historic venue, Mr Moore says, “it’s an opportunity we’re truly honoured and excited about being given!”

Image: Clair McAllister

Given the nature of the show and the current climate, (it’s as if no one was allowed out for a year or more!) tickets will be snatched quickly, so a heads up for Turner fans, that tickets will be available in the following structure;

Album Pre Order for Pre-Sale: Tuesday, 21 September @ 5PM BST

Album Order Pre-Sale: Wednesday, 22 September @ 12PM BST – Friday, 24 September @ 12PM BST

Promoter Pre-Sale: Thursday, 23 September @ 12PM BST

General On Sale: Friday, 24 September @ 12PM BST

WIN 2 TICKETS HERE

Trending…..

Delicate, Like A Psychedelicat

What is a psychedelicat, a tin of magic mushroom flavoured Felix?! His picture on the tin certainly displays some suspiciously dilated pupils, but this exaggeration…

The Bradford Roots Music Festival Returns

I know, it’s hardly festival weather, but this one is all inside! Inside the glorious Wiltshire Music Centre in Bradford-on-Avon that is, on Saturday 21st…

Scott Lavene’s Milk City Sweethearts

We’ve had a spate of comical albums coming in for review, what with Death of Guitar Pop, Mr B the Gentleman Rhymer and now this, which is by far the darkest, consequently most poignant. Songwriter and raconteur Scott Lavene returns this Friday (17th September) with Milk City Sweethearts, an album of new material…..

There’s intelligent and thought-provoking arch-beat poetry chatted here, an amphetamine-induced self-evaluation of an ordinary Essex boy, delivered passionately with a witty edge you cannot ignore. Something of an oddity at times, random prose seemingly slotted erratically fall into place with a running theme of this hopeless romantic, as the album progresses.

Behind a variation of backbeats, often being post-punk, as is Scott’s roots, yet fluctuating through new romantic electronica and eighties mod revival, are honest and blunt chronicles of love, loss, coming of age, in effect making for a memorable kind of album, border-crossing Ian Dury with Sleaford Mods; a Mike Skinner of The Streets in the Bowie or Jam era, or a psychedelic Gecko.

Humbly wry, the observations of his imprudent past come back to haunt him, as he retells heartfelt autobiography. The Ballad of Lynsey being the particularly touching example, telling of a potential everlasting love, but lasting only year due to differences, with the revealing chorus, “I choose amphetamines over you.”  

If I’ve made this sound despondent and somewhat depressing, while yeah there is that, Scott’s witty charisma teeters atop at even the gloomiest synopsises with clever wordplay and metaphors. And besides, not every track is quite so melancholic. In fact, it begins very much with the aforementioned mod revival style. Upbeat opening tune, Nigel, is especially comical, expressing the strangeness of individual’s choice of “kicks.” Likewise, The First-Time reels off an amusing list of first experiences with the annotation, “one day there’ll be a last.” It’s all very Essex lad Talking Heads, Phil Daniels chatting on Blur’s Parklife, etc.

Art-pop carries over when the mod revival moves over for a new wave electronica feel as the album progresses, by the third tune, The Earth Don’t Spin, it’s very much more Stephan Tintin Duffy than Weller. For all the credentials and comparisons mentioned, there’s no cliché, everything here is uniquely composed and written originally, and Milk City Sweethearts isa listener, not the sort of long-player you can pause and pick up again, you’ll be impelled to digest it one sitting.

A master storyteller astutely aware of when and how to evoke the correct emotions, and find unusual thoughts to everyday scenarios. The farewell to deceased finale, Say Hello to Zeus, is as Bowie, simply inimitable and inducing. Whereas halfway through gives us the laugh-out-loud Walk Away is Essex humour at its very best.

Closest you’ll get to see him to here is Bath’s Komedia on the 12th December, for now this masterful album, out via Nothing Fancy Records, is interesting, to say the least, an essential item for enthusiasts of the quirky and unusual, making the world seem that much smaller, and amusing, for lonely hearts.

I’m quite happy, thank you, but loved it nonetheless, cos it ain’t always been that way. And that’s it, right there, I figure it’s not only my association Scott is from my motherland, but there’s something I think anyone with a heart will identify with here, and that’s something really rather special.

WIN 2 tickets HERE

Trending……

Full-Tone Festival Announce 2023 Line-up

The Full-Tone Orchestra have released details of the 2023 line-up for their annual extravaganza, The Full-Tone Festival on Devizes Green, August bank holiday. It’s all…

Ten Top Tips for Driving in Devizes

Having trouble driving in Devizes? We’re not surprised, it’s got the infrastructure designed by a six-year-old given some Lego road plates. There are rules, on…

Devizine Review of 2022!

Featured Image by Simon Folkard Photography Happy New Year from Wiltshire’s wackiest what’s-on website. It’s that time again when I waffle on endlessly in hope…

Longcoats Get Dancing

Opps, near-on delayed a month due to the amount of work involved with promoting our Julia’s House album, other stuff going on, and generally slacking off in my garden with my belly hanging over my khaki shorts, I’ve a backlist of music to tell you about, hopefully, before you visualise me slacking off in the garden with my belly hanging over my khaki shorts.

To begin, Bath’s indie-pop favs, Longcoats have an official new bassist, Will Vickery. The band claim he was “a stray man we found on the street and august-rush style he could just hear the music and play it.” Proof in the pudding, I’ll double-bet ya you’ll going to love their new belter, “Get Dancing,” which is, incidentally just what we all need right now.

Will Vickery

Probably why it’s blossoming attention and airtime from the likes of BBC Bristol, Target, Soho Radio, Sheppey FM, New York’s New Visions Radio Network, and even Australia’s Valley FM, and seeing them bookings at Moles, Brighton’s Pipeline, and supporting The Rift at Swindon’s Rolleston.

Just as Pretty in Pink did, which incidentally Longcoats kindly donated to our aforementioned and plugged charity fundraising compilation, (which I’m not going to shut up about until you buy it) Get Dancing is symbolic of the band’s ability to compose such a beguiling and catchy riff it feels like it’s always been in your life after just one listen.

It’s lively, carefree, resides bopping over hopeless romantically conversing, as it says on the tin, encouraging to dance in both sound and theme. And with that, I should take heed, stop writing how great it is and just add the Spotify link so you can hear it for yourself and I can revert back to the building mountain of new music I’ve yet to explore. But rest assured, this one is a keeper, and perhaps true to the word; I should get dancing if I’m ever going to work off this belly hanging over my khaki shorts!

OUT NOW! Various Artists 4 Julia’s House

As a nipper I’d spend days, entire school holidays, making mixtapes as if I worked for Now, That’s What I Call Music! In the era before hi-fi, I’d sit holding a microphone to the radio’s speaker, adventurously attempting to anticipate when Tony Blackburn was going to talk over the tune, and just when In the Air Tonight peaked with Phil’s crashing drums, my dad would shout up the stairs that my tea was ready; eternally caught on tape, at least until my Walkman screwed up the cassette.

Crude to look back, even when I advanced to tape-to-tape, I discovered if I pressed the pause button very slowly on the recording cassette deck, it would slide into the next song, and with a second of grinding squeal Howard Jones glided into Yazoo!! Always the DJ, just never with the tech! Rest assured; this doesn’t happen on this, our Various Artists compilation album, 4 Julia’s House. And oh, have I got some news about that?!

Huh? Yes, I have, and here it is….  

We did it! Thanks once again to all our fabulous contributing artists, our third instalment of detailed sleeve notes will follow shortly, but for now, I couldn’t wait another day, therefore, I’ve released it half a day early, this afternoon!

Buy it here!

Now all that needs to happen is to get promoting it, and you can help by sharing news of this on your social media pages, thank you. Bloggers and media please get in touch, and help me raise some funds for Julia’s House.

I’ve embedded a player, in which you should be able to get a full try before you buy, I believe you get three listens before it’ll default and tell you to buy it. I hope you enjoy, it has been a mission and half, but one I’d gladly do again.

Please note: there are many artists giving it, “oh no, I was going to send you a track!” Fear not, there is still time, as I’ll causally start collecting tunes for a volume 2, and when the time is ready and we have enough songs, we will do it. It might be for another charity, I’d personally like to do another raising funds for The Devizes & District Opportunity Centre, but that’s unconfirmed as of yet.

You know, sometimes I think I could raise more money with less effort by trekking down through the Market Place in a bath of cold baked beans, but I wanted to bring you a treasured item comprising of so many great artists we’ve featured, or will be featuring in the near future on Devizine. Never before has all these artists been on one huge album like this, and look, even if you don’t care for a particular tune, there’s 46 of them, check my maths as I pride myself on being exceptionally rubbish at it, but I make that 22p a track, and all for such a worthy cause!

Track listing details part 1
Track listing details part2
Click for info on Julia’s House

“We are so grateful to Devizine and all of the local artists who are taking part in the charity album to raise funds for Julia’s House. We don’t receive any government funding for the care we give to families in Wiltshire, so the support we receive from our local community is so important.”

Claudia Hickin, Community Fundraiser at Julia’s House

Devizine Proudly Presents Various Artists 4 Julia’s House; Here’s the Track Listing!

Sleeve Notes for our Album 4 Julia’s House

Here it is, the moment you’ve all been waiting for, I hope! The track listing and details of all our wonderful songs presented on our forthcoming album, Various Artists 4 Julia’s House. Read on in awe….

Pre-order album on Bandcamp here!

Released: 29th June 2021

1. Pete Lamb & Cliff Hall – Julie

2. King Dukes – Dying Man

3. Erin Bardwell – (Like the Reflection on) The Liffey view

4. Timid Deer – The Shallows

5. Duck n Cuvver – Henge of Stone

6. Strange Folk – Glitter

7. Strange Tales – Entropy

8. Paul Lappin – Broken Record

9. Billy Green 3 – I Should be Moved

10. Jon Veale – Flick the Switch

11. Wilding – Falling Dream

12. Barrelhouse – Mainline Voodoo

13. Richard Davis & The Dissidents – Higher Station

14. Tom Harris – Ebb & Flow

15. Will Lawton – Evanescence

16. Jamie Williams & The Roots Collective – Dreams Can Come True

17. Kirsty Clinch – Stay With Us

18. Richard Wileman – Pilot

19. Nigel G. Lowndes – Who?

20. Kier Cronin – Crying

21. Sam Bishop – Wild Heart (Live Acoustic)

22. Mr Love & Justice – The Other Side of Here

23. Barmy Park – Oakfield Road

24. The Truzzy Boys – Summer Time

25. Daydream Runaways – Light the Spark

26. Talk in Code – Talk Like That

27. Longcoats – Pretty in Pink

28. Atari Pilot – When We Were Children

29. Andy J Williams – Post Nup

30. The Dirty Smooth – Seed to the Spark

31. SexJazz – Metallic Blue

32. Ruzz Guitar Blues Revue – Hammer Down

33. The Boot Hill All Stars – Monkey in the Hold

34. Mr Tea & The Minions – Mutiny

35. Cosmic Shuffling – Night in Palermo

36. Boom Boom Bang Bang – Blondie & Ska

37. The Birth of Bonoyster – The Way I Like to Be

38. The Oyster – No Love No Law

39. The Two Man Travelling Medicine Show – Ghosts

40. Julie Meikle and Mel Reeves – This Time

41. Cutsmith – Osorio

42. The Tremor Tones – Don’t Darken my Door

43. Big Ship Alliance – All in this Thing Together

44. Neonian – Bubblejet

45. First Born Losers – Ground Loop

I’ll tell you what though, kids. This has been a lot more work than I originally anticipated! Yeah, I figured, just collect some tunes, let the artists do all the hard work and take the credit! But no, mate, wasn’t like that at all. The most important part for me, is ensuring the artists are properly thanked, so, just like those Now, That’s What I Call Music albums, I wanted to write up a full track listing with sleeve notes and links. Please support the artists you like on the album by checking them out, following and liking on social media and buying their music.

But to list all 45 tunes in one article will blow the attention span of the most avid reader, and if, like me, you’ve the attention span of a goldfish, find below the first twenty, and then the next 25 will follow as soon as my writer’s cramp ceases! Just putting them onto the bag was tedious enough, but worth the effort.

To all the artists below, message me if links are incorrect or broken, or if there’s any changes to the details you’d like me to edit, thanks, you blooming superstars.

1- Pete Lamb & Cliff Hall – Julie

Not so much that Julie is similar to Julia, there could be no song more apt to start the album. Something of a local musical legend is Pete Lamb, owner of The Music Workshop, producing and recording local, national and international artists. His career in music stretches back to the sixties, creating such groups as The Colette Cassin Quintet and Pete Lamb’s Heartbeats. Yet it is also his aid to local music which makes him a prominent figure, Kieran J Moore tells how Pete lent him equipment for the first Sheer Music gigs.

Pete Lamb

A wonderful rock n roll ballad with a poignant backstory, Julie was written in remembrance of Pete’s daughter who passed away in 2004 to Non-Hodgkin’s Lymphoma. It was featured on an album for the charity Hope for Tomorrow. The song also features Cliff Hall, keyboardist with the Shadows for many years, playing piano and strings.

Cliff Hall

2 – The King Dukes – Dying Man

Formed in Bristol in April 2019, a merger of a variety of local bands, including Crippled Black Phoenix, Screamin’ Miss Jackson and the John E. Vistic Experience, The King Dukes combine said talent and experience to create a unique, authentic sound, dipped in a heritage reuniting contemporary slices of British RnB with a dollop of Memphis soul.

Dying Man is a prime example, taken from the album Numb Tongues which we fondly reviewed back in the October of 2019. The brilliance of which hasn’t waned for me yet, and isn’t likely to.

The King Dukes

3- Erin Bardwell – (Like the Reflection on) The Liffey

One cannot chat about reggae in Swindon without Erin’s name popping up. Keyboardist in the former ska-revival band, The Skanxters during the nineties, Erin now operates under various guises; the rock steady outfit Erin Bardwell Collective chiefly, experimental dub project Subject A with Dean Sartain, and The Man on the Bridge with ex-Hotknives Dave Clifton, to name but a few.

(Like the Reflection on) The Liffey is an eloquently emotive tune, staunch to the ethos of reggae, yet profoundly unique to appeal further. It is taken from the album Interval, one of two solo ventures for Erin during lockdown.

Erin Bardwell

4 – Timid Deer – The Shallows

My new favourite thing, after noting Timid Deer supported the Lost Trades debut gig at Trowbridge’s Pump. Though self-labelled indie, I was surprised how electronica they are, with a nod to the ninety’s downtempo scene of bands like Morcheeba and Portishead, hold the trip hop element. This Salisbury five-piece consisting of vocalist Naomi Henstridge, keyboardist Tim Milne, Tom Laws on double bass, guitarist Matt Jackson and drummers Chris and Jason Allen have created such an uplifting euphoric sound, hairs stand tall on the back of your neck.   

Taken from the 2019 album Melodies for the Nocturnal Pt. 1, I’m so pleased to present this.

Naomi Henstridge

5- Duck n Cuvver – Henge of Stone

Yes, enthralled to have the song frontman Robert Hardie of Duck n Cuvver refers to as “his baby.” This is Salisbury Celtic roots rock band so aching to film part of their video for Henge of Stone inside Stonehenge, they’ve campaigned for the funds to do it, ending with Rab breaking into the monument to promote the campaign!

With references to the importance of solstice and the pilgrimage to Stonehenge, what other song could be so locally linked?

Duck & Curver

6 – Strange Folk – Glitter

A dark west country folk band in the realm of a beatnik time of yore, with a serious slice of gothic too, Strange Folk came to my attention playing the Vinyl Realm stage at the Devizes Street Festival. Hailing from Hertfordshire, band members also now reside in Somerset, Strange Folk is comprised of four songwriters; vocalist Annalise Spurr, guitarist David Setterfield, Ian Prangnell on bass and backing vocals, and drummer Steve Birkett. Glitter features cello by Helen Robertson, and is a name-your-price gift to fans during lockdown, a wonderful teaser which if you like, and I can’t see why you wouldn’t, you should try the 2014 mini-album Hollow, part one.

Strange Folk

7 – Strange Tales – Entropy

With singer Sally Dobson on the Wiltshire acoustic circuit and the synth/drum programming of Paul Sloots, who resides in West Sussex, catching this duo, Strange Tales live would be a rare opportunity not to be missed. Though their brilliance in melodic, bass and synth-driven goth-punk is captured in the 2018 album Unknown to Science, in which our track Entropy is taken.

Their songs relate baroque cautionary tales drawn from the murkier corners of the human psyche, while retaining a pop sensibility and stripped-down, punk-rock approach. Fans of the darker side of eighties electronica, of Joy Division and Depeche Mode will love this. You can buy this album at Vinyl Realm in Devizes.

Strange Tales; Paul Sloots & Sally Dobson

8- Paul Lappin – Broken Record

Imagine George Harrison present on the Britpop scene, and you’re somewhere lost in Lappin’s world. Paul hails from Swindon originally, but resides mostly in the Occitanie region of the south of France, where he wrote and recorded the mind-blowingly brilliant album The Boy Who Wants to Fly, released in October 2020. Our chosen track, Broken Record was a single just prior, in August, and features Lee Alder – bass guitar, electric guitar, Robert Brian – drums, Jon Buckett – Hammond organ, electric guitar, Paul Lappin – vocals, synths, Lee Moulding – percussion, Harki Popli – table.

Music & lyrics by Paul Lappin ©2020. Recorded at Earthworm Recording Studio, Swindon. Produced & Mixed by Jon Buckett. Mastered by Pete Maher.

Paul Lappin

9- Billy Green 3 – I Should be Moved

Now Devizes-based, Bill Green was a genuine Geordie Britpop article, co-creating the local band Still during those heady nineties. Today his band on the circuit, Billy Green 3 consists also of Harvey Schorah and Neil Hopkins, who’s talents can be witnessed in the awesome album this track comes from, also titled Still. Mastered and produced by Martin Spencer and Matt Clements at Potterne’s Badger Set studio in 2020, it’s wonderfully captures the remnants of the eighties scooter scene in reflected in Britpop.

I’m sure you can buy the album at Vinyl Realm, Devizes; I would if I were you.

Billy Green 3

10- Jon Veale – Flick the Switch

Marlborough guitar tutor, singer-songwriter and bassist of local covers band Humdinger, Jon Veale’s single, Flick the Switch, also illuminated Potterne’s Badger Set studio in August of 2020, and it immediately hits you square in the chops, despite the drums were recorded prior to lockdown, by legend Woody from Bastille, and Jon waited tolerantly for the first lockdown to end before getting Paul Stagg into Martin Spencer’s studio to record the vocals. Glad to have featured it then, even more pleased Jon contributed it to this album.

Jon Veale

11- Wilding – Falling Dream

What can be said which hasn’t about Avebury’s exceptionally talented singer-songwriter George Wilding? A true legend in the making. Now residing in Bristol, George has the backing of some superb musicians to create the force to be reckoned with, Wilding. Perry Sangha assists with writing, as well electric guitar, loads more electric guitars, acoustic guitar, organ and weird synth things. Bassist James Barlow also handles backing vocals and cous cous. Daniel Roe is on drums.

The debut EP, Soul Sucker knocked me for six back in November 2018, as did this here latest single recorded at the elusive Dangerous Dave’s Den, mixed and mastered by Dan Roe, during October last year.

Wilding

12 – Barrelhouse – Mainline Voodoo

One good thing about preparing this album is to hear bands I’ve seen the names of, kicking around, and added to our event guide many times over, but I’ve never had the opportunity to see at a gig. Marlborough-based Barrelhouse is one, and after hearing Mainline Voodoo, I’m intending to make a beeline to a gig. Favourites over at their local festival, MantonFest, headlined Marlborough’s 2019 Christmas Lights Switch-On, and right up my street!

Formed in early 2014, Barrelhouse offer vintage blues and rock classics, heavily influenced by the golden age of Chicago Blues and the early pioneers of the British blues scene, staying true to the essence that made these tunes great and adding their own style of hard-edge groove. Overjoyed to feature Mainline Voodoo, title track from their 2020 album, which broke into the UK’s national Blues Top 40.

Barrelhouse

13 – Richard Davis & The Dissidents – Higher Station (R. Davies)

Absolutely bowled over, I am, to have Swindon’s road-driving rock band with a hint of punk, Richard Davis & The Dissidents send is this exclusive outtake from the Human Traffic album, out now on Bucketfull of Brains. We reviewed it back in December. Recorded at Mooncalf Studios. Produced by Richard Davies, Nick Beere and Tim Emery. If the outtake is this amazing, imagine the album!

Richard Davis & The Dissidents

14 – Tom Harris – Ebb & Flow

Lockdown may’ve delayed new material from Devizes-based progressive-metal five-piece Kinasis, but frontman Tom Harris has sent us something solo, and entirely different. Ebb & Flow is an exclusive track made for this album, a delicate and beautiful strings journey; enjoy.

Tom Harris

15 – Will Lawton & The Alchemists – Evanescence

Wiltshire singer-songwriter, pianist and music therapist Will Lawton, here with his group The Alchemists. A weave of many progressive influences from jazz to folk, Will recently surprised me by telling me drum n bass is among them too. The latest album ‘Salt of the Earth, Vol. 1 (Lockdown)’, is a collection of original poems embedded in meditative piano and ambient soundscapes. But we’ve taken this spellbinding tune from the previous release, Abbey House Session.

Will Lawton

16- Jamie Williams & The Roots Collective – Dreams Can Come True

Hailing from Essex but prevalent on our local live music circuit, with some amazing performances at Devizes’ Southgate, Jamie Williams & The Roots Collective offer us this uplifting country-rock/roots anthem, which, after one listen, will see you singing the chorus, guaranteed. It is the finale to their superb 2020 album, Do What you Love.

Jamie Williams & The Roots Collective rocking the Southgate last year

17 – Kirsty Clinch – Stay With Us

If we’ve been massively impressed with Wiltshire’s country sensation, Kirsty Clinch’s new country-pop singles Fit the Shoe, Around and Around, and most recently, Waters Running Low and anticipating her forthcoming album, it’s when we get the golden opportunity to catch her live which is really heart-warming. This older track, recorded at Pete Lamb’s Music Workshop, exemplifies everything amazing about her acoustic live performances, her voice just melts my soul every listen.

Kirsty Clinch

18- Richard Wileman – Pilot

Incredibly prolific, Swindon’s composer Richard Wileman is known for his pre-symphonic rock band Karda Estra. Idols of the Flesh is his latest offering from a discography of sixteen albums, which we reviewed. Along a similar, blissful ethos Richard Wileman served up Arcana in September this year, where this track is taken from. While maintaining a certain ambiance, his own named productions are more conventional than Karda Estra, more attributed to the standard model of popular music, yet with experimental divine folk and prog-rock, think Mike Oldfield, and you’re part-way there.

19 – Nigel G. Lowndes – Who?

Bristol’s Nigel G Lowndes is a one-man variety show. Vaudeville at times, tongue-in-cheek loungeroom art-punk meets country folk; think if Talking Heads met Johnny Cash. Who? is the unreleased 11th track from his album Hello Mystery, we reviewed in March, and we’re glad to present it here.

Nigel G Lowndes

20 – Kier Cronin – Crying

Unsolicited this one was sent, and I love it for its rockabilly reel although a Google search defines this Swindon based singer songwriter as indie/alternative. Obsessed with the music and the joy of writing, Kier told me, “I once had a dream Bruce Springsteen told me to give it up… So, this one’s for you Bruce!” Crying was released as a single in March, also check out his EP of last year called One.

Nothing Good, Longcoats; I disagree!

Have no worries, Ollie, you’re a spring chicken, mate! Out this Friday, another dynamite single from Bath’s indie-pop trio, Longcoats, and this time it considers age. Subjective, isn’t it? I mean my boss calls me “young Darren,” but my daughter constantly reminds me I’m as ancient as ye gods. I have to wonder what Bruce Springsteen thinks of his nostalgia-related single Glory Days, written at the tender age of thirty-five comparably to his age now, seventy-two. Worse for the Who, they hoped to die before they got old, Daltrey still rocking at seventy-seven.

Similarly, this track, available across streaming sites from Friday 28th May, Nothing Good, reminisces of the golden teenage years, under the pretence “there’s nothing good about getting old.” What about a free bus pass, eh?! It’s as long-a-road as your coats, lads, enjoy it while it lasts, it doesn’t get any better than this. Think of a time when you’ve got more hair in your ears than on your head.

But if you should wish to look me up in my nursing home decades from now, and then let me know how you feel about the connotation of this track, it would be interesting to hear!

I thought I should clear that up, as the song title is ironic against the melody; everything is good about that, better than good, it’s pretty much fantastic. Filled with nostalgia though is the mainstay of this beguiling sound. The shift towards the classic eighties pop-rock sound complimented the previous single, Pretty in Pink, and continues here with this one.

Yet retaining that fresh, current vibe, I’m relishing in this trend, produced by the Longcoats, and other local bands such as Talk in Code, Daydream Runaways and Atari Pilot, I’m virtually contemplating getting my Now albums out to compare, volumes one to ten. As if you’d have heard this in that day of Rubix’s Cubes and Sinclair C5s, it would be astounding. Today, it’s just as great, as if time bypassed the comparatively melancholy indie vibe of the nineties.

It’s how to capture that uplifting, danceable sense within the gloomy theme that we’re not getting any younger, which somehow Longcoats just nail here. A highly enjoyable, layered track with a killer riff. Check it out on Friday. Me? I’m off to get some of those slippers with zips on the side….

Trending…..

Swan Dies on the Crammer, Devizes

Saddened to hear of the death of a swan on the Crammer today, via Devizes Police who were called to its attention last night…. The…

Devizine Christmas Podcast!

I’ve only gone and done another podcast, and I apologise. But it is in keeping with the season….. Please note: this podcast contains adult themes…

Carmela To Help in Local Care Home

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Sustainable Devizes Christmas Toy & Book Swap

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The Lost Promises of Sam Bishop

Five years on from Devizes six-form boy band 98 Reasons, we find vocalist and keyboardist Sam Bishop studying music in Winchester, while former Larkin partner Finely Trusler continues working with cousin Harvey as The Truzzy Boys and has become fresh new frontman for local mod heroes, The Roughcut Rebels.

Last week we were able get a valuable insight into Sam’s portfolio and progress, as he releases a five-track EP of new material across streaming platforms; Lost Promises. Seems education pays off; this is a dynamite of powerful pop, and showcases Sam’s vocal range with much more intricate and often daring arrangements.

But perhaps, what is more, there’s matured themes on show. Opening tune, Below the Surface is evidence enough, an emotionally-driven social issues context of two characters, firstly a young single mum thrown out of the family home and a motherless son turning to drug abuse. The haunting piano gathers a peek to courage against the face of misfortune, and it stings.

Relevance is key in a convincing performance of this style, personal reflection on your own words pulls the heartstrings. “I’m so proud of each and every song on it,” Sam says. “They all relate to a significant point of my life, when I was feeling a certain way. it’s the rawest and most explorative I’ve been as a songwriter.”

Image: Nick Padmore

Fallen Sky we’ve reviewed as a single last year, a dark, moody ambience, backed with a deep bassline, sonic piano and ticking drumbeats; as if William Orbit took boyband to dubstep. It characterises dejected teenage anguish and echoes the passion in early romantic interactions. While it’s a bromide subject at the best of times, Sam rests on it well, as was a time when we wanted Phil Collins to have a broken heart, so his reflection on it would be so powerfully crushing and relevant to our own life.

The back riff of Decide trickles, reminding me of the deep South American riffs of the Graceland shadowed Paul Simon sequel The Rhythm of the Saints, but its pace and catchiness makes it perhaps the most beguiling. As the title suggests there’s a romantic dilemma, again cliché subject, but you know Sam’s vocal penitence has it covered to perfection.

We’re lucky enough to have an acoustic version of the fourth track for our forthcoming charity album; I know, yep, I’m working on it, okay! Largely guitar-based, Wild Heart gives prominence in particular to my observation about trialling in Sam’s vocal arrangements, there’s some complicated measures to handle, and he does. Trust is a continuing notion, which makes a running theme, I guess where the title developed from.

The trick is the balance, and Sam’s a magician, but not without friends he thanks for assistance, “this EP wouldn’t have been possible without the hard work of some of the best musicians I’ve had the pleasure to work with,” Sam continues, “Toby, Ellie, Martin, Robbie, Woody and Stephanie.”

As it suggests, The End is the perfect finale, a ballad of missing someone, praying fondness will prevail and it’s not the end. In this track, and in all, there’s a poignant concept, the mainstay of all good pop. Hey, teacher, Sam deserves top marks for this, it’s highly listenable and hauntingly deeper than anything previous, yet retaining freshness of memorable pop. Progress is sweet, and to prove it here’s Sam in his early days with a drumstick up his nostril. Something he’ll annoy for me adding, but honestly bud, you can’t unsee it now!

Song of the Day 36: Daydream Runaways

It’s those guys again. Yes, we’ve reviewed the song before, but this our quick song of day feature, which usually requires a video, and it’s the vid which is new…. and marvelous.

“Something Anerican Pie about it,” Ollie of the Longcoats suggests on Instagram, and I tend to agree. Due to lockdown the Daydreamers haven’t managed to produce a video for it, so photographer Vansessa Paiton made it using stock footage. And what a grand job, it looks fantastic and apt for the tune. Makes feel young again, but I’ll say no more!

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

Pretty in Pink Longcoats!

Bath’s young indie-pop favourites, Longcoats has a forthcoming belter of a single, with a generous slice of retrospection; you may admire them again today.

As one who usually supports the underdog, I favoured the originally intended ending of the John Hughes cult, Pretty in Pink. Although it’s all in the past, Duckie deserved his promqueen for the overtime he put in. I mean, don’t get me wrong, boyishly I wouldn’t have chucked Kirsty Swanson out of bed, but by the final cut, the Duckster failed at the goal he set. And I liked him, rooted for him against the dweeby snob Blane. Though it was never about the guys fighting, Molly got what she wanted, I suppose, and Duckie learned not to cross the friends barrier; c’est la vie.

But I’m not here to rap eighties coming-of-age romcoms, less you’ll never hear the end of it. Windows down driving music we are here for. Out this Friday (16th April) I’m backing this will be an instant indie-pop anthem, with the same name as that movie.

Frontman Ollie Sharp confesses, “John Huges is a big inspo for us, always loved Breakfast Club and Pretty in Pink.”

Bath’s Longcoats rocking the summertime vibe with a beguiling riff, and feel good factor. Pretty in Pink has to be the best we’ve heard of this promising indie three-piece, to date.

Akin to recent tunes we’ve reviewed from the likes of Talk in Code, Daydream Runaways and Atari Pilot, here’s a fresh indie track, retaining the contemporary yet with that sublime nod to eighties pop-rock, which, as precisely as the title suggests, wouldn’t look out of place on a John Hughes soundtrack any more than the Psychedelic Furs’ title theme.

It’s an upbeat wah-wah scorcher, fading to emotively driven verses, powerful as anything you might hear on such a film score, with a popping an earing in and punching the sky ending.

Since last October’s awesome EP, named conveniently after the month, things have progressed in a direction I’m liking for the Longcoats, being a Thatcher’s child and all!

This is a grand job, find it on Spotify on Friday. Pre-sale link here.

Cult Figures; Deritend, Yes Mate!

It’s not just me, is it? Eighteen seconds into the Cult’s She Sells Sanctuary, you know, when it breaks, and you’re like, that’s it, right there. It matters not what youth culture you were into, at the time, or even now, it doesn’t give a hoot about your favoured genres, haircut, colour of anorak, age, gender or race, it just does it, and you, you’re like, as I said, that’s it, right there.

Something similar happens with this Cult Figures album Deritend, out last week; heck, if they haven’t even got a comparable name. Perhaps not so nostalgia-filled, as these are all originals, though the sound harks back to an era or yore, when cookies were in a biscuit barrel rather than your web browser, Tories were governed a demoness made from iron rather than a clown made of teddy bear stuffing, and a wet wipe was when your mum spat into a handkerchief and wiped it over your Space-Dust covered chops.

Mind, as happens when I’m sent files not numbered, it lists them alphabetically rather than in the running order, so the opening track is actually the penultimate Camping in the Rain, but it makes the perfect intro into the world of these London-based masters of retrospection. From its off, it’s, well, off, leaving me to reminisce about those classic post-punk new wave bands of the eighties. At times though, as it’s a mesh of this and reflective of the scooterist mod culture of same period, I’m thinking of the likes of the Jam and Merton Parkas too. Contemplate the musical differences are subtle, though worlds apart at the time, and this sits comfortably somewhere in-between.

To add to their perfection of authenticity, one must note this is the second album from Cult Figures, and is comprised of tracks written in their earlier incarnation between 1977 and 1980, just recorded more recently.

The real opening tune, Chicken Bones, has the same impact, something beguiling and anthemic, setting the way it’s going to go down. Donut Life, which follows, sounds like carefree pop, the Chords, for a comparison. In fact, as it progresses the guitar riffs of next tune, Lights Out, is sounding more pre-gothic, Joy Division, yet with a catchy whistle more akin to The Piranhas. Things get really poignant with Exile, almost dub Visage meets the Clash, and Omen extenuates the seriousness of a running theme.  

“Deritend draws a line under the past,” they explain, “all eleven tracks composed and recorded since our 2016 comeback, simultaneously reflecting a maturity gained in 40 years of life experience, whilst still embracing the accessible three Ps of the early days; punk, pop and psychedelia.” The album’s title owes to a historic industrial area outside Birmingham’s centre, “a few miles from where Gary and I grew up.”

The mysterious iconic name was a bus route terminus and has a strong emotional connection to the band, “evoking the nervous excitement of those long rides into town on our way to Barbarellas. But it conveys so much more: Deritend is an album that reflects on the past, speculates on the future, but for the most part is fairly and squarely a comment on the lives we are living now.” They convey this well, for through its retrospection, subject matter, growing up with the dilapidation of a working-class industrial chip, could equally apply to then, or now.

A timeless piece of art within a captivating musical style which embraces the traditions of generation X, just curled up at an edge like an old poster on the congregated iron fence of a closed factory. I mean Silver Blades and White Noise crave you dive back into punk; there’s a definite Clash feel to the latter. As girl’s names for titles generally do, Julie-Anne is archetypical upbeat but themed of desire, and the sound of it is particularly challenging to pin down, there’s Weller there, but a drum roll you’d expect Annabella Lwin to surface from (of Bow Wow Wow if you need to, Google it, youngster!)

Most bizarre and experimental is the brilliantly executed talky sound of Concrete and Glass. Cast your mind back to 86, if poss, remember Jim’s tune, yeah? Driving Away From Home by It’s Immaterial, and you’re not far from the mark.

The aforementioned Camping in the Rain which could’ve been the opening track, is next, and it’s the epithet of all we’ve mentioned. This combination is not juxtaposed cumbersomely like a tribute act, rather the genuine article lost in time, and it, well, in a nutshell, absolutely rocks. The finale, Privilege is plentiful to summarise; Clash-styled punk rock, themed on the expectations of irritated propertyless youth, akin to Jimmy Cliff’s You Can Get It If You Really Want.

But, unless all you want is a zig-a-zig-ah and to spice up your life with commercialised bubble-gum pop, nothing here is oven-ready for criticism, just relish yourself in a bygone era, and rock.

The Lost Trades Live Stream their new album on Friday; tickets here

Trending……

Alex Roberts at The Barge, Honeystreet 

by Ben Romain and Victoria Stanley We ventured out to the Barge to catch Alex Roberts after first seeing him at The Southgate, Devizes on…

Illingworth Celebrate Their 100th Gig!

Salisbury-based acoustic rock duo John Illingworth Smith and Jolyon Dixon play The High Post Golf Club, between Amesbury and Salisbury this Friday 2nd December, and…

Mighty Mighty; The Scribes Storm the Muck!

Another fantabulous evening at Devizes’ tropical holiday resort, The Muck and Dunder rum bar, where Bristol’s boom bap trio I’ve been hailing since day dot,…

Crossed Wires with a Timid Deer

OMG, and coming from someone who refuses to use OMG on principle, rather than its blasphemous connotations, that old dogs, new tricks, I don’t usually conform to trending words or abbreviations. I just don’t get the irony. I mean, kids use the word sick to mean something that’s good. Why can’t they just use wicked like we used to do?

Anyway, it’s my third music review of the day, and while I may be knocking them out, tangents tend to creep in without apologies. But here’s my new favourite discovery while washing the dishes, Salisbury’s Timid Deer, a band I’ve seen listed here and there, supporting our Lost Trades, a track I loved on Screamlite’s New Hero Sounds NHS fundraising compilation, et all, but had yet to delve fully into. And the result is the reason I used OMG despite all I said about it.

Ah yeah, at the Lost Trades launch at the Pump!

All I will say is, if our mission is to seek out new local music, new bands and boldly go where no blog has blogged before, Captain Kirk needs a crew therefore so do I. Mind you, my own daughter suggests I look more like Suru on Discovery, which I beg to differ; the guy walks like the back end of a donkey while I’ve got the more Charlie Chaplin swagger, and I excuse another tangent. Why didn’t someone least hint, oi, Worrow, I reckon you’d like Timid Deer, reckon its right up your street?

Before I’d even put the fairy liquid in the sink, I’m warmed to these mellow electronic and soulful vibes. Akin to Portishead and Morcheeba, without the need to be locked in the nineties trip hop era, Timid Deer is a blessing in the indie-fuse of euphoric keys by Tim, with Tom on double bass, guitarist Matt, drummer Chris, and the mind-blowingly gifted vocals of Naomi, who has the vocal strength of Mayyadda, but with the childlike uniqueness of Bjork.

The name-your-price single Crossed Wires came out end of last month, unbeknown to me. An uplifting piano three-minute masterwork, engulfing your soul and building layers with smooth electronic beats. Evocative as Enya without the orchestrated strings, as expressive as Clannad without the folk roots, and closer to Yazoo via electronica, rather than the aforementioned influences of Portishead and Morcheeba. Ticks all my boxes.

There are two gorgeous previous albums, Mountains stretches back as far as 2012 and Melodies for Nocturnal from 2019, and there you go, see, I’m nocturnal, why didn’t someone nudge me further towards this great band? I dunno, if a jobs worth doing…..

Trending….

Dr John Otway Rocks Trowbridge’s Pump

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DOCA Step into Christmas!

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Devizine Podcast Pilot!

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SGO Folk Up The Southgate

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The Space Between Mike Clerk Ears….

My teenage daughter’s banter knows no limits. Upon noting I was wearing a logoed T-shirt the Swindon sound system “Mid Life Krisis” kindly sent, she responded thus; “you can’t wear that, you’re too old for a midlife crisis!” There comes a time in life when you have to cut your losses, realise there’s no longer a point in assessing prospects and goals, and getting upset you failed to reach them. The anguish of youth is but a fleeting memory, and you’re numb to life, rather than wallowing in self-pity you’re neither here nor there on achievements and failures, simply plodding on worrying more about earwax or teeth issues.

It’s the reason I absorb indie-rock with a squint, but then I’ve never felt like barging through pedestrians like Richard Ashcroft, ignorant to the fact others have issues far outreaching my own. I cannot abide themes of despair and downright dark subject matter without reasonable motive; they do nothing to cheer me up. Music from my childhood spat rebellious notions that the world was shit, then electronica came and we went off into the fields and warehouses waving our arms in the air, throwing our troubles away. There was never despair on the rave scene, no woeful self-analysis and no political tirade, until they came for us.    

Yet to expect a thoroughly negative review from me is rare, and for the debut album of Mike Clerk, The Space Between my Ears, I have to confess it does what it says on the tin, and does it very well. There’s thoughtful prose, if rather negatively, but it doesn’t trudge on as my niggling criticisms over much indie; at times there’s uplifting riffs, but the theme is unfortunately despondent. Has Mike never heard of the “every cloud” idiom?  

Many, say younger people, will love this with bells on, though, and for that much this is a damn fine album, if not my cup of tea. See, I like it when our George Wilding does melancholy in a pub, because he does it so well. Heck, the guy even bought me to reconsidering the worth of Radiohead! And similarly, there’s a tinge of euphoria in the way this former frontman of The Lost Generation, plays this out, musically. Lyrically I was left waiting for the silver lining, which simply doesn’t arrive, and this does nothing for maintaining my interest.

The proficiency and skill on show here is top dollar, Clerk has a blinding pedigree of experience in the music industry; the band played exclusive gigs for the NME, Alan McGee’s Death Disco club nights, and Clerk had a close call with guitar duties for Primal Scream. A GoFundMe campaign put the ball in motion for his solo career, The Space Between My Ears was the result, released yesterday (26th March.)

Written and recorded almost-entirely by Clerk at his own home studio, additional drum sessions took place at the local YMCA in Kirkcaldy. With contributions from sound-engineer Alan Ramsey, the album was mastered by Pete Maher of whom has the likes of The Rolling Stones, U2, and Paul Weller on his résumé. This stamp of professionalism shows through in the rewarding sound.

I’m supposing lockdown has bought a natural movement towards misery. Clerk’s words inspired by isolation and the endless roll of apocalyptic news, flow aptly into these themes of redemption, mental health and addiction. If here’s alt-rock’s mainstay, the desolation of unhappiness, I’m going to criticise it. Yes, The Space Between My Ears delivers an acute and perfected mind-set of the human psyche, but like watching a perpetual boxset of EastEnders, it does nothing to turn that frown upside down. And for me, there’s a crucial element to life sorely missing here. Laughter is the best medicine, even if it’s insane giggling like The Joker.

Yet I confess, I like the blues, I like how every morning Muddy Waters wakes up his woman is gone and his dog has died, I crave his misfortune. There’s something beguiling in that authentic twangy guitar sound, which the electric drone of cantankerous indie or alt.rock doesn’t appeal in quite the same manner. Not for me at any rate, but if it does for you, I would ignore the bleating rant of a grouch who’s watching fifty rush over a mountain swiftly towards him, as this album divinely flows and clearly has perfected the art of it!

Trending……

Town Council Register Warm Spaces Devizes

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Review: Cracked Machine at the Southgate

by Ben Romain and Victoria Stanley Following a night in the Corn Exchange Friday, the chance arose for something completely different, something new to our…

Andy J Williams; Buy all his $tuff!

I’m sure it’ll shock you to hear, I made a technical hitch, best described as a cock-up. It seldom happens, blame my masculinity; the wife often reminds me men cannot multi-task. We featured the indie-pop Bristol-based singer-songwriter Andy J Williams last month, as part of our Song of the Day feature, and I promised to review the whole album “Buy all the $tuff,” which was released at the beginning of February.

Musicians you wait for like buses, then two come along at the same time, and accidently I mind-merged them. Even joked in our Song of the Day post not to confuse Andy J Williams with his namesake senior easy listening giant, then mixed him up with someone else, whose name is nothing remotely similar. The only parallel is they’re both from Bristol, though many are, but being as the other artist’s album involved in this cock-up isn’t released until next week, both got put on the backburner. My virtual to-do-list saved the day; acts as my brain.

Extend a short story longer, here’s an apology to Andy, and a belated review of “Buy all the $tuff,” which is very worthy of not being missed out. To begin with his cohesive band firmly behind him, there’s a Britpop feel, I sensed, vocally, a similarity with Trowbridge’s finest, Phil Cooper, if Phil was aiming for pop. But there’s a lot going on here, influences are wide but mould into each other exceptionally well; a tad tongue-in-cheek at times too. It’s indie on the outer crust, but with a dynamite mantle blending of layers which incorporates funk, new wave post-punk, art-pop, and contemporary electric bluesy-folk, all with equal measure and passion.

Reminisces flood my neurons upon initial listening, of how eighties electronica fused funk into pop, a kind of “funk-lite,” avoiding the substantial seventies untainted funk vibe, and through post-punk new wave, rewrote the club-pop formula. Bands like Duran Duran and Roxette spring to mind, I’d even go as far as Michael Jackson meets Huey Lewis, but while I’m aware there’s a bizarre subgenre called “funk metal,” pleased to report Andy doesn’t get that heavy! This is more like musical cubism, with a skilful composition akin to King Tubby’s mixing board, and it comes out the other end as extraordinarily unique beguiling pop.

Don’t take the opening Britpop track as red, the next, Post Nup, opens up this funk riff, but no matter where it takes you, lyrically this well-crafted too, written with thoughtful prose. There’s topical subject matter amidst the archetypical romance, including the referendum and social media, but no theme distracts from the overall musical presentation. Night Terrors, for example, works opposite to Jon Amor, who uses Elvis Costello pop to create a more frivolous blues, Andy maintains pop by adding elements of electric blues. Then, piano solo, layered with subtle percussion. Andy rinses a fine ballad, undoubtedly the most evoking track on the album, Stay.

Buy This $tuff reaches an apex immediately after, Something to Believe in is masterfully danceable, bathed with handclaps and a funky riff, it is to Andy what Superstition is to Stevie Wonder. From here on, the album takes to this upbeat terpsichore concept. It’s highly entertaining.

Ballads follow, Celia and Now She’s Gone are particularly adroit, but you know Andy isn’t going to end this with melancholy. Be Mine returns to rock as it’s mainstay. Radicalised equally comes in hard, with an electronica feel. And Your Truth Hits Everyone is anthemic, concluding there’s a need to ponder what the Beatles would sound like if still around today, with Britpop, new wave electronica, and clubland techno at their disposal. Through this, I might provide a suggestion.

Trending….

Billy Green Three’s Endless Scrolling

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Barrelhouse Rams The Gate!

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Female of the Species; Deadlier in Seend!

A glass half-full or half-empty scenario, to be at Seend Community Centre. The optimist in me ponders least it’s central, bang tidy between the Sham,…

Song of the Day 23: Nigel G. Lowndes

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

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

“The song started off as a Stones/Pistols rant,” he continued, “and has developed into a soft indie rock stomp, with an added lyrical twist at the end.”

It’s the first single from a forthcoming album, Hello Mystery, which I think we need to review nearer the time. Until then, that’s my song of the day, very good, carry on….

Song of the Day 21: Andy J Williams

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

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

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

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

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

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

Song of the Day 20: Darling Boy

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

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

Song the Day 10: Summit 9 Studios

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

Saucy effort guys, love it!

Very good. Carry on….

Stonehenge or Bust; Duck n Cuvver Scale the Fence!

The last thing Robert Hardie wants is to be portrayed as villainous, or condoning mass trespass, though he accepts some might interpret breaking over the fence at Stonehenge as such. Chatting to this veteran on the phone this morning, he described the exhilaration and sensation of wellbeing, wandering between Wiltshire’s legendary stone pillars, but expressed he doesn’t wish to encourage others to follow his example, only to raise awareness of his crusade.

Frustration with English Heritage was the prime motive for taking the leap, displayed in his video doing the rounds on social media. But one half of Salisbury folk-rock indie duo, Duck n Cuvver has been fundraising for over three years to be able to shoot the final part of a music video inside the stone circle. “Initially,” he said, “English Heritage said it would cost £750, then they suddenly upped it to £4,500.” I asked Rob if they gave an explanation, a breakdown of what the costs involved to them would be. He replied they hadn’t.

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

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

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

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

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

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

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

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

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

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

    

ScreamLite’s New Hero Sounds for NHS Charities Together

Perhaps one of the biggest surprises in music reviews for me this year was Typhoidmary’s Death Trans back in October. Genre-wise, everything about it suggested it wasn’t going to be my cup of tea, but realigning myself, I delved deeper into its emotive and distressing ambiance, and found fondness in its exquisitely dark portrayals, as it progressed thrash metal, gave it a newfound edge of sentiment.

It was released by Gloucester-based unprejudiced universal rock, metal, punk and folk label ScreamLite Records. And now they’ve sent us news of a colossal compilation album which will drop on their Bandcamp page as soon as Big Ben hits midnight on New Year’s Eve, likely making it the first new release of 2021. Better say a few words about it now, then. Constructing words into comprehendible sentences is tricky enough for me at the best of times, let alone New Year’s Eve.

While it’s going to be one long runaway review to critique it track by track, being it’s a mahoosive 65 tracks strong, it’s worth mentioning some key facts about New Hero Sounds. Most importantly this album will be a varied range of the genres and styles on offer at Scream Lite, and their friends, being as it’s 50% made up of artists signed to the label, and the other half independently contributed from upcoming artists under parallel genres. Thus, making it the perfect sampler to open you up to the world of contemporary punk, nu-metal and folk-punk. Though, there’s much more on offer here and certainly too much to pigeonhole.

PLUS, as well as introducing you to a truckload of upcoming talent, there’s a worthy cause it fundraises for. ScreamLite Records’ Director Chris Bowen said, “we’ve all had a tough year, and we decided we should give something back to the frontline NHS staff that have been tirelessly working this year to keep us safe and well.” New Hero Sounds is a charity album in aid of the NHS Charities Together, and all artists have contributed freely.

Broadminded with one eye focused on variability is what you’re going to need to take this one on, even my eclectic self was bowed by the assortment on offer here. MadaMercy gets as trip hoppy as Morcheeba, yet is a rare genre on offer. In addition to an aforementioned Typhoidmary track, ScreamLite’s roster offers nu-metal and punk, such as Stolen Dead Music, or Burning Memories, which can be in your face at times, but at others smoother, like the Clay Gods and Foxpalmer, both of which I enjoyed. Taking the rough with the smooth there’s something for everyone with a taste for indie; which is nice.

Giving credit to upfront festival boom of Venture, the flamenco folk style of Cut Throat Francis, acoustic rockabilly of Joshua Kinghorn, and the delicate angelic vocals of Forgotten Garden. There’s eighties electronica indie with Conal Kelly, post-punk with Jack Lois Cooper, and Gypsy Pistoleros are described as “flameco sleaze glam” revealing multi-genre in just one tune. But, there’s too much to sum this compilation up easily; a Now That’s What I Call Music for misfits, but for a good cause too.

Here’s the track listing with links, then, so you can make up your own mind and follow the ones you like…..once you’ve sampled them from this crazy and full compilation, which is coming on New Year’s Even, here, remember?!

https://screamliterecords.bandcamp.com/album/various-artists-new-hero-sounds

1. Jonah Matranga: Everyday Angels (OG Home Demo)

Written, Performed & Recorded at home by Jonah Matranga

http://www.jonahmatranga.com https://jonahmatranga.bandcamp.com/

2. Spice & The Readies: Sway A Little Closer

Written & Performed by Tom Spice, Becky Doyle, Tomasz Williams & Jack Quance

Recorded at University Of Gloucestershire

https://www.facebook.com/tomspicemusic

3. Clayton Blizzard: Sad Music Is Uplifting

Written & Performed by Clayton Blizzard

Taken from One, Two, Three, Home

https://claytonblizzard.bandcamp.com/

4. Chris Webb: Blind

Written by Chris Webb

Performed by Chris Webb & Jack Cookson

Taken from Bungalow

http://www.chriswebbmusic.co.uk http://www.chriswebb.bandcamp.com

5. Venture: This One’s For You

Written & Performed by Lucy Burrows, Miles Burrows, Thom Mutch, Josh Fairhurst & Mike

Hargreaves

Recorded at Jaraf House Studios & Released by ScreamLite Records SCLRRCDS003

Taken from This One’s For You

https://www.facebook.com/VentureMusicOfficial

https://screamliterecords.bandcamp.com/track/venture-this-ones-for-you

6. 1 In Five: Evolve

Written & Performed by 1 In Five

Taken from Evolve

https://www.1infive.com/ https://1infive.bandcamp.com/

7. Grandmother Corn: Brighton Mule Blues EXCLUSIVE

Written & Performed by Grandmother Corn

Recorded at Haukivuori, Finland

https://www.facebook.com/grandmothercorn/ https://grandmothercorn.bandcamp.com/

8. Alien Stash Tin: The Man In The Tin Foil Hat

Written & Performed by Jon Wisbey, Jon Gould, AJ Pearse & Bruce Morgan

Taken from Bonfire Of The Sanities EP

Recorded at Attic Attack Studios, Bristol

https://www.facebook.com/alienstashtin https://alienstashtin1.bandcamp.com/

9. Anhfren: Nefoedd Un Uffern Lall

Written & Performed by Anhfren

Published by Rhys Mwyn Publishing

Released on Anhfren Records, 1985

10. Stolen Dead Music: Raison D’Etre

Written & Performed by Jimi Trimmer, Issak Patterson, Lewis Patterson & Keith Halpenny

Recorded at Heart Studios, Gateshead & Released by ScreamLite Records SCLRRCDS011

Taken from Raison D’Etre

https://www.facebook.com/realStolenDeadMusic

https://screamliterecords.bandcamp.com/album/stolen-dead-music-raison-detre

11. GagReflex: Facedown

Written & Performed by Stuart Hawkins & Seb Goffe

Taken from What We Owe To Each Other

https://www.facebook.com/gagreflexmusic https://gagreflex.bandcamp.com/

12. Grief Ritual: Dysphoria

Written & Performed by Grief Ritual

Taken from Moments Of Suffering

https://www.facebook.com/griefritual https://griefritualmusic.bandcamp.com/

13. Panic Switch: Lethal Intent

Written & Performed by Panic Switch

Taken from Lethal Intent

https://panicswitchofficial.com/ https://www.facebook.com/officialpanicswitch

14. Alkanes: Death Or Glory

Written & Performed by Alkanes

Taken from Death Or Glory

https://www.facebook.com/Alkanesband

15. Lemonade Kid: Deep Velvet Red EXCLUSIVE

Written by Dom Lack, Performed by Dom Lack & Jarrod Jones

Recorded in Shrewsbury & Rushden

https://www.facebook.com/LemonadeKidMusic https://lemonadekid.bandcamp.com/

16. Timid Deer: The Shallows

Written by Naomi Henstridge & Tim Milne, Performed by Naomi Henstridge, Tim Milne, Tom Laws,

Matt Jackson & Jason Allen

Taken from Melodies Of The Nocturnal Pt. 1

https://www.facebook.com/TimidDeerBand https://timiddeer.bandcamp.com/

17. Forgotten Garden: Broken Pieces (Natural Mix) EXCLUSIVE

Written & Performed by Danny Elliot & Ines Dias Rebelo

Recorded at Braeriach Studios, Grantown On Spey

https://www.facebook.com/ForgottenGardenBand

https://screamliterecords.bandcamp.com/album/forgotten-garden-broken-pieces

18. Jack Louis Cooper: Bite Too Big

Written & Performed by Jack Louis Cooper

Taken from A Slow But Sure Corner

https://www.facebook.com/jacklouiscoopermusic

19. Roger Gomez: I Will Call Heaven Home

Written & Performed by Roger Gomez

Taken from Behind Cloud Nine

Recorded at Soundfield Studios, Perth, Australia

https://www.facebook.com/rogergomezmusic

20. The Twitchers: Nothing In Particular

Written & Recorded by The Twitchers

Recorded at White Beart Studios, Manchester

https://www.facebook.com/TheTwitchers

21. Mr. Bewlay: Her Name Is Juniper

Written & Performed by Mr. Bewlay

Taken from Her Name Is Juniper

https://www.facebook.com/mrbewlay

22. MadaMercy: Animosity

Written & Performed by MadaMercy

23. Down Not Out: Wild

Written & Performed by Jo Oliver, Char Lewis, James Maxwell & Ryan Stewart

Recorded at Sound Shack Studios, Cheltenham & Release by ScreamLite Records SCLRPEP006

Taken from Worse For Wear

https://downnotout.co.uk/ https://screamliterecords.bandcamp.com/album/down-not-out-worsefor-wear

24. Lightblue: Far Gone

Written & Performed by Lightblue

Recorded at The Ranch Production House, Southampton

Taken from Paradise Lost

https://www.facebook.com/lightbluecru

25. Curse You Damn Kids: Breadline

Written & Performed by Chris Bowen, Annie Kelleher, Hallam Crafer, Jenny Ollerenshaw & Ross

Ollerenshaw

Recorded at Dockside Studios, Bristol & Released by ScreamLite Records SCLRPEP001

Taken from Sorta Like An Epiphany

https://screamliterecords.bandcamp.com/album/curse-you-damn-kids-sorta-like-an-epiphany

26. Blacklist: The Replacer

Written & Performed by Saul Blease, Elliott Tottle & Joe Webb

Recorded at Factory Studios, Bristol

Taken from

https://www.facebook.com/blacklistukband

27. Homer Junior: Short Term, No Anchor

Written & Performed by Jack Higgins, Thomas Muddle & Sam Roberts

Taken from Short Term, No Anchor

https://www.facebook.com/homerjrband https://homerjrband.bandcamp.com/

28. Franklin Mint: Greta’s Sweater

Written & Performed by Franklin Mint

Taken from Bristle

https://www.facebook.com/franklinmintband https://franklinmint.bandcamp.com/

29. Me & Munich: Toxic Wings

Written & Performed by Jan Petersen, Marco Bøgehøj & John Nicholas Marx O’Sullivan

Recorded at Output Lydstudie, Denmark & Released by ScreamLite Records SCLRREP005

Taken from Knives Of The Sun EP

https://www.facebook.com/meandmunichband

https://screamliterecords.bandcamp.com/album/me-munich-knives-of-the-sun

30. Midnight In England: Two Hands

Written & Performed by James Chuster, Sam Caswell-Midwinter, Daniel Lowen-Grey & Sam Morgan

Taken from Real Cinema

https://www.facebook.com/MidnightinEngland

31. Borrowed Body & Abstract Man: Smokescreen EXCLUSIVE

Written by Niall Hill & Tom Johnstone, Performed by Niall Hill, Tom Johnstone & Phil Howell

https://screamliterecords.bandcamp.com/album/borrowed-body-the-rising-sea

32. Lightleaver: Close To You

Written & Performed by Emma Saxon

Taken from Close To You

33. Tom Spice: Life’s Breath EXCLUSIVE

Written & Performed by Tom Spice

https://www.facebook.com/tomspicemusic

34. Marie Virginie Pierre: I Will Try Again (This Christmas)

Written & Performed by Marie Virginie Pierre

35. Joe Buckingham: James’ Song EXCLUSIVE

Written by Joe Buckingham & James Holliday, Performed by Joe Buckingham

36. Howlin’ Anton Bleak: His Mistress’s Voice

Written by Howlin’ Anton Bleak, Performed by Howlin’ Anton Bleak, AP Clarke & “Belter” Jim Lacey

Released ScreamLite Records SCLRRA004

Taken from Stranger Country

https://www.facebook.com/howlinanton

https://screamliterecords.bandcamp.com/album/howlin-anton-bleak-stranger-country

37. The Slow Pianos: In The Right Place (Featuring Petravita)

Written & Performed by Oliver Weikert & Brandon Landis

Taken from In The Right Place

https://slowpianos.bandcamp.com/ https://www.facebook.com/PetravitaMusic

https://petravita.bandcamp.com/

38. Greengage: I Wanna Be Near Trees

Written & Performed by David-Gwyn Jones

Taken from I Wanna Be Near Trees

GKXpGnlL4

39. Grownuplife: Don’t Look Back In Manga

Written & Performed by Charlie Baxter

https://www.facebook.com/charliebaxtermusic https://grownuplife.bandcamp.com/

40. Cut Throat Francis: I’m Not Ready

Written & Performed by Cut Throat Francis

Recorded at Stage 2 Studios, Bath & Released by ScreamLite Records SCLRFEP002

Taken from Ghosts (Extended Edition)

https://www.facebook.com/cutthroatfrancis

https://screamliterecords.bandcamp.com/album/cut-throat-francis-ghosts-extended-edition

41. Longcoats: October

Written by Ollie C Shape & Performed by Ollie C Shape, Arthur Foulstone, Norton Robey & Kane

Pollastrone

Recorded at Riverbank Studios, Chippenham & Released by Wise Monkey Music

Taken from October

https://www.facebook.com/longcoatsband https://longcoatsband.bandcamp.com/

42. The More You Know: Bridging The Gap (Featuring Sakura Mei-Sasaki Spice) EXCLUSIVE

Written & Performed by Chris Bowen, Claire Mitchell-Brown, Julio Da Mata, Jo Oliver & David

Richards. Additional Piano written & performed by Sakura Mei-Sasaki Spice

Recorded at University Of Gloucestershire Studios, Engineered, Mixed & Mastered by Tom Spice

https://www.facebook.com/tmykband

43. Around7: Breakthrough

Written & Performed by Around7

Produced at Strait Up Studios, Dundee

Taken from Breakthrough

https://www.facebook.com/Around7UK

44. Burning Memories: Ignition

Written by Annie Kelleher, Performed by Annie Kelleher, Hallam Crafer & Nick Holder

Recorded at Stage 2 Studios, Bath & Released by ScreamLite Records SCLRRCDS001

Taken from Ignition

https://screamliterecords.bandcamp.com/album/burning-memories-ignition

45. Typhoidmary: bobbi EXCLUSIVE

Written & Performed by Mary Lovatt

https://www.facebook.com/typhoidmaryuk https://typhoidmary.bandcamp.com/

46. Slow Down World: Promised Land

Written & Performed by June Stevenson, James Dishart, Twig Mayhew, Olly Peters & Woody

Woodson

Recorded at PMC, Plymouth

Taken from Promised Land

https://www.facebook.com/SlowDownWorld https://slowdownworld.bandcamp.com/

47. Zobb: Scrapheap Generation

Written & Performed by Jon Wisbey, Nick Hurley & Brice Herve

Recorded at L’Abri D’Argen, Bristol

Taken from Scrapheap Generation

https://www.facebook.com/zobb.punk

48. Clay Gods: Cabin Fever

Written by Gavin Jones, Performed by Gavin Jones, Tom Saunders, Charles Paxford & Max

Ganderton

Recorded at 340 Studios, Cheltenham & Released by ScreamLite Records SCLRRCDS004

Taken from Cabin Fever/Looking For Jerusalem

https://screamliterecords.bandcamp.com/album/clay-gods-cabin-fever-looking-for-jerusalem

49. All To No Avail: The Call

Written & Performed by All To No Avail

Taken from The Call

https://www.facebook.com/AllToNoAvailOfficial/

50. Bleak: Ebb & Flow

Written & Performed by Howlin’ Anton Bleak, Rachel Woodworth & Yvonne Okoduwa

Released by ScreamLite Records SCLRRA002

Taken from Dig Two Graves

https://www.facebook.com/BleakBlues https://screamliterecords.bandcamp.com/album/bleakdig-two-graves

51. George Royale & The Snowflake Band: That’s When The Tears Start Rolling Down

Written & Performed by George Royale & The Snowflake Band

52. Holding Tides: Paraffin

Written & Performed by Chris Bowen, Annie Kelleher, Hallam Crafer, Ben Dalton & Rob Blake

Recorded at Dockside Studios, Bristol & Released by ScreamLite Records SCLRREP001

Taken from Last Of The Small Town Heroes

https://screamliterecords.bandcamp.com/album/holding-tides-last-of-the-small-town-hereos

53. Das Speculoos: Crowdsurfer (grimALKin Mix)

Written & Performed by Das Speculoos

Taken from Crowdsurfer

https://dasspeculoos.bandcamp.com/

54. NFU: In The Details

Written & Performed by Jeremy Pitcoff, Dan De Filippo, Rob Masterson & Frank D’Agostino

Recorded at Suffolk Recording Studio, New York & Released by ScreamLite Records SCLRREP003

Taken from Treason

https://www.facebook.com/NYNFU https://screamliterecords.bandcamp.com/album/nfu-treason

55. Foxpalmer: Forever EXCLUSIVE

Written by Fern McNulty, Performed by Fern McNulty, Mat Dal Pos, Andy Payne & Pauline

https://www.facebook.com/foxpalmer.band

https://screamliterecords.bandcamp.com/album/foxpalmer-locked-in-memory

56. Darklight Horizon: Oxide EXCLUSIVE

Written & Performed by V. Celso, R.C. Paxford, J. Waterman & J. Twinning

https://www.facebook.com/DarklightHorizon

57. William Mawer: Take Me To A Time

Written by William Mawer, Performed by William Mawer, Jazzy Lily Heath, Ryan Nicklin, Ed

Livingstone & Dominic Watton

Recorded at University Of Gloucestershire Studios

Taken from Take Me To A Time

https://willmawer.bandcamp.com/

58. Joshua Kinghorn: Party Queen

Written & Performed by Joshua Kinghorn

Recorded at University Of Gloucestershire Studios & Released by ScreamLite Records SCLRFEP003

Taken from Bits & Pieces

https://screamliterecords.bandcamp.com/album/joshua-kinghorn-bits-pieces

59. Gypsy Pistoleros: Soho Daze, Just Another Friday Night

Written & Performed by Gypsy Pistoleros

Taken from The Mescalito Vampires

http://www.gypsypistoleros.com/ https://www.facebook.com/GPistoleros

60. Connor Begley: Comedown

Written & Performed by Connor Begley

Recorded at University Of Gloucestershire Studios

61. EllJay Goldstone: Putting On That Smile

Written & Performed by EllJay Goldstone

Recorded at University Of Gloucestershire Studios & Released by ScreamLite Records SCLRFEP001

Taken from Long Time Coming

https://screamliterecords.bandcamp.com/album/elljay-goldstone-long-time-coming

62. Chameleon: It’s Not Quite Me Now

Written & Performed by Chameleon

Recorded at Platform Studios, Reading

Taken from What Are We Waiting For?

https://www.facebook.com/bandchameleon https://bandchameleon.bandcamp.com/

63. Conal Kelly: In My Head

Written & Performed by Conal Kelly

Taken from In My Head

https://www.facebook.com/conalkellymusic

64. Spoons & Saucepans: Sing With Thanks

Written by Ceinwen E. Cariad Haydon & David Gwyn-Jones, Performed by Spoons & Saucepans

Taken from Sing With Thanks

65. Afterlite: Below The Lights (Reprise)

Written & Performed by Luke Beesley

Recorded at Ruby Studios, Bristol & Released by ScreamLite Records SCLRMA001

Taken from Eden Abandon

https://screamliterecords.bandcamp.com/album/afterlite-eden-ab

Beans on Toast Knee Deep in Nostalgia

If growing up in Witham meant Braintree appeared to be Shelbyville to our Springfield, I should go no further. The Prodigy are undoubtedly Essex’s finest musical export in the last three decades, next to Colchester’s Blur, and what did Witham give us? Olly Murs, that’s who.

Though if Jay McAllister’s hometown evokes my own childhood memories, his forthcoming album, Knee Deep in Nostalgia will for all. It’s released, as all his annual studios albums are, on his birthday, the 1st December. Yet whereas Braintree’s Prodigy were sovereigns of progression, there’s nothing particularly ground-breaking about Jay, from the same Essex community, who’s tongue-in-cheek stage name, Beans on Toast suggests. But it makes up for it in highly entertaining folk songs which doesn’t take themselves too seriously.

As with Frank Turner, who incidentally guested on and produced previous Beans on Toast albums, I jumped on the chance to review this on the endorsement from Sheer Music’s Kieran Moore, and just as before, perhaps more so, he didn’t let me down. For as a folk singer-songwriter I’d evaluate Beans on Toast isn’t Tammy Wynette, or Willie Nelson, of whom he takes a nod to in a song on this album, but he is the best thing at least since the sliced bread in his namesake. He is Beans on Toast, indefinitely, and I love beans on toast. you can add cheese, you can add little sausages, but as it remains, none matter, simplicity is key; just beans, on two slices of toast, it works.

Aptly, just as the dish, his style is simple but effective and immediately likable. He drafts songs from the heart, served with a side-order of cheeky Essex humour, the reason why he’s played every Glasto since his first, and Boomtown, recorded with and shared the stage with many legends, recorded in Kansas with Truckstop Honeymoon, opened for Kate Nash and Flogging Molly, and aforementioned Turner on his sell-out Wembley show. Why haven’t I cottoned on about his brilliance before? It’s an age thing; old dog, new tricks. But that, in a nutshell, is the theme for this album, as the name suggests, but not without both sentimental and humorous prose.

For this whippersnapper contemplates his looming fortieth, which, if I get the honour of you reading this, Jay, I’ll confirm it gets no better. And with it reminisces his past. One concerning the thrills and pitfalls of gigging in Camden, but most poignant are those which go back to childhood; being frightened on Halloween, inspirational teachers, family discos at a village hall, and one which ingeniously sums up the whole shebang of daydreaming about the past.

Knee Deep in Nostalgia isn’t going to wow you with technological advances in sound, it isn’t going to whisk you to a fantasy world. I’d even say there’s sometimes cliché with the subject matter, but when done it’s done uniquely, insightfully reflective. There’s ingeniously uncensored meagre material here, offering a range aside the general theme of nostalgia, particularly the upbeat and carefree Coincidence, which rings almost on a level of Madness for fairground joy.

The gem is precisely in its simplicity, Beans on Toast reflects and rebounds onto the listener, acknowledging their own life in his words. You may have known a crazy Australian dude, as depicted here, you may giggle at your own fondness for Finder’s Crispy Pancakes, or when the streetlights coming on was a signal to go home, and the other everyday juvenile cultural references. And for this, and more, I bloody love this album.

There is a particular nugget which knocked me head-over-heels, and it’s when Beans on Toast get sentimental. Reminiscing often spawns from watching your own children, and interacting with their joy and innocence at discovering the world again. Tricky to pinpoint why having kids is overwhelmingly fantastic, being they poo on your hand, launch their dinner in your face, cost you a king’s ransom, belittle you and grow to ignore your every word, but with a simple leitmotif Beans on Toast nails it. Again, even when semimetal, nothing is psychologically challenging, it’s just the premise of The Album of the Day, which touches the heartstrings; sharing a moment with his daughter, as with alongside other memorable doings, he temps her musical taste with choices from his record collection. It sounds sickly, but I promise you, as I did earlier, this guy can pull it off with bells on.

That said, kids grow, and the fragile years, when they’d take heed and listen to Bob Marley, Dire Straits, Paul Simon, or whoever inspired you, are too short. They’ll find their own way, and you have to allow them to, as your house turns into a bass funnel and you metamorphize into your own misunderstanding parents; it’s unavoidable no matter how you might think when they were inspired by your likes, and in this, is the brilliance of the song.

I mean my offspring, they don’t even like beans on toast, right, which I think is abnormal; all kids like beans, it should be enforced! Such should this album. And it comes with an accompanying album, The Unforeseeable Future, which I could only speculate about, as the title suggests, as they didn’t send that. On the basis of this one though, I’m musically smitten.

Knee Deep in Nostalgia is out on 1st December; Pre-order it here.

Dreamlands; New EP from Daydream Runaways

In fairness to you readers, I’ll come clean, the new EP from Daydream Runaways, Dreamlands, is a collection of three pre-released singles, Fairytale Scene, Light the Spark, and the latest, Crazy Stupid Love. Each of which if you click on, you’ll see I’ve reviewed already, here on Devizine.

So, what do those demanding guys want from me this time?! Except to say I can’t praise the band or these songs enough. Making the opportunity to announce the release imperative, suppose, but forgive me for not running back over the same notions in said reviews.

So, I figured I’d catch up with them, harass them for few more questions I overlooked when we interviewed them last. Notably, when Cameron Bianchi enlightened us that, “we brought back two older songs and reworked them, as they fit really well next to the lead single Crazy Stupid Love.”

Ah, cool ,this progressive young band have reworked them. I supposed it’s good to have the singles on one EP. “And those three are among our oldest songs so it felt right to release them,” Cameron continued. “Then Brad had an opportunity to record us for his Final Year Project at Uni and an EP seemed like a great project to take on.”

Out on the 13th November, the release’s title I was asked to keep it under my hat, for a ‘guess the name of the EP’ competition was to be announced. The title got me to pondering the name Daydream Runaways. So, I asked them how they came about it.

Frontman Ben Heathcote replied, “Cameron came in with the name suggestion after numerous discussions and almost instantly we knew that was it. It seemed to describe us and have a connection immediately to our sound. We all daydream and get lost running away in our minds, our dreams…”

Cameron added, “We spent quite a while trying to work out a name that suited us, actually. We were looking for something that sounded hopeful and had a sense of escapism about it. Ben remembers that I brought it to a practice one evening, I think I’d been reeling off loads of names that the boys didn’t love. Then one day my fiancée had been playing lots of Ben Howard and he used those two words in a few of his songs and I just liked the way the sounded when merged together.”

Shame, I adopted the guesstimation Cameron was the sort of kid at school who would rather stare out of the window daydreaming than pay attention to the lesson. “I know I was!” he confessed, “procrastination is my second favourite hobby…next to playing guitar!”

An apt name it is though, it relates to the band’s brand of dreamy, nostalgic and acceptable indie-rock, which has found them glowing reviews elsewhere. James Threlfall of BBC Introducing in the West, said of Fairytale Scene, “I’ve had the pleasure of seeing this band absolutely smash it live.” They’re favourites on Sue Davis’ show on Wiltshire Sound, but I was drawn in particular to a quote by Dave Franklyn on his Dancing About Architecture website, a man who does similar to what we do here, only better. He said Crazy Stupid Love, “has got that great Alt-USA feel to it; Fountains of Wayne style and early 00’s vibe.”

Coincidently I mentioned Fountains of Wayne yesterday when pondering the new EP from End of the World, Calne’s skater-punk five-piece. Here’s where I tip my hat to Freewheelin’ Franklyn, always able to view another angle. For in the way of comparisons, I spent nearly all my effort reminiscing classic eighties bands such as Simple Minds, perhaps U2. I wrote paragraph upon paragraph suggesting the Daydream Runaways songs would slip neatly into a John Hughes coming-of-age movie, when really, I needed only to rewind twenty years; it’s an age thing.

I asked them for their thoughts on this comparison to noughties US bands, all a bit skater punk. As all I know of Fountain of Youth is the one tune, and while the Daydreamer’s material has a coming-of-age type content, I couldn’t imagine them knocking out something as quirky as a song about fancying their girlfriend’s mum.

Nathaniel Heathcote confirmed, “yeah, it’s definitely reminiscent of skater punk, very 2000s with baggy jeans, spiky hair and a skateboard in hand!”

Cameron also clarified, “it’s kind of a weird blend of Indie meets Country meets 00s rock. Not that it started out that way. I think I was trying to write a riff like The Smith’s Girl Afraid.” Ah, mention of a band I know! Heaven help me, are we due a noughties comeback, I pondered, I guess it’s time, despite I’m still living in 1991.

“They seem to be!” Cameron figured, “I was listening to Machine Gun Kelly the other day and his sound is very 00s. We obviously inspired him…”

From here I teased about the possibility of getting a rapper in, if that’s the case. But Daydream Runaways has spent their few years really nailing a uniformed style, I hoped I wasn’t rocking the boat. There’s a question developing in that though, how far they’re willing to diversify?!

Cameron admitted, “Ben has floated that idea about actually, we always say we don’t want to write the same song twice or be bound to one genre. And I think that comes across in our music. It helps that each of our individual musical influences are quite different so that makes the song writing process quite fun and the songs are always a bit unexpected.”

“This is something we differ on in my opinion,” Ben interjected, “Cam enjoys the idea of a more consistent sound and style that is familiar, whereas I strive for an ever changing/evolving sound, dipping into varying genres.”

“So,” Cameron replied, “I think we balance each other out?”

Ben Heathcote got deep, “the world can’t exist without Ying and Yang.”

But I often rock their boat, probing their thoughts of an album, and they have differing opinions on it, but I’m always impressed how they stabilise it mutually; I do hope it’s a solid band, as this EP rocks and I always look forward to hearing some new from them. They even went as portentous to hint at an album’s possibility, but rather concentrate on the idea of a sequential set of songs on a running theme. There you go, Mr Franklyn, I surmise they’ll be writing the next soundtrack to a John Hughes rework!

If so, I get first dibs on the actress playing Molly Ringwald’s part, but probably not, though with this blinding new EP, it is fair to assume it’s only just the beginnings for The Daydream Runaways. The peak will be unimaginably awesome.

Johnny Lloyd’s Cheap Medication

Coming from a more Tribe Called Quest angle than Johnny Lloyd, Dan White, Jim Cratchley and Miguel Demelo’s three-year stint under the banner Tribes, I’m trying to like Johnny’s new solo album Cheap Medication, but there’s no hope in forcing me to commit to say it’s more than mediocre. Soz, intent to say something, certain many readers will disagree with me.

I’ve had nothing but praise for the “indie” I’ve been sent recently, there’s been some great stuff, particularly on our local scene. There’s only a tenacious local link, being Johnny is going out with Swindon’s nineties teen heartthrob Billie Piper. This isn’t Hello magazine, though, least not the last time I checked.

The bulk of Cheap Medication is produced to a high standard, to be expected, but feels overall pretentious. Affluent celebrity blues amidst tunes like Oh Lord are unidentifiable to us commoners, ballads to his newfound love are somewhat conceited and wishy-washy. The tempo drags, sentiments are middling. Though Johnny has a key to winding emotion in his vocals and tunes, like Better Weather, which drifts like Radiohead, dreamy like Spiritualized. Not that I’m too keen on them, truth be told! Guess you could summarize, it’s not for me. Or am I just having a bad hair day?

I like the cover, given the brilliant Gecko used a photo from his childhood for his recent outing, a kid Johnny proudly shows off his Batman uniform in a Christmassy regular looking home. I like this approach, especially from someone already in the spotlight. Perhaps there’s more meaning in the image of a once proud superhero, from this rock luminary than there is hidden in the songs, or they’re too intricately hidden.

Tabloids quote smitten Johnny declaring he was lost before he met Billie, and in so much as hope and love, this album is personal and openly frank, though through the often too private bulk I couldn’t identify with where it wanted to take me. It’s like that infatuated associate who speaks of nothing else.  

In this World carries the twangy guitar of a country classic, acoustical goodness presides with Based on Real Life, an upbeat Simon & Garfunkel-eske tune, downbeat Heaven Up Here comes over all Morcheeba; credit where it’s due, it’s not all dull. There was one magical nugget, an uplifting track called Suze which breezes akin to Harry Nilsson’s Everybody’s Talking, so who knows, it might grow on me if I gave it time, but I’ve got to push on with lots more to review. For indie aficionados and leaden adolescents, this may agree with you; it’s out now, give it try.

Longcoats in October EP

Further to their couple of singles since forming last year, Longcoats, Bath’s self -proclaimed indie pop “for nerds,” four-piece, released a four-track EP last week, pertinently titled The October EP. As launched at Moles last week. Not that there’s an EP in any other month, named after that month, and uncertain if there will be. Let’s move on and give it a listen, shall we? As I fondly plugged the singles within a piece centred around their frontman, Ollie Sharp’s social networking group, The Indie Network.

As said group’s name suggests, Longcoats are the youthful embodiment of gratifyingly saccharine indie, if indie is a genre rather than a favoured shortening of the word independent. Darn, too vague, sweetie? Okay, by saccharine I didn’t mean cloy, there’s nothing bubble-gum pop on offer here. I meant sentimental in themes, and the title track, October is the perfect example, with its hopeful romantic chronicle. The chiming backing vocals also arm it with amiability and all-round nice vibes.

But while there’s no fear of Longcoats going all Rage Against the Machine on us, it’s not drippy either, and I’d argue their own “nerd” label diminishes it’s worth, even if tongue-in-cheek. It comes over agreeable and congenial, and that’s coming from an indie window-shopper. That’s good though, isn’t it? Good it will satisfy non-devotees of the genre too.

The majority of indie jilted the rougher elements of its underground origins long ago, leaving any bitterness behind in hope to impress a mainstream, ergo I stand by my Longcoats are the embodiment of gratifyingly saccharine indie statement, just don’t take it as a negative in any hardy hooligan fantasy your ego might invoke. Find your yang rather than yin.

Last year guitarist Arthur Foulstone and drummer Kane Pollastrone added to frontman Sharp’s lone act, which bridged the gap between band and solo artist. The final piece of the puzzle came upon recruiting permanent bassist Norton Robey. With the assistance of producer Jack Daffin, Longcoats have created a beguiling and entertaining, instantly recognisable sound to wide appeal.

Prior to the title track the two singles start the EP off, there’s a trudging guitar riffin Used to Being Used, a blueprint of indie-pop with its theme of dejected ardour, yet it’s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude. But I think they left the best to last.

Plasticine is a beautiful song, taking an arbitrary metaphor like a heart of plasticine, it’s a tune of hope. In a nutshell it wraps up the direction of the EP, flowing and uniformed, subtle but uncommercial. Yeah, it’s a nice debut from we young band we look forward to hearing more of.

Paul Lappin Wants to Fly

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

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

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

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

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

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

Talk in Code’s Secret

New single from Swindon’s indie-pop darlings, and, as foreseen, it’s blinking marvellous, Gloria.

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

When behind the wheel of Dad’s taxi, my daughter plays DJ; curse that built-in Bluetooth function. Least I can pretend I’m hip with the kids by distinguishing my George Ezras from my Sam Fenders. “Ah,” but I clarify, “I didn’t mean that, I meant it sounds like something from the eighties.” She agrees, tells me they’re all inspired from the eighties. “Like, Blondie,” I add, she’d have to Google that, but she watched The Breakfast Club and Uncle Buck, she is aware of the style of sound demarcated by eighties electronica pop.

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

If a retrospective inclination influenced by the decade of Danny Kendal v Mr Bronson, Rubik’s cubes and skinhead Weetabix characters is good for you, ok, look no further than upcoming local bands like Talk in Code and Daydream Runaways. I’ve often grouped these two on this very notion, and I’m delighted to note via my comparison, the Daydreamers are supporting the Talkers at Level III in Swindon on November 20th, my only annoyance is that it’s a Friday and I can’t make it.

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

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

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

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

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

On the Climbing Frame with Gecko

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

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

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

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

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

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

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

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

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

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

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

Daydream Runaways and their Crazy Stupid Love

There’s no fooling me, no quixotic baseball-wielding delinquent is going to sway me in giving my honest opinion on Daydream Runaway’s forthcoming single; it’s just a drawing, guys!

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

Ah, sure sign of natural progression from a young band always striving to improve, Crazy Stupid Love is out on Friday 2nd October on streaming platforms and it will be the first single from their upcoming EP. Given this strength of this song, and inclining it’ll have a running narrative, I’m highly anticipating the EP, with bells on. Meanwhile I have to concoct some words on why I think it’s their best single yet, rather than just repeating the same sentence. Well, technically I don’t have to, but I will because I want to.

Image by Van

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

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

Image by Van

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

Surprisingly dicey too, it also creates a mysterious character within the narrative, namely Chad, intended to market the single with a hashtag #whoischad. We can’t see his mug on the cover, but the likelihood it’s Brad’s alter-ego, just because he rhymes with Chad and he’s wearing the same baseball jacket in the accompanying photoshoot is slight. With a penchant for fireworks he carries a baseball bat to a fairground, and anyone who does such is surely asking for trouble. But, I dunno, Brad just doesn’t seem the type!

Image by Van

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

In mentioning this to the Talkers they hadn’t heard of Daydream Runaways, but now I’m pleased to hear they’re supporting Talk in Code for an exclusive gig at Swindon’s Vic in November. Did I connect this, guys? Because if so, it makes me proud, sound wise I believe it’s a perfect match. Though BBC Wiltshire’s Sue Davis also has taken a big shining to the Runaways, asking them back on the 3rd October. Just, you dark horse, you, leave the baseball bat at home, Brad, I mean Chad. In my experience the Beeb pay for your parking if you ask, so no need to get nasty. Tut, always the quiet ones!

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

Bill Green’s Still Lost Demos

Spent a recent evening flicking through old zines I contributed cartoons to, relishing in my own nostalgia. Not egotistically admiring the artwork, or even laughing, rather cringe at most of it. More so because every publication has a backstory; where I was, what the hell I was up to, and thinking, if at all, at the time. It’s like Gran’s photo album, to me. But I guess reminiscing is symbolic of this pandemic year, nought else happening.

With that in mind, Bill Green of local self-titled Britpop trio Billy Green 3 has a great story to tell, ending with a retrospective release on the streaming platforms. He met Simon Hunt at a party, they liked each other’s jumpers, shared a love of music from the Beatles to the Stone Roses, and hung out on the guest list with Chester’s indie rock band, Mansun on their ’96 tour.

Billy’s mate John ‘Jimmy’ Burns “simply wanted to be in a band and dressed well.”  Never having played their instruments before, let alone in a band, one night they decided to form one with another of Billy’s friends, Mark Molloy. “We” Bill explained, “jumped about to ‘The Jam’ and had often spent nights drumming along on bars and tables.”

With Mark on drums, Simon on Vox, Jimmy on bass and Billy on guitar, Still was forming. Yet I guess Bill was reminiscing this foundation when deciding upon a name for his debut album as the trio, back in January, which we cordially reviewed, here.

“I’d written a few songs,” Bill continued, “so we set up second-hand instruments in Marston Village Hall, and banged out a few tunes, no covers mind.”  He had been DJing the ‘Vroom!’ Club, at the Corn Exchange. “Ian James was kind enough to put us on that Christmas and New Year’s, and people actually came to watch, a band was born.”

Still played the local circuit and even had a dalliance with Virgin Records, having spent a day travelling around London knocking on doors and dodging receptionists and PAs. They booked studio time with Pete Lamb’s studio in Potterne, followed by more studio time at Holt Studios, where a personnel change saw Andy Phillips join on drums and later, James Ennis on guitar.

As a five-piece they played into early 1999, before calling it a day and believing the recordings were lost. Simon Hunt recently unearthed the cassette, much to Bill’s delight, and the demos have been remastered “and tidied up a bit,” with the help of Danny Wise. Returned to Bill, who has enthusiastically released it as an album called Destruction at the beginning of the month. “And here they are,” he excitedly called, “as a permanent record of the biggest indie band ever from Devizes…. called Still!”

“I’m just shocked that Marston has, or had a village hall,” I expressed.

“Rubble when we finished playing!” Billy kidded, possibly.

These are raw demos, but brilliantly echo a time of yore when Britpop was in the making and a newfound generation of garage bands were spawning like a wart on the bottom of commercialised pop. What is great about this album, aside the backstory, is it represents all those early influences of the scene and mergers in a way we might today take for granted, but were, in essence, different scenes and youth cultures divided by decades, at the time. Yes, these may have been bought together by his more defined recent album, Still, but this is essential history for fans of that album, as it opens the casing and shows the very workings of it. Similarly, it works more generally than that, as an insight for fans of the genre.

For if influences of Britpop’s ‘big four’ are represented here, in the jaunty attitude of Blur, the maladroit studiousness of Pulp, the euphoric ballads of Oasis, and the brashness of Suede, there’s also arty punk rock and psychedelic reprises, like Elastica’s affection for Wire, even the Beatles.

There are echoes of Britpop inspirations, ‘Respect Now’ feels like it’s drawn from the genre’s eighties influences; the Jam, up to the Stone Roses. Yet tracks like ‘Happier Now’ ring drum-based upbeat riffs, but slating postpunk vocals, and the sobering drone of The Smiths. Whereas, ‘Pale Impression, Man’ is closer indie enthused from post-punk gothic, rather the end of the era anthems, like the track ‘Catch,’ which rings Suede or The Verve.

‘Lady Leisure’ just rocks, simple; this was produced at Pete Lamb’s, along with the other first bout of garage-style rock, ‘Happier Now’, and ‘Superstars,’ the latter savouring the sound of the Kinks. Perhaps the most poignant are two the love ballads, which along with ‘Catch’ were recorded at Holt. Bill informed me, “‘Gav4Saf’ was a fledging love song written for a friend’s wedding.” But the beautifully crafted ‘LoveSong’ is a missing piece of Oasis, and as a stand-out ballad is the only track rightfully to be reworked for Billy Green 3’s modern album Still. The finale is the title track, with a sublime rolling bass guitar, Who-like.

 “We hope there are some people who will listen and remember those heady days as fondly as we do,” Bill expressed, “it’s basically demos but such good memories!” It may help, but is not, I reckon, essential. I reason, quite regularly, that finding the early recordings of any artist is often more worthy than the celebrated later releases, when eagerness overrides rawness and economical recording sessions. They brought out the original enthusiasm, the roots to greatness. I favour ‘The Wild, Innocent and E-Street Shuffle’ rather than Springsteen’s ‘Born in the USA,’ for example. Even delve into bootlegs of Steel Mill, where despite the boss not being frontman, you can hear a distant echo of genius harking from the background. ‘Destruction’ is out now, as well as the single, ‘Catch,’ across the streaming sites, (Spotify) a notable antiquity of the local music scene.

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Paul Lappin’s Broken Record

A cracker of a single from Swindon’s Paul Lappin this week, a Britpop echoing of Norwegian Wood, perhaps, but tougher than that which belongs on Rubber Soul. Broken Record is an immediate like, especially the way it opens as crackling vinyl and the finale repeats the final line into a fade, as if it was indeed, a broken record.

Shrewdly written, the venerable subject of a passionate breakup metaphors the title, “ignore the voice of reason, leave the key and close the door, do you think you’re ready, to become unsteady, like a broken record, you have heard it all before.” Paul does this frankly, with appetite and it plays out as a darn good, timeless track.

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It’s head-spinning rock, intelligent indie. Harki Popli on tabla drum and Jon Buckett’s subtle Hammond organ most certainly attributes to my imaginings of a late-Beatles vibe. Yet if this is a tried and tested formula, as I believe I’ve said before about Paul’s music, he does it with bells on.

For less than a chocolate bar, download this track from Bandcamp, it doesn’t disappoint.

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Sunset Remedy with JAY

Is it still fashionable to be late for a party, or are we conversant enough to realise this refined art is solely perpetrated by egocentrics pretending to be too popular to be punctual? Rather, I’m am obsolete slob who can only apologise to Jay and Wise Monkey for my delay in reviewing his debut single featuring the vocals of Ben Keatt, but what excuse can I give? Here’s where fatherhood comes in handy, being too candid to be vain, least I can blame it on my kids and their perpetual school holiday! That said, I’ve gained some experience on Minecraft and, if I really try, I can do more than two keep-me-upsies.

Sunset Remedy is the track, released last Friday. Jay, Bath’s first external artist of Wise Monkey Music is a producer and instrumentalist, defined as “a bright shining light in the future of DIY and Bedroom Pop,” and I can only but agree. In the fashion of the classic neighbouring Bristol downtempo sound of Massive Attack and Portishead, it came as a surprise to note the soulfulness beats of this sublime track, as it melodically traipses with funky guitar, poignant lyrics and an uplifting air.

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If Pink Floyd came after Morcheeba, they might have sounded a little something like this; neo-soul, the kind of song you wish was physical matter, so you could pluck it out and give it a cuddle! It’s breezing with nu cool, with a melancholic plod and would blend between tracks on Blue Lines unnoticed, save for perhaps this backdrop guitar riff, providing scope of multi-genre appeasement. Ben’s vocals are breathtakingly touching and accompanies the earnest lyrics and smooth beats perfectly. Yeah, this is a nonchalant chef-d’oeuvre, crossing indie pigeonholes and one I’m going to be playing until I hear more from Jay.

And don’t run away with the idea I’m singing it’s praises simply because of the delay in getting to reviewing it! So not me. You trust I speak my fractured mind, and anyway, time is an illusion to this aging hippy. If punctuality was money I’d be happily broke; procrastination rules, ok. No, I urge you grab this beauty, and show some love to Jay’s Facebook page.

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Atari Pilot’s Right Crew, Wrong Captain

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.

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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.

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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.

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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!

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Talk in Code Taste the Sun

Back in January 2019, I was dead impressed with Talk in Code’s debut album Resolve, and labelled it “sophisticated pop with modern sparkle.” I offered the track “Oxygen,” as best example of how, like classic pop anthems should, its instantaneous catchiness gets stuck in your head. To compare and contrast that favourite from the album with the upcoming release from this Swindon indie-pop four-piece, it’s clear they’ve come an incredibly long way to enhancing and refining that fashion.

Reflecting back, Resolve has the definite “indie” sound of the nineties, only dipping a toe in the pool of eighties synth-pop. I felt this coming, each track they release sounds more like an iconic mid-eighties sugary hit, and Taste the Sun dives right in. It supplements my “sophisticated pop with modern sparkle” label much more.

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Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as “about waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.” Nothing wrong with that inspiring concept, but perhaps nothing original; writing style they stick to a model template, but the sound is invigorating. In a word, it’s refreshing, like the zest of a sparkling iced fruit drink on a humid holiday afternoon, it encompasses all that is glorious about pop. Blooming with good time, summery vibes, Taste the Sun is the sort of lively “Wham” anthem a younger you would’ve retained from a holiday camp disco, and evermore evoke a fond memory of a fleeting romance.

That said in the best manner possible. Talk in Code is a well-oiled machine, refining that classic sound for a new generation and, most importantly, extracting and binning any cliché or cringeworthy elements. You know the sort, listen to any eighties pop now and wince at a particularly ill-thought out component, be it a castoff sample, badly grafted rap or, worse still, a “talky” part; “I thought I told you, Michael, I’m a lover not a fighter!”

Yet I find similar with today’s pop, and hold my daughter accountable! “Why they doing that bit?” I grumpily whinge. “What bit?” she retorts. It’s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of “indie” to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. It’s true, I concern myself at the prospect of taking my daughter to a pop festival, be it I’m cowering at her modern taste, or she’s dragging me away from something I like the sound of. Talk in Code is something we could both agree is great, and throughout reviewing their singles, Taste the Summer is perhaps the prime example of this notion.

Released on Monday 27th July, on digital download at http://www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms. Go on, you have a listen, and I challenge you to find something bad to say about this sparkling, uplifting nugget of pop; because I can’t!

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NervEndings For The People

More clout than Ocean Colour Scene I’d expected after hearing frontman Mike Barham’s prior thrashing solo releases and drummer Luke Bartels previous band, but more roaring blues than Reef was an angle I didn’t see coming when I first checked our local purveyors of loud, NervEndings.

We’re countless gigs in now, the band, with bassist and secondary vocalist Rob McKelvey, still tight and raucous. I’m glad there’s a six-track album doing the rounds on the streaming sites, as by way of a meanderingly drunken tête-à-tête with Luke down the Gate, an album in the pipeline was one of the random topics breezed over, but so was the debatable aggression levels between Welsh and English badgers too, so I only held hope it’d see the light!

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“For The People”they’re calling it, then, out last week. It’s got the kick I now predicted, with that surprising blues element to boot, particularly in the opening track, Infectious Groove. Yet the Muddy Puddles single we’ve reviewed in the past follows, and sets the ball really rolling; it takes no prisoners, yet, for its catchiness, contains a slither of something very sixties; imagine pre-Zeppelin metal.

Emo, to audaciously use an unfamiliar genre, I’d best describe Colour Blind; smoother, drifting indie rock. And in that, Fighting Medicine is more as I’d supposed, guitar riff rocking like a driving song and Mike’s brainy lyrics, with added profanity to describe the drunken hooligan spoiling for a rumble. You know the bloke, there’s always one.

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With themes of non-pretentious indie, Chin up continues this ethos, forget the attempts to conform to expectances, it’s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, it’s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isn’t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Here’s Jimi Hendrix covering Blur’s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the cliché indie sound, it works on my level too.

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Nicely done, and, double-whammy, Mike has forced upon me this streaming inclination which defies all my generation stood for when collecting music. Our parents called us by name when shouting up the stairs to turn the music down, not “Alexa!” Ah, it needed to be done and I’m grateful, in a sense. “Send me a download or something,” I pleaded, “I don’t understand this Spotty-Fly thing!” But it only met with the reply, “it’s on all the streaming sites….” I’m of the generation who tried to turn over the first CD they got, to listen to the B-side, and only just got the hang of downloading. Now I’m causally informed downloading’s sooo millennial.

I dunno, all moving too fast it; seems so unphysical, not to have a record collection, rather a playlist. You can’t skin up on a Deezer playlist. At least downloading had a file, nearer, somewhat, to owning a record. But I’ve persevered and found the Spotify app on my PC more user friendly; I didn’t harass my daughter for assistance once, as I regularly do with the phone.

So, cheers, Mike. Hopefully this will help me surpass the “noob” label my son has tied to me, which, I’m told is a word for both a novice and an insult in one. Honestly, I feel like my grandad, who, when he came over once, stood staring at our new LCD television and asked, “where’s your tele?!” For the People needs to include the older people too, as I reckon many would either love it, or give this trio a ruddy good clip around the ear, which is maybe what they deserve for being so damn good; they’d have me talking emoji next.

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Indie Networking and Long Coats

If social media is the rearguard in music’s battle against the Coronavirus lockdown, there’s plenty of battalions networking at this last stand, and physical location is no issue. A virtual realm is borderless, and for this reason, while Devizine is concentrated on content local to Wiltshire, there are many avenues worthy to waiver the rule for. So, expect us to cover some bands and artists without borders, ones I’ll connect with through social media, such as the Facebook group I’m here to mention, as is the group’s tenet.

That said, Ollie Sharp is a young performer from within our geographical catchment, Bath, who recently set up said Facebook group for indie music, called, aptly, The Indie Network. Its welcoming and dynamic attitude is gaining attention. I joined, they cast a thread of introductions; made me feel old! Funny cos it’s true, pipsqueaks by comparison. Young enough to have to Google my antiquated phraseology, like cassette tapes and Danny Kendal. Some poor guy confessed he was older, at 43, at which he faced compassionate reassurances such as, “it’s only a number.” I knew then to keep my gob shtum, so I stated I was “old enough to know better, too old to care.” Least it’d do no good for our Kieran from Sheer Music, who also joined, to grass me up as an old skool raver, historical to those barely an itch!

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Though we’ve jested before about the era of yore where never the twain would indie kids and ravers mingle, Mr Moore and I, and come to the conclusion I’m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollie’s recently formed band The Longcoats, and it’s just the sort of thing which allows Kieran to win the genre argument! It’s breezy, placid indie, acceptable on a larger scale than predecessors, much least my aging preconceptions, bit like what our Daydream Runaways and Talk in Code are putting out; and I like them. I even refer to them as “our,” see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, I’m an indie kid! (kid used here in its most unlikely definition.)

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Anyway, I digress. We’ve reached the part of the show where the artist mumbles “is this codger going to actually review my single?” Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. There’s no telling some, he’s a bastard. However, we’ll never get going if I branch into politics.

“Used to Being Used” is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, there’s a trudging guitar riff, a theme of dejected ardour, yet it’s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude; there is no need to be angry in an era which accepts the genre, so ever with edge but only enough, The Longcoats create a beguiling and entertaining sound to appeal wide.

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Last year guitarist Arthur Foulstone and drummer Kane Pollastrone added to frontman Sharp’s lone act, which bridged the gap between band and solo artist. The final piece of the puzzle came upon recruiting permanent bassist Norton Robey. With the assistance of producer Jack Daffin, The Longcoats have created a defining sound which is appealing and instantly recognisable.

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There is nothing about this Bath four-piece indie-pop-rock band here, I’ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Here’s one to watch, with their debut EP ‘October’ in the pipeline, here’s hoping it’ll reach us before the month of its namesake.

But it’s not so much about the individual band here which maketh this article, rather the conscious efforts to unite and network, thus creating a scene. Even through this era of wishing for a live gig, the networks thrive, perhaps even more so. Ollie also created Wise Monkey Music, a multi-media music and events promotion company based in the Southwest, of which we look forward to hearing more of; attention, the like Facebook group The Indie Network is likely to bring. They even let this aging raver in, dammit; though my white gloves and whistle must be in a box in the loft somewhere, it’s a deceased stereotype, of which I’m glad.

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I do find though, as someone who glued and photocopied zine after zine, aside the mass media driven pop tripe, the underground thrives as it ever did, the internet only creates an easy route in. Just like the bands of the now, such as The Longcoats and others rapidly joining the group, what’s not to like about it?

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Talking Gravity, and other things, with Daydream Runaways

With some images used by Nick Padmore

How professional of me to create a to-do-list of outstanding subjects for articles, but then spoil said professionalism by dithering to the Daydream Runaways boys about the nineties rave-indie divide and becoming a grandad. The sensible members of the band promptly left the group chat, save guitarist Cameron Bianchi who stayed to endure my inane waffling up as far as the Madchester scene.

Prior to this though we had a great heart-to-heart early in the week, but if the title of this article is misleading, I should add the subject of Sir Isaac Newton never came up, rather Gravity is their latest single, hot off the streaming sites yesterday. It’s quality, as expected, going on their three previous releases, blinding reviews and an appearance on BBC Wiltshire.

It does indeed, as the press release states, “deliver on their brand of retro-modern indie rock,” but while maintaining an emerging signature panache, it pushes firmer towards a heavy rock division. A hasty grinding atmospheric intro with a pause, then the spiralling sonic guitar takes no prisoners. If the last tune, Closing the Line bore topical sentiment with a theme of the town’s Honda Plant closing, Gravity is perhaps more general, but even more powerful. This imminent Swindon-Devizes four-piece really have dug into an emotional slant with Gravity.

The combination of Ben Heathcote’s idiosyncratic vocals, said sonic guitars and class production value, this belts across as a rock anthem to not only scare The Darkness but fight a Foo. They say it comes from “a time of turbulence and explores the burden of life’s toughest decisions.” If I predicted the air of gloom surrounding the era would produce some intensely expressive songs, here is the all the proof you need, if indeed it’s a product of the pandemic. I’m going to find out.

So, I’m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, “it was done in February, in Swindon, with an engineer from Westbury.”

I explained my reasoning, “it sounds heavy, rather darker than usual. So, I wondered if it was a result of the lockdown. Is there a drive to take it that route, I mean slightly darker and heavier, or is just the mood of this particular track?”

Cameron replied “I think it was just the mood of the track. Everything kind of centres around the experience Ben’s lyrics are speaking about. In fact, Ben’s probably the best person to about the story behind the song. But we definitely made a conscious effort to push ourselves on this on to do the song justice.”

It certainly does. “It doesn’t hang around,” I pointed out, “and the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that I’m calling you immature, you understand?!”

Bradley responded, “nah, I get that. I think we gained confidence and are more unified about this sound.”

Cameron interjected, “I think it’s important to all of us to keep pushing ourselves with each release and not churn out the same number. I’m not saying we’re the Beatles or anything, but you know give it some time. We’re still young!”

Bradley bantered, “are you, Cam?!”

Cameron added, “well, some of us are still young…” Laughing emojis are added, but I’m getting paranoid.

“Okay,” I opposed, “spring chickens; don’t rub it in!” But even with any such change, such as the edgier component of Gravity, there’s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. “Is that important,” I questioned, “to be instantly recognisable?”

Cameron said, “I think it helps that Ben has got a very distinctive and powerful voice. I suppose we’re starting to find our sound as well. Ben & Nath wanted to go a bit heavier with this track but I’m not a massive fan of heavy guitar. So, I opted for a more chimney yet overdriven guitar style that suits me, but also packs a punch. Plus, I got to flex my inner Graham Coxon/Jonny Greenwood with the effects heavy solo part!”

Brad covered this shot too, “I would say so, yeah. It’s good to build a sonic trademark, all the greats have that! It’s a good thing when people can still recognise you, even when you change things. Shows that you’re using that style but without losing the integrity of what you are.”

At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. “There’s always going to be differing opinions,” I pondered, “Bit like marriage!”

Cameron replied, “no relationship comes without some disagreements, a band included. But we’re all good at finding a compromise, which is good!”
Throughout the interview I’m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, it’s now or never! “I wasn’t sure, though wanting to ask, if I should bring it up again!”

Cameron delegated, “Bradley…over to you on the album talk!”

I interjected with the proposal before he did, “I think you should, but accept I’m not thinking about current climate in the music industry, rather an old fashioned ideal.”

Bradley answered, “there was a plan. However, the coronavirus has impacted that. Not going to say it’s completely gone but we’ll wait and see what happens. You can’t really make any plans at the moment.”

Cameron expressed, “it’s not a matter of if but a matter of when is probably all we’ll say for now!”

Brad added, “I’d say doing an album is all dependent on what genre you’re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound we’ll go down that route.”

It did bring us onto these strange times, and my deliberations on what’s the best approach for artists on how to continue, continues. “What’s best for musicians,” I asked them for their tuppence, “the live stream is simply not the same as a gig, and while charging for it is a bit cheeky, it’s difficult to know where to go to get some revenue for the work you put it. In short, must be a bitch. Let’s not say the word again!”

I couldn’t argue with Brad’s comment, “some bands I follow have rejected the idea and directed people to supporting more pressing causes.”

Meanwhile, Cam elucidated his feelings about the lockdown. “Whilst you really miss that immediate response from a crowd, and the fact you’re in a room where you can play loud and really get into it, they’re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still haven’t forgiven him for that!”

“Springsteen did one! But not before you!” I supplemented.
Bradley was proud to say, “we were the first UK band to do a self-isolation livestream. There, I said it; Let the feud with Chris Martin begin!”

The topic continued for a while, this dilemma between fan etiquette and revenue for artists. But I wanted to notify how much I enjoyed theirs, “yeah, good it was too. Saw that! Right now, I guess, it’s all we have. That’s the point I cleared with Kieran at Sheer. It’s never going to be the best plan. I think it’s time to get down and write some killer songs, agree?”

Cameron agreed with a feel-good quote, “definitely, but now is also the time to look out for each other, even though we’re all apart. If we can reach out to people with our music or it helps them get through their day, then that’s amazing.”

Bradley approved too, “yeah, and there’s never been a better time to write. Technology’s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.”

It always amazed a younger me, that Paul Simon could collaborate with the South African musicians on Graceland, back in the late eighties, and it sounded like they were playing in harmony in the same studio. It is possible to edit parts and stitch together. Must bugger up the flow of it though, make it sound mechanical or manufactured.”

Bradley replied, “well, if the band records the parts individually themselves and lays off the editing it’s possible to get that organic feel. I wouldn’t be surprise if we start seeing artists jump on this idea and release original tracks.”

It was at this point Ben Heathcote joined us. “It seems like the boys have covered the questions quite well! As Cam said, Gravity comes from a place of uncertainty and pain from circumstances and the decisions triggered from them. A crossroad of the mind. And yeah, lockdown wise we’re hoping it makes people see the value in their freedom before and hopefully will bring out further support when pubs, clubs and entertainment reopen.”

I see Ben’s clarification reflected in the cover art too. With a kind of “stairway to heaven concept,” an impressionist character is looking lost, pondering which road to take. It’s apt for the song.”

Ben welcomed this, “you got it. And again, the artwork is something were really proud of. Provided by ezra.mae.art. We also enjoyed working with Reloopaudio on the production, a friend who we will be working with again. We love this song and we’ve loved the whole creation, writing and everything about it. It’s nice to have developed it from the live sound too.”
For Ben’s benefit, we found ourselves back on the subject of Gravity’s edgier side, “I think it will please the hardcore indie fans, and those which come from a heavy rock side, which is good, there’s a majority of them locally.”

Ben replied, “as you mentioned earlier, with the style sounding fresh, but still us. This is something I’ve always been hot on since the band formed. I’ve never wanted us to be doing the same thing every time. The aim was, and continues to be; to write and produce fresh sounds with hints of varying styles that is still recognisable as us, allowing it to not be boring or repetitive; kind of inspired by many of our favourite artists who keep developing their sound.”

I take off my hat to this, “I might come across pop or soul-ish but I had my day, and do still listen to bands like Zeppelin and Floyd etc. I think Gravity will be boss with that crowd.” With which I asked for their influences, and if they mutual.

Ben reacted, “I’d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.”

Cam agreed, “yeah, I don’t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.”

Laughing emojis made a reappearance, when I teased, “Ed Sheeran it is then!”

Keen to take it back, Brad nods at my sixties psychedelic citations, “Floyd and Zeppelin are timeless though. Prefect example of bands that pushed themselves overtime.” And the Daydream Runaways can relate to that with this progressive new release.

Ben said, “I think before we produced the track, we all knew in our head how it should sound.” It’s definitely a belter. I thank them for their time, with one last question before we headed into our tangent about the rave-indie divide of the nineties! Where do the Daydreamers see themselves in five years?

Ben suggested in five years’ time he would like them to have a steady schedule, “playing to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.”

Cameron felt they’d have “an album or two under our belt, playing to crowds in our favourite venues. Having a slot on The John Peel Stage at Glastonbury is a bit of a dream of mine!” Ah, there’s the source of my waffling, started with seeing Oasis at Glasto but, unbeknown to me at the time, I paid them little attention.

Daydream Runaways though, worthy of your attention, here’s the Spotify link to Gravity, like them up on the book of face, and cross your fingers and toes we’ll be seeing them live soon, if not the John Peel Stage at Glastonbury!

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Courage (Leave it Behind) New Single from Talk in Code

As predicted, the void where live music reviews used to sit will be filled with an abundance of releases from our local music circuit. I’ve a backlog building at Devizine Tower; here’s the first this week, from Swindon’s indie-pop four-piece Talk in Code, and much as we’ve enjoyed watching streams of Chris in his car, yeah, this is more like it, cool.

Some pensive prose swathed in the upbeat eighties-fashioned synth-pop we know Talk in Code have mastered. Courage (Leave it Behind) offers a “wake-up call,” as the press release defines, yet does so with all the hallmarks of another catchy anthem. This lockdown-themed leitmotif hails what you’re probably questioning yourself, “it’s that feeling of realising something is not right and has to be changed. But, knowing what needs to happen and taking action are two very different things…”

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The world will undoubtedly be the different after this pandemic, the unity binding us could potentially tear us apart; did Joy Division predict this?! If not, there’s a ghost, least an inspiration from those early eighties new romantics fused into this contemporary tune, and again, just like the previous singles, while Talk in Code songs sound as if they’d slot into the background of a John Hughes coming-of-age movie, listen again, they also ring modernism in both production and subject.

From its inaugural piano, through its beguiling beat to this cliff-hanging finale which leaves the question open to interpretation, this is an uplifting song; I expected no less though. “Finding the strength to make a change and every bit relevant to these challenging times,” as the blurb continues, is surely up to us, pop doesn’t preach as it once did, rather stages the dilemma for you to solve, and that, in a way makes it that bit up-to-date, rather than a retrospective eighties tribute.

For that reason, Talk in Code are pushing boundaries rather than dwelling, and the reason which found them on BBC Introducing In The West, on The OFI Monday Show, The Premium Blend Radio Show, Swindon 105.5 and Frome FM. It is the reason why the Ocelot, Dave Franklyn of Dancing About Architecture, The Big Takeover, and oh yeah, us, are singing their praises.

Providing optimism as a theme to this single is a biting reality, and Talk In Code still hope to play some of the fifteen festivals that were booked into this year, including M for, Daxtonbury, Concert at the Kings and Newbury Beer Festival along with a showcase for Fierce Panda/Club Fandango, to be rescheduled for later in 2020; hygienically rinsed fingers crossed, and toes.

COURAGE (Leave It Behind) will be released tomorrow, 30th April, on digital download at www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms.

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.
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Cosmic Rays are Hard to Destroy

Introducing Shrewsbury’s five-piece rock band, Cosmic Rays. With a new album proving they’re Hard to Destroy….

As my daughter shoves her phone to my ear with her home-made eighties’ music quiz playlist, memories she will never know of blissfully return. “If I could be like Doc Emmett Brown and whizz you back to my era,” I think aloud, but maybe not such a good idea, she’d never survive; no Wi-Fi. What is apparent with the classic pop from my time she has picked is that it spans genres unconditionally, because she hasn’t lived it to confine her to one viewpoint, to guide through that era, where the categorical conflict for top of the pops changed overnight; what side did you fight for?

Pigeonholing divided the early-to-mid-eighties into alienated youth cultures, unique from one another and only alike for being experimental and innovative. While there may be nothing particularly ground-breaking about Shrewsbury’s five-piece rock band Cosmic Rays, what they do have is a dexterous ability to weave these genres back together in an original and affable way. I have their March released album Hard to Destroy to snoop upon, and I like it; pass my black hair dye and metallic leather high boots.

Initial reaction was thus, partially gothic with nu-metal wailing guitar and archetypical dejected romance as a running theme, and while it’s not my cuppa, it’s produced lo-fi and agreeably subtle. So elusive indeed you don’t pre-empt the changes, though may yearn for it. Post-punk and new romantic are lobbed into the melting pot by the second tune, tickling my personal taste buds better.

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With the sensation of jaggedly Velvet Underground, in parts, its retrospective nods soon confine to aforementioned eighties genres. I’m now left contemplating everything from The Cult to Depeche Mode, and The Dammed to Blancmange. For which they are, just nods, as the all-encompassing sound is something original and exclusive, in so much as the combination of influences fuse so unexpectedly well. Perhaps no more adroitly composed than a central track called Lost Paradise, as while it mirrors synth-pop electronica, it also explodes midway with a wailing guitar solo akin to Slash’s contribution to Jackson’s Beat It.

The Bandcamp blurb explains new guitarist Rob McFall is a major factor to this album being a whole new direction, though while I ponder what the old direction was being I’m new to the band, I have to tip my hat to the guitar sections, but like I say, it’s the placement of them too, unpredictably located. That, I think, makes it more exciting than a band simply replicating a particular sound from a bygone era.

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Just when I’m expecting it to rest there, a tune called Me & Jimmy bursts out upbeat joyful vibes. Unquestionably the most pop-tastic track on the album, it smiles House Martins or even the Fine Young Cannibals at me. Though the last two tunes finish by reminding you this is indie, Seeing Green with a winding goth ease and Walk on Water, where a sombre electronica beat rises again. If you’ve heard such a fusion tried before, you’ll be forgiven for thinking this could be encumbered and muddled, yet I feel you need to listen, for the juxtaposition works on all levels, making Cosmic Rays interesting and defiantly one to watch. By the way, my daughter’s eighties pop quiz, I nail it every time!

Hard to Destroy by Cosmic Rays is available to sample and buy from BandCamp here.

© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.
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Daydreaming of Closing the Line

After a hushed couple of months for Daydream Runaways, they return with a topical smash single, Closing the Line……

I observed in awe the multitude, at least for Devizes, squeezed between the Town Hall and Vinyl Realm. Ah, what with the perpetual drizzling, wish it could be summer again; street festival time. The highlight for me was undoubtedly Pete and the staff at Vinyl Realm’s second stage; what a totally awesome job.

I did one of my live, wobbly Facebook vids of a band I held in anticipation to finally catch, which earned a comment, “who are they?” Coupled with loitering local musicians inquiring, I was astounded that this dynamic indie Swindon-Devizes four-piece were still fairly obscure. But as the sun shone, I think this photo captured perfectly that the moment of elation was communal, and confirmed everyone present will not forget the name, Daydream Runaways.

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Just to make certain, they rocked the Southgate at the end of August, and what with appearances on BBC Wiltshire Radio and It’s All Indie Spotify playlists, their Facebook page has been quiet recently, save a swanky new logo. On a separate note, the threat of closure at Swindon’s Honda plant looms over its employers. I don’t want to argue the toss, and I think neither does the band, let whatever bias newspaper you believe squabble if this is the result of Brexit, or not, it’s not going to help those losing their livelihood. Such is the passionate subject of Closing the Line, the Daydreamer’s forthcoming single.

Here then is a progressive step in their building discography, which is already teetering with quality, into the realm of local topical subject matter. Personifying the shockwaves felt by a community, this emotive and illustrative indie rock track is akin to Springsteen’s woes of factories shutting. Closing the Line kicks off with an industrial noise effect, which abruptly ceases and this striking riff explodes post-haste. Vocals wail eloquently, questioning if you’ve ever tried with all you’ve got, and you’ve given up with ardent prose, continuing the leitmotif of pending gloom. It’s all very U2, but this street has a name, it’s the Highworth Road out of Swindon.

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If it’s not the dejected subject of a current and local topic which drives this potently catchy tune, what fills me with enthusiasm about Closing the Line, due for release this coming Friday (25th October,) is it matches the excellence of their previous singles and wiggles towards a maturity in sound and production. In an era where pop shies from the expression of political and social stock, favouring to warble about bad relationships and who has the tightest buns, it’s an advancement the band should be very proud of achieving.

For just a year into their journey, self-recording, producing and mixing their singles, Daydream Runaways are never fearful to experiment with different production and song writing techniques. I reckon with this one, they’ve just found a niche. I hope this could encourage an album which would be as characteristic as Tom Petty’s Full Moon Fever. Yet amazed, pondering what took Petty ten years of playing with the Heartbreakers to achieve, the diligence and motivation of Daydream Runaways means they could nail this less than a quarter of the time. Then, the world is ready for these kids, and bloody good luck to them.

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Click here to pre-save Closing the Line to the streaming service of your choice, and wake up to little indie rock gift from Daydream Runaways on Friday 25th October!

© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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Sean McGowan at Level III, and beyond

Swindon, next week (21st Feb) a bright young punk wordsmith will visit Level III. The talented Sean McGowan signed to the Xtra Mile label, and frequently tours with buddy, Billy Bragg, as well as The Levellers, Skinny Lister, Frank Turner. Louder Than War Mag praisied Sean as a ‘unique talent’ when reviewing his debut album ’Son of The Smith’ last year.

 
Sean McGowan cruises into a headlining UK tour with “Auto Pilot,” his new single (HERE.) You can catch him with a full live band during Feb and March.

 
This title track taken from Sean’s warmly-received debut album of last year, “Auto Pilot” is another prime example of the perfectly preened and poetic indie-pop that made ‘Son of The Smith’ such a rewarding listen.

 
Brim-full of Sean’s distinctly wry social observations and set in vividly relatable situations, “Auto Pilot” tells a tale to lost loves and the pitfall-strewn pathway that lies beyond a bitter break up.

 
“And I can’t hack it any more, I smash up the wall… yet it doesn’t cure, the shame, the guilt, regret and all the dread in the morning and the next few days,” sings Sean, in a track that stands as one of the singer’s most emotionally complex and endearingly confessional outings to date.

 
Weaving interloping guitar lines around a driving motoric beat, “Auto Pilot” is an adrenaline-racing rush that testifies to the tight-knit musical mentality of his trusty backing band, who, fittingly join him on the road for this extensive run of UK shows.

 
It kicked off at Brighton’s The Hope & Ruin on the 7th. Sean and band will be travelling the length and breadth of England and Wales for a whopping 21 live dates that culminate in Bournemouth’s The Anvil on 3rd March 2019. Full dates and details, as follows.

 
The upcoming UK tour directly follows Sean’s biggest headline show to date, a Christmas homecoming in Southampton at the 1865 as supported by friend and labelmate Get Cape. Wear Cape. Fly; the cherry on top of what was a monumental year for the ascending singer-songwriter.

 

SEAN McGOWAN LIVE DATES sean2

 

FEBRUARY 2019

 

07 Brighton @ Hope & Ruin
08 Bristol @ Louisiana
09 Manchester @ Star & Garter
10 Birmingham @ Sunflower Lounge
13 Leicester @ Soundhouse
14 Cardiff @ Clwb Ifor Bach
15 Hastings @ Blackmarket
16 Oxford @ Jericho Tavern
17 Guildford @ Boiler Room
19 Norwich @ Bermuda Bob’s Rum Shack & HiFi
20 Cambridge @ Portland Arms
21 Swindon @ Level 3
22 Leeds @ Hyde Park Book Club
23 Newcastle @ Underground
24 Glasgow @ Hug & Pint
25 Edinburgh, Sneaky Pete’s
27 St Albans @ The Horn
28 Nottingham @ The Bodega

March 2019

01 Bedford @ Esquires
02 London @ Borderline
03 Bournemouth @ Anvil

TICKETS ON SALE NOW:
www.musicglue.com/seanmcgowan

SEAN McGOWAN – ‘SON OF THE SMITH’

– ALBUM OUT NOW ON XTRA MILE RECORDINGS –
Order the album on CD, LP and digital here:
https://Seánmcgowan.lnk.to/sonofthesmith

FOR MORE INFORMATION

https://www.facebook.com/seanmcgowanmusicuk/

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No Clowning with Six O’clock Circus at The Southgate

So, yeah, broke my 2019 hibernation and ventured out last night. I know right, but Calne-based, Six O’clock Circus blasted an otherwise mild night at the Southgate with some passionately executed mod, punk and indie covers; right up my street and kicking down my door.

 
Loud and proud, regardless of the five-piece squashed into Devizes’ answer to the O2 arena, singing toward the wall, plus having gigged the afternoon in Boughton Gifford, and Friday evening with Devizes-based, Burbank, for a Big Yellow Bus fundraiser at the Bug & Spider, they never waned, pulling a fine ensemble of indie covers out of their bag, for the first half, but not before an introduction of the Kinks and Who.

 
Six O’clock Circus, started at nine o’clock, but despite poor punctuality of their namesake, and lack of clowns, I loved the starter, then it went a bit Britpop; Travis, Stereophonics, James and Shed Seven representations. Yet I nodded through with appreciation, their precision awarded even my non-favs with worthy magnitude. Though I personally like my indie served, as they did towards latter section of the first half, with Primal Scream and the Coral, and overall would favour more mod, of the Jam, which ended the first half, Six O’clock Circus delivered them all feverously, and favourably, with ardent appreciation of their influences.

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A quieter night at this haven for live music allowed me to notice the cloudy cider tariff on the wooden beam, where at least one hairy hippy usually leans, obscuring the menu. So a double-whammy for me, securing a love for the Southgate I’d joyfully shout to the hills and back.

 
Undoubtedly, said cider played it’s part but I supposed the band tightened with every tune. A swap of instruments, promising a “seventies love-song,” they completed by knocking out a genuine “Pretty Vacant” before the break. It was clear Six 0’Clock Circus had no intentions of delivering us a ballad at all, neither attempt something experimental, as the second section banged in with The Buzzcocks’ classic, Ever Fallen in Love, and slipping nicely into London’s Burning by the Clash.

 
So, the evening’s entertainment leaves me now stamping a thoroughly deserved recommendation on Six O’clock Circus, perfect for the thirty-forty-fifty somethings function or pub circuit, and with that said, I’m off to make a bacon butty.

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Six O’clock Circus on Facebook, give em a like!

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