Graham Steel Music Awards Online Tomorrow

Join the GSMC on Friday 22nd January at 8pm for a celebration of grassroots music as they present this yearโ€™s GSMC Music Awards Live Online on YouTube, where they will announce the Winners of all 12 categories and will include live and pre recorded music from some of the nominees as well as a look back at the year and celebrate all those people that helped keep the grassroots music scene alive in 2020.

GSMC Music Awards Night will be streamed live from YouTube on Friday 22nd January at 8pm, the link for this is below:


Song the Day 9: Emily Lockett

Facebook memories posts a year ago this week we rocked up in the Celler Bar raising money for the Waiblingen Way Fire fund, and makes me stops and think about the years I’ve been smashing out articles on Devizine. So many artists and bands we’ve mentioned, I rarely forget about them, this one I admit I nearly did. Most likely because I didn’t get the opportunity to attend Stoke-on-Trent’s teenage country sensation Emily Lockett’s gig at Dean’s Country Club, then operating at Devizes Cons Club, later at the Cavalier.

So, nice as it is to discover new talent, equally important is to recap. Emily must be nearing her twenties now, and as a musical prodigy from aged 5, her expertise shines through in a matured sense now. This track, Front Porch says it all.

And that’s my song of the day for today.

Very good. Carry on….


Song of the Day 6: The Simmertones

It’s getting late now and I’ve only just got around to posting our song of the day. Had a piece to write and the obligatory family Scrabble game. Nearly missed the deadline, meaning my promise to post a song each day didn’t quite last a week, but alas, I’m here last minute to seal the deal.

What better then, than the pride of Devon, The Simmertones. They’ve fast made it to a lead name in the UK ska scene, and with their lively shows and crazy ska cover of the Dr Who theme, a personal favourite, it’s easy to see why. A tad more tender, here they are…..

Have a lovely rest of your day. Very good. Carry on….


Song of the Day 5: Gecko

Okay, so Iโ€™ll be brief; weโ€™ve mentioned Gecko quite a lot recently and I wouldnโ€™t want him to get big-headed! Can you imagine? That was a joke by the way, because in some light one could describe what Gecko does as rap, and could you imagine, in your wildest dreams Gecko being conceited? Heโ€™s got to be the most unpretentious rapper ever, though thatโ€™s not saying much; narcissistic is the occupational hazard of the average rap star.

If you ainโ€™t got something nice to say, rapperโ€ฆ… Ah, thatโ€™s why Gecko is a breath of fresh air. if you need any more proof of how good he is, hereโ€™s yesterdayโ€™s released video of the title track of his album. Over and out. Have a good rest of the day. Carry onโ€ฆ.

Trending Now…

M3G, De-Anchored

At the end of last year Chippenham singer-songwriter M3G released the single Rooks. I felt it set her bar at a whole new higher level.โ€ฆ

Ready for RowdeFest?

Not long now, for Rowdefest! Which, as the name suggests, is in Rowde, near Devizes, on Saturday 30th May, and is a free, community spiritedโ€ฆ


Stonehenge or Bust; Duck n Cuvver Scale the Fence!

The last thing Robert Hardie wants is to be portrayed as villainous, or condoning mass trespass, though he accepts some might interpret breaking over the fence at Stonehenge as such. Chatting to this veteran on the phone this morning, he described the exhilaration and sensation of wellbeing, wandering between Wiltshireโ€™s legendary stone pillars, but expressed he doesnโ€™t wish to encourage others to follow his example, only to raise awareness of his crusade.

Frustration with English Heritage was the prime motive for taking the leap, displayed in his video doing the rounds on social media. But one half of Salisbury folk-rock indie duo, Duck n Cuvver has been fundraising for over three years to be able to shoot the final part of a music video inside the stone circle. โ€œInitially,โ€ he said, โ€œEnglish Heritage said it would cost ยฃ750, then they suddenly upped it to ยฃ4,500.โ€ I asked Rob if they gave an explanation, a breakdown of what the costs involved to them would be. He replied they hadnโ€™t.

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

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

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

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

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

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

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

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

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

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

    


Just Another Lockdown Festival

JMW Promotions have a free online festival coming this Saturday and Sunday (9th & 10th Jan.)

There’s a lot of names I don’t recognise, which is the best thing about festivals in general, but especially online; local artists without borders. In fact the only performer I have heard of is the brilliant Jess Silk, on Sunday.

Line up looks like this: Just Another Lockdown Festival

Saturday
1pm Sam Draisey
2pm Shotgun Marmalade
3pm Kyle Parsons
4pm BICKERmusic
5pm Harrison Rimmer
6pm Warren Ireland
7pm Brian Stone Music
8pm JollyRoger
9pm Davey Malone

Sunday
1pm ALEX CAVAN MUSIC
2pm michael webster
3pm Have A Go Hero
4pm Doozer McDooze
5pm Sam Tucker?
6pm Maelor Hughes
7pm Ellie Keegan
8pm Brad Dear
9pm Jess Silk

Tune in from the artists Facebook pages which can be found on the event page, or check them out on JMW Promotions or in JMW Promotions Community.

Jess Silk (Image credit: Olver Gray)

Best of luck to JMW and all artists for the weekender, there will be a PayPal bucket linked, please support the artists, you know the drill. I’ll defo be popping in as and when and hoping to hook up with some new talent defo. Might even don my festival jester’s hat, put my cider in a squashy cardboard cup and take a piss behind the sofa!


Latest Posts

Devizineโ€™s Review of 2020; You Canโ€™t Polish a Turd!

On Social and Political Mattersโ€ฆ…

For me the year can be summed up by one Tweet from the Eurosceptic MEP and creator of the Brexit Party, Nigel Farage. A knob-jockey inspired into politics when Enoch Powell visited his private school, of which ignored pleas from an English teacher who wrote to the headmaster encouraging him to reconsider Farageโ€™s appointed prefect position, as he displayed clear signs of fascism. The lovable patriot, conspiring, compulsive liar photographed marching with National Front leader Martin Webster in 1979, who strongly denies his fascist ethos despite guest-speaking at a right-wing populist conference in Germany, hosted by its leader, the granddaughter of Adolf Hitlerโ€™s fiancรฉ; yeah, him.

He tweeted โ€œChristmas is cancelled. Thank you, China.โ€ It magically contains every element of the utter diabolical, infuriating and catastrophic year weโ€™ve most likely ever seen; blind traditionalist propaganda, undeniable xenophobia, unrefuted misinformation, and oh yes, the subject is covid19 related.

And now the end is near, an isolated New Yearโ€™s Eve of a year democracy prevailed against common sense. The bigoted, conceited blue-blooded clown we picked to lead us up our crazy-paved path of economic self-annihilation has presented us with an EU deal so similar to the one some crazy old hag, once prime minster delivered to us two years back itโ€™s uncanny, and highly amusing that Bojo the clown himself mocked and ridiculed it at the time. Iโ€™d wager itโ€™s just the beginning.

You can’t write humour this horrifically real, the love child of Stephen King and Spike Milligan couldn’t.

Still, I will attempt to polish the turd and review the year, as itโ€™s somewhat tradition here on Devizine. The mainstay of the piece, to highlight what weโ€™ve done, covered and accomplished with our friendly website of local entertainment and news and events, yet to holistically interrelate current affairs is unavoidable.

We have even separated the monster paragraphs with an easier, monthly photo montage, for the hard of thinking.

January

You get the impression it has been no walk in the park, but minor are my complaints against what others have suffered. Convenient surely is the pandemic in an era brewing with potential mass hysteria, the need to control a population paramount. An orthornavirae strain of a respiratory contamination first reported as infecting chickens in the twenties in North Dakota, a snip at 10,400km away from China.

Decidedly bizarre then, an entire race could be blamed and no egg fried rice bought, as featured in Farageโ€™s audacious Tweet, being itโ€™s relatively simple to generate in a lab, inconclusively originated at Wuhanโ€™s Huanan Seafood Wholesale Market, rather spread from there, and debatably arrived via live bat or pangolin, mostly used in traditional Chinese medicine, a pseudoscience only the narrowminded minority in China trusts.

Ah, inconsistent pseudoscience, embellished, unfalsifiable claims, void of orderly practices when developing hypotheses and notably causing hoodwinked cohorts. Yet if we consider blaming an ethos, rather than a race, perhaps we could look closer to home for evidence of this trend of blind irrationality. Truth in Science, for example, an English bunch of Darwin-reputing deluded evangelicals who this year thought itโ€™d be a grand and worthy idea to disguise their creationist agenda and pitch their preposterous pseudoscientific theory that homosexuality is a disease of the mind which can be cured with electro-shock treatment to alter the mind inline with the bodyโ€™s gender, rather than change the body to suit the mindโ€™s gender orientation, to schoolchildren!

Yep, these bible-bashing fruit-bats, one lower than flat earth theorists actually wrote to headmasters encouraging their homophobia to be spread to innocent minds, only to be picked up by a local headmaster of the LGBTQ community. Hereโ€™s an article on Devizine which never saw the light of day. Said that Truth in Scienceโ€™s Facebook page is chockful with feedback of praise and appreciation, my comments seemed to instantly disappear, my messages to them unanswered. All I wanted was a fair-sided evaluation for an article, impossible if you zip up.

Justly, no one trusts me to paint an unbiased picture. This isnโ€™t the Beeb, as I said in our 2017 annual review: The chances of impartiality here, equals the chances of Tories sticking to their manifesto. Rattling cages is fun, thereโ€™s no apologies Iโ€™m afraid, if I rattled yours, it just means youโ€™re either mean or misguided.

Herein lies the issue, news travels so fast, we scroll through social media unable to digest and compose them to a greater picture, let alone muster any trust in what we read. Iโ€™m too comfortable to reside against the grain, everyoneโ€™s at it. I reserve my right to shamelessly side with the people rather than tax-avoiding multinationals and malevolent political barons; so now you know.

February

If you choose to support these twats thatโ€™s your own lookout, least someone should raise the alarm; youโ€™d have thought ignoring World Health Organisation advise and not locking down your country until your mates made a packet on horseracing bets is systematic genocide and the government should be put on trial for this, combined with fraud and failure of duty. If not, ask why weโ€™re the worst hit country in the world with this pandemic. Rather the current trend where the old blame the young, the young blame the old, the whites blame the blacks, the thin blame the fat, when none of us paid much attention to restrictions because they were delivered in a confused, nonsensical manner by those who don’t either, and mores to the pity, believe they’re above the calling of oppressive regulations.

If you choose to support these twats, youโ€™re either a twat too, or trust what you read by those standing to profit from our desperation; ergo, twats. Theres no getting away from the fact you reep what you sow; and the harvest of 2020 was a colossal pile of twat.


Onto Devizineโ€ฆ. kind of.

For me what started as a local-based entertainment zine-like blog, changed into the only media I trust, cos I wrote the bollocks! But worser is the general obliteration of controversy, criticism and debate in other media. An argument lost by a conformer is shadowed behind a meme, or followed up with a witch hunt, a torrent of personal abuse and mockery, usually by inept grammar by a knuckle-dragging keyboard warrior with caps-lock stuck on; buy a fucking copy of the Oxford Guide to English Grammar or we’re all going to hell in a beautiful pale green boat.

We’re dangerously close to treating an Orwellian nightmare as a self-help guide, and despite fascists took a knockdown in the USA and common sense prevailed, the monster responded with a childish tantrum; what does this tell you? The simple fact, far right extremism is misled and selfish delinquency which history proves did no good to anyone, ever. Still the charade marches on, one guy finished a Facebook debate sharing a photo of his Boris โ€œget Brexit doneโ€ tea-towel. I pondered when the idiot decided a photo of his tea towel would suffice to satisfy his opinion and convince others, before or after the wave of irony washed over his head in calling them Muppets.

I hate the term, itโ€™s offensive. Offensive to Jim Hensonโ€™s creations; try snowflake or gammon, both judgemental sweeping generalisations but personally inoffensive to any individual, aside Peppa Pig. I wager you wander through Kent’s lorry park mocking the drivers and calling them snowflakes rather than tweeting; see how far you get.

So, the initial lockdown in March saw us bonded and dedicated, to the cause. We ice-skated through it, developed best methods to counteract the restrictions and still abide by them; it was kind of nice, peaceful and environmentally less impacting. But cracks in the ice developed under our feet, the idea covid19 was a flash in pan, akin to when Blitz sufferers asserted itโ€™d all be over by Christmas, waned as we came to terms, we were in it for the duration.

Yet comparisons to WWII end there, lounging on the sofa for three months with Netflix and desperate peasants delivering essential foodstuff, like oysters, truffles and foie gras is hardly equivalent to the trench warfare of Normandy. Hypocritical is me, not only avoiding isolation as, like a nurse, my labour was temporarily clapped as key worker in March, I figured my site would only get hits if I wrote something about Covid19, and my ignorance to what the future resulted in clearly displayed in spoofy, ill-informed articles, Corona Virus and Devizine; Anyone got a Loo Roll? on the impending panic-buying inclination, and later, I Will Not Bleat About Coronavirus, Write it Out a Hundred Timesโ€ฆ

The only thing I maintained in opinion to the subject, was that it should be light-hearted and amusing; fearing if we lose our sense of humour, all is lost. Am I wrong? Probably, itโ€™s been a very serious year.

It was my first pandemic-related mention, hereafter nearly every article paid reference to it, no matter how disparate; itโ€™s the tragedy which occupied the planet. But letโ€™s go back, to oblivious January, when one could shake hands and knew where the pub was. Melksham got a splashpad, Devizes top councillors bleated it wasnโ€™t fair, and they wanted a splashpad too. They planned ripping out the dilapidated brick shithouses on the Green and replacing it with a glorious splashpad, as if they cared about the youth of the town. I reported the feelings of grandeur, Splashpad, Iโ€™m all over it, Pal! A project long swept under the carpet, replaced with the delusion weโ€™ll get an affordable railway station. As I said, convenient surely is the pandemic.

So many projects, so many previews of events, binned. Not realising at the time my usual listing, Half Term Worries Over; things to do with little ones during February half-termโ€ฆ would come to an abrupt halt. Many events previewed, the first being the Mayoral Fundraising Events, dates set for the Imberbus, and Chef Peter Vaughan & Indecisionโ€™s Alzheimerโ€™s Support Chinese New Year celebration, to name but a few, Iโ€™m unaware if they survived or not.

March


On Musicโ€ฆ…

But it was the cold, early days of winter, when local concerns focused more on the tragic fire at Waiblingen Way. In conjunction with the incredible Liz Denbury, who worked tirelessly organising fundraising and ensuring donations of essentials went to the affected folk, we held a bash in commemoration and aid down that there Cellar Bar; remember?

It was in fact an idea by Daydream Runaways, who blew the low roof off the Cellar Bar at the finale. But variety was the order of the evening, with young pianist prodigy Will Foulstone kicking us off, opera with the amazing Chole Jordan, Irish folk with Mirko and Bran of the Celtic Roots Collective and the acoustic goodness of Ben Borrill. Thanks also has to go to the big man Mike Barham who set up the technical bits before heading off to a paid gig. At the time I vowed this will be the future of our events, smaller but more than the first birthday bash; never saw it coming, insert sad-face emoji.

We managed to host another gig, though, after lockdown when shopping was encouraged by In:Devizes, group Devizes Retailers and Independents, a assemblage of businesses set up to promote reopening of town. We rocked up in Brogans and used their garden to have a summer celebration. Mike set up again, and played this time, alongside the awesome Cath and Gouldy, aka, Sound Affects on their way to the Southgate, and Jamie R Hawkins accompanied Tamsin Quin with a breath-taking set. It was lovely to see friends on the local music scene, but it wasnโ€™t the reopening for live music we anticipated.

Before all this live music was the backbone of Devizine, between Andy and myself we previewed Bradford Roots Music Festival, MantonFest, White Horse Operaโ€™s Spring Concert, Neeld Hallโ€™s Tribute to Eddie Cochran, and the return of Asa Murphy. We reviewed the Long Street Blues Club Weekender, Festival of Winter Ales, Chris Oโ€™Leary at Three Crowns, Jon Walsh, Phil Jinder Dewhurst, Mule and George Wilding at The White Bear, Skandalโ€™s at Marlboroughโ€™s Lamb, and without forgetting the incredible weekly line-up at the Southgate; Jack Grace Band, Arnie Cottrell Tendency, Skedaddle, Navajo Dogs, Lewis Clark & The Essentials, King Street Turnaround, Celtic Roots Collective, Jamie, Tamsin, Phil, and Vince Bell.

The collection of Jamie R Hawkins, Tamsin Quin and Phil Cooper at the Gate was memorable, partly because theyโ€™re great, partly because, it was the last time we needed to refer to them as a collection (save for the time when Phil gave us the album, Revelation Games.) Such was the fate of live music for all, it was felt by their newly organised trio, The Lost Trades, whose debut gig came a week prior to lockdown, at the Pump, which our new writer Helen Robertson covered so nicely.

For me, the weekend before the doom and gloom consisted of a check-in at the Cavy, where the Day Breakers played, only to nip across to Devizes Sports Club, where the incredible Ruzz Guitar hosted a monster evening of blues, with his revue, Peter Gage, Innes Sibun and Jon Amor. It was a blowout, despite elbow greetings, I never figured itโ€™d be the last.

It was a knee-jerk reaction which made me set up a virtual festival on the site. It was radical, but depleted due to my inability to keep up with an explosion of streamed events, where performers took to Facebook, YouTube sporadically, and other sites on a national scale, and far superior tech knowhow took over; alas there was Zoom. I was happy with this, and prompted streaming events such as Swindonโ€™s โ€œStaticโ€ Shuffle, and when PSG Choirs Showed Their True Lockdown Colours. Folk would message me, ask me how the virtual festival was going to work, and to be honest, I had no idea how to execute the idea, but it was worth a stab.

One thing which did change, musically, was we lowered our borders, being as the internet is outernational and local bands were now being watched by people from four corners of the world, Devizine began reviewing music sourced worldwide. Fair enough, innit?

The bleeding hearts of isolated artists and musicians, no gigs gave them time on their hands to produce some quality music, therefore our focus shifted to reviewing them, although we always did review records. Early local reviews of 2020 came from NerveEndings with the single Muddy Puddles, who later moved onto an album, For The People. Daydream Runawaysโ€™ live version of Light the Spark and Talk in Codeโ€™s Like That, who fantastically progressed through lockdown to a defining eighties electronica sound with later singles Taste the Sun and Secret.

We notified you of Sam Bishopโ€™s crowdfunding for a quarantine song, One of a Kind, which was released and followed by Fallen Sky. Albums came too, we covered, Billy Green 3โ€™s Still in January, and The Grated Hits of the Real Cheesemakers followed, With the former, later came a nugget of Billy Greenโ€™s past, revealing some lost demos of his nineties outfit, Still, evidently what the album was named after.

Whereas the sublime soul of Mayyadda from Minnesota was the first international artist featured this year, and from Shrewsbury, our review of Cosmic Raysโ€™ album Hard to Destroy extended our presence elsewhere in the UK, I sworn to prioritise local music, with single reviews of Phil Cooperโ€™s Without a Sound, TheTruzzy Boysโ€™ debut Summertime, Courage (Leave it Behind), a new single from Talk in Code, and for Daydream Runawaysโ€™ single Gravity we gave them an extensive interview. This was followed by Crazy Stupid Love and compiled for an EP, Dreamlands, proving theyโ€™re a band continuously improving.

April

Probably the most diverse single around spring though was an epic drum n bass track produced right here in Devizes, featuring the vocals of Pewseyโ€™s Cutsmith. Though while Falling by ReTone took us to new foundations, I ran a piece on the new blues sounds locally, as advised by Sheer Musicโ€™s Kieran Moore. Sheer, like all music promoters were, understandably, scrambling around in the dark for the beginnings of lockdown, streaming stuff. It wasnโ€™t long before they became YouTube presenters! The Sheer podcast really is something special, in an era leaving local musicians as dry as Ghandiโ€™s flip-flop, they present a show to make โ€˜em moist!

Spawned from this new blues article, one name which knocked me for six, prior to their YouTube adventures, was Devizes-own Joe Edwards. I figured now I was reviewing internationally; would it be fair to local musicians to suggest a favourite album of the year? However, Joeโ€™s Keep on Running was always a hot contender from the start, and despite crashing the borders on what we will review, I believe it still is my favourite album of the year.

Other top local albums, many inspired from lockdown came flowing, perhaps the most sublime was Interval by Swindonโ€™s reggae keyboardist virtuoso, Erin Bardwell. The prolific Bardwell later teamed with ex-Hotknive Dave Clifton for a project called Man on the Bridge.

Perhaps the most spacey, Devizesโ€™ Cracked Machineโ€™s third outing, Gates of Keras. Top local singles? Well, George Wilding never let us down with Postcard, from a Motorway, and after lockdown reappeared with his band Wilding, for Falling Dreams and later with a solo single, You Do You. Jon Amor was cooking with Peppercorn, which later led to a great if unexpected album, Remote Control.

There was a momentary lapse of reason, that live streaming was the musical staple diet of the now, when Mr Amor climbed out onto his roof to perform, like an ageless fifth Beatle. Blooming marvellous.

Growing up fast, Swindonโ€™s pop singer Lottie J blasted out a modern pop classic with Cold Water, and no one could ignore Kirsty Clinchโ€™s atmospheric country-pop goodness with Fit the Shoe.

Maybe though it wasnโ€™t the ones recorded before, but our musicians on the live circuit coming out with singles to give them some pocket money, which was the best news. I suggest you take note of Ben Borrillโ€™s Takes A Little Time, for example.

I made new friends through music, reviewing so many singles and EPs; Bathโ€™s Long Coats, and JAYโ€™s Sunset Remedy. Swindonโ€™s composer Richard Wileman, guitarist Ryan Webb, and unforgettable Paul Lappin, who, after a couple of singles would later release the amazing acoustic Britpop album The Boy Who Wanted to Fly. Dirty and Smooth and Atari Pilot too, the latter gave us to cool singles, Right Crew, Wrong Captain, and later, Blank Pages. To Calne for End of Story and Chris Tweedie, and over the downs to Marlborough with Jon Vealeโ€™s Flick the Switch. I even discovered Hew Miller, a hidden gem in our own town.

May

But we geographically go so much further these days, even if not physically much more than taking the bins out. Outside our sphere we covered Essexโ€™s Mr B & The Wolf, Limerickโ€™s Emma Langford, Londonโ€™s Gecko, and from the US, Shuffle & Bang, and Jim White. Johnny Lloyd, Skates & Wagons, My Darling Clementine, Micko and the Mellotronics, Typhoidmary, Frank Turner and Jon Snodgrass, Mango Thomas, Beans on Toast, Tankus the Henge; long may the list continue.

Bombino though, the tuareggae artist really impressed me, but I donโ€™t like to pick a favourite, rather to push us onto another angle. I began reviewing stuff sent via my Boot Boy radio show, and covered a ska scene blossoming in South America. But as well as Neville Staple Bandโ€™s single Lockdown, The Bighead, the Bionic Rats, and Hugo Lobo teaming up with Lynval Golding and Val Douglas, we found reggae in Switzerland through Fruits Records, the awesome Cosmic Shuffling and progressive 808 Delavega.

So much music, is it going on a bit? Okay Iโ€™ll change the record, if you pardon the pun, but not until Iโ€™ve mentioned The Instrumental Sounds Of Ruzz Guitarโ€™s Blues Revue, naturally, Sound Affectsโ€™ album Ley Lines, Tunnel Rat refurbing their studio, and Bristolโ€™s freshest new hip hop act The Scribes. Ah, pause for breath.

Oh, and outside too, we did get a breather from lockdown and tiers, all Jamies for me, Mr R Hawkins was my first outing at the Gate and followed by Jamie Williams and the Roots Collective. Sad to have missed Two Man Ting and when The Big Yellow Bus Rocked the Gazebo, but hey, I thought we were out of the deep water.

June

Splashed straight back in again; โ€œtiersโ€ this time, sounds nicer than lockdown. Who knows what 2021 will bring, a vaccine, two vaccines, a mesh of both despite being ill-advised by experts? Just jab me, bitch, taxi me to the nearest gig, if venues still exist, by spring and Iโ€™ll shut up about it.


On Artsโ€ฆ..

Bugger, Iโ€™m going to need Google maps to find my local boozer. But yeah, they, whoever they are, think weโ€™re all about music, but we cover anything arts and entertainment, you know? We previewed Andy Hamilton coming to Swindonโ€™s Wyvern, Josie Long coming to Bath, The Return of the Wharf Theatre, and the county library tours of Truth Sluth: Epistemological Investigations for the Modern Age. Surely the best bit was being sent a private viewing of a new movie, Onus, by the Swindon filmmakers who gave us Follow the Crows.

I shared poems by Gail Foster, and reviewed her book Blossom. Desperate for subject matter I rewrote a short story Dizzy Heights. I featured artists Bryony Cox and Alan Watters, both selling their wares for the NHS, Ros Hewittโ€™s Glass Art open studio, Small Wonders Art Auction in aid of Arts Together and Asa Murphy published a childrenโ€™s book, The Monkey with no Bum! I dunno, don’t ask.

July


On Foodโ€ฆ

Despite my Oliver Twist pleads, we never get enough on the subject of grub. January saw us preview Peter Vaughanโ€™s Chinese New Year dinner party in aid of Alzheimerโ€™s Support and with music from Indecision, we covered DOCAโ€™s Festival of Winter Ales, and looked forward to the Muck & Dunderโ€™s Born 2 Rum festival, which was cancelled.

From here the dining experience reverted to takeaways, and I gave Sujayโ€™s Jerk Pan Kitchen at big shout, and thought it best to wait until things reopened before singing Massimos’ praise, but I guess for now I should mention their awesome takeaway service next.

The Gourmet Brownie Kitchen supplied my welcomed Father’s Day gift, even nipped over to Swindon, in search of their best breakfast at the Butcher’s cafe, and recently I featured vegan blogger, Jill. Still though I need more food articles, as restaurants should take note, theyโ€™re extremely popular posts. Sadly, our while self-explanatory article, โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ did quite well, at third most popular, the earlier โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all; giving a sombre redefining of the term, dying to go out.

Back to my point though, food articles do so well, Iโ€™m not just after a free lunch, or maybe I am. But here, look, the fourth most popular article this year was our review of New Society, which was actually from 2019. Does lead us on nicely to the touchy subject of stats this year.

August


On Stats, Spoofs and the Futureโ€ฆ.

As well as an opportunity to review what weโ€™ve done over the past year and to slag off the government, I also see this rather lengthy article which no one reads till the end of, a kind of AGM. It should be no surprise or disappointment, being this is a whatโ€™s-on guide, and being nothing was actually on, our stats failed to achieve what we hit in 2019. Though, it is with good news I report we did much better than 2018, and in the last couple of months hits have given me over the stats I predicted. Devizine is still out there, still a thing; just donโ€™t hug it, for fuckโ€™s sake.

I did, sometime ago, have a meeting with the publishers of Life In, RedPin. You mayโ€™ve seen Life in Devizes or various other local town names. The idea to put Devizine into print is something Iโ€™ve toyed with, but as it stands it seems unlikely. My pitch was terrible, my funds worse. If I did this it would cease to be a hobby and become a fulltime business, Iโ€™d need contributors, a sales department, Iโ€™d need an expert or ten, skills and a budget for five issues ahead of myself, and I tick none of those boxes. A risk too risky, I guess that’s why they call a risk a risk, watching the brilliant Ocelot reduced to online, publications suffer, the local newspaper house scrambling for news and desperately coming up with national clickbait gobbledygook, I know now is not the time to lick slices of tree with my wares.

So, for the near future I predict trickling along as ever. Other than irrational bursts of enthusiasm that this pandemic is coming to an end, Iโ€™ve given in updating our event calendar until such really happens. And it will, every clown has a silver lifeboat, or something like that.

September

Most popular articles then, as I said, desperation to return to normal is not just me, โ€œEat Out to Help Out, Locally, Independently,โ€ was our highest hitting of all, whereas โ€œWe Cannot Let our Young People go Hungry; those locally rallying the call to #endchildfoodpoverty,โ€ came in third. Nestled between two foodie articles our April Fools spoof came second. As much as it nags me, I have to hold up my hands and thank Danny Kruger for being a good sport. He shared our joke, Boris to Replace Danny Kruger as Devizes MP.

We do love a spoof though, and given a lack of events, I had time to rattle some off, A Pictorial Guide to Those Exempt from Wearing a Facemask, Guide to Local Facebook Groups pt1 (never followed up) The Tiers of a Clown, Sign the Seagull Survey, Bob! and Danny featuring again in The Ladies Shout as I go by, oh Danny, Whereโ€™s Your Facemask?! all being as popular as my two-part return of the once celebrated No Surprises columns, No Surprises Locked Down in Devizes.

Perhaps not so popular spoofs were The Worldโ€™s Most Famous Fences! and Worst Pop Crimes of the Mid-Eighties! But what the hell, I enjoyed writing them. 


On Other News and Miscellaneous Articlesโ€ฆ…

I was right though, articles about lockdown or how weโ€™re coping were gratefully received, and during this time, a needed assurance we werenโ€™t becoming manically depressed or found a new definition of bored. Devizes together in Lockdown, After the Lock Down, Wiltshire is not Due a second Lockdown, the obvious but rather than bleating on the subject, how we celebrated VE Day in Devizes & Rowde, the Devizes Scooter Club auctioning their rally banner for the NHS, Town Council raising ยฃ750 to support the Devizes Mayorโ€™s Charities, DOCA Announce Next Yearโ€™s Carnival & Street Festival Dates, DOCAโ€™s Window Wanderland, and a Drive-In Harvest Festival! to boot. Town Council making Marlborough High Street a safer place, all came alongside great hope things would change, and pestering why not: The State of the Thing: Post Lockdown Devizine and How We Can Help, Open Music Venues, or Do They Hate Art? Opinion: House Party Organiser in Devizes Issued with ยฃ10,000 Fine.

 If Who Remembers our First Birthday Bash? Saw me reminiscing, I went back further when raves begun to hit the news. Covered it with Opinion: The End and Reawakening of Rave, and asked old skool ravers Would you Rave Through Covid? But we also highlighted others not adhering to restrictions With Rule of Six and Effects on Local Hunting and Blood Sports, it was nice to chat with Wiltshire Hunt Sabs.

October

Controversy always attracts a crowd, but couldnโ€™t help myself highlighting misdoings. From internet scams, like The Artist Melinda Copyright Scam, tolocal trouble, Rowde Villagers Rally in Support of Residential Centre Facility, for instance, Sheer Musicโ€™s MVT Open Letter to Government, Help Pewsey Mum on her Campaign to free her Children from Abduction, important stuff like that. We try to help where we can, honest.

Most controversial though, me thinks, was our poor attempt at coverage of the international BLM issue. Iโ€™ve been waffling enough already to get into how I feel personally; been writing this โ€œsummaryโ€ for what feels like eons, time to shut up and advise you read these articles yourself, because no matter how you fair on the argument, xenophobia affects us all, even in the sticks. We therefore had a chat with BLM in the Stix and did a three-part look at the issue, the third part a conclusion and the middle bit, well, that came in light of Urchfont Parish Council turning down a youth art display; what a pompous notion highlighting the issue on a local level.

But campaigns and fundraising came in thick and fast, despite nought cash in anyoneโ€™s pockets to follow them up. I understand, but we featured Go Operation Teddy Bear, Devizes Wide Community Yard Sale, Hero Wayne Cherry Back in Action! Lucieโ€™s Haircut Fundraiser for the Little Princess Trust, Crusader Vouchers, Juliaโ€™s House Gameathon, Devizes for Europe launching โ€œSay #YES2ARealDealโ€ campaign, and of course, our superheroine Carmellaโ€™s ongoing campaigns.

November


In conclusionโ€ฆ.

It has, in conclusion, been a hectic year, without the need for live music reviews, though some mightโ€™ve been nice! Hereโ€™s to a better day. We reserve our right to support local arts, music, and business, whatever the weather, and pandemic. We offered you, on top of the aforementioned; Fatherโ€™s Day; Keeping Ideas Local, Floating Record Shop Moored on Kennet & Avon, Devizes Town Band Comes to You for Remembrance and Zoom Like an Egyptian: Wiltshire Museum Half-Term Activities! to name but a few in the wake of our move to online events, although theyโ€™ll never stream as effectively as being pissed in a pub alcove unable to find the loo.

We also did our easy-reading list type features which are the trend; Top Twenty Local Music CDs For Christmas and Fairy-Tale of New Park Street; And Better Local Christmas Songs! I went on my Devizine Christmas Shopping Challenge, and tried to tweak the website to include podcasts to fund our musicians.

Yeah, that one is put on hold, I couldnโ€™t do it as I saw able to, but it needs work and Iโ€™ve another plan up my sleeve, just takes a bit of planning is all, which I guess is why they call it a plan in the first fucking place! You did blag a Free Afro-Beat, Cumbia and Funk Mix out of the deal. Maybe I could do more, but upwards and onwards, Devizine is now operating as both international music zine and local affairs. I maybe could separate them, but this means building a new audience and starting over. I like it as it is, and besides, Iโ€™m open to feedback, love to hear what you reckon, and will promise to act on suggestions, which is more than I can say for this fucking, cockwomble-led government; just leave it there shall we?!

The only gripe is that I ask that you have to believe in what Iโ€™m trying to do and supply me with the news, what youโ€™re doing, creating or getting narked about, else I donโ€™t know about it; hacked off with Face-sodding-Book, see?

Sure, you could put your trust in a real journalist through all their generalizations and unbiased writings, and grammar errors, or you could try here, where we deliver more than just a pint of semi. Look now at the going back to school debate, you know, I know, we all fucking know, senior school kids can stay at home because they can look after themselves while parents go to work, whereas primary kids can’t, so have to go back to school. It has nought to do with the spread of the virus, and everything to do with what’s best financially, and that, my friends, is not only the way this government have applied regulations throughout, but also not the kind of truths you’ll be reading in the newspapers.

All hail Devizine then, please do; I’m trying my fucking best amidst the wankology of Britain’s governing regime. Iโ€™m planning to rock on for another year, trapped in Blighty with flag-waving, panic-buying tossers until weโ€™re queuing for bread or waging war on France like the good old days, namely the dark ages, letโ€™s see where it gets us; with or without loo roll.

No, I’m not bitter; just slightly narked at the difficulties made in making people laugh by these idiots, so I find it apt to aim my satirical guns at them.

December

Human Traffic; Richard Davies & The Dissidents

Gaining rave reviews and a new European audience, particularly in Spain, I confess Iโ€™m a little late for the party. How can I excuse myself, turkey-stuffing, abundance of toy packaging, putting batteries in gadgets and other Christmassy eggnog shenanigans? Nevertheless, Bucketfull of Brains Records released this album, Human Traffic by Wiltshire-based Richard Davies & The Dissidents back in June. Iโ€™ve only just caught wind of its timeless rock n roll splendour, anthemic and emotive, and Iโ€™m letting you guys know, if you didnโ€™t already.

Not to be confused with a movie about welsh clubbers, Human Traffic is pure road-driving rock. Maintaining a regressive, tried-and-tested rock formulae it never strides into experimentation but rides the eternal recipe with bells on. Iโ€™m getting UK-Americana crossover, the classic smooth eighties rockers, of Steve Winwood, Springsteen in all his Darkness/Born in the USA glory, Traveling Wilburys and particularly, Tom Petty & the Heartbreakers.

Thereโ€™s also a subtle hint of English punk, Heartbeat Smile exemplifies this though upbeat and jubilant, one cannot ignore a rawness of the Clash. My valuation overall comes to a head with Way of The Wild, probably the most beguiling, but this ten-track strong album rarely comes up for air, and never diverts off its chosen path. Ergo, if confident, driving, ageless rocking out is what you want, itโ€™s double-strength concentrate.

If clichรฉ abound doesnโ€™t matter, lyrical subjects matches the music, with long road to hearts, wild ways, getting under oneโ€™s skin etc. Yet maintaining the fashion is good, and they do it so, so well; it worked for Clapton, et all. This is why I think you, you with your black band t-shirt in the loft and memories of friendship bracelets up the arm, will love this album, perhaps even more than me. Because it flows, doesnโ€™t jolt metal unexpectedly at you, or push an unwanted genre down your throat with that one oddity, tentative track.

Thereโ€™s deffo something moreish about this, we want guitarist Richard Davies front and centre again, after years as a collaborator, gun for hire and band member, most notably with London bands The Snakes and Tiny Monroe, this is debut as lead vocalist and principal songwriter, but his background paid off. Also, the perfect band-gel of these โ€œdissidents,โ€ the backing of Daviesโ€™ friends, drummer Chris Cannon of Mega City Four and The Snakes, and bassist Tim Emery of Case Hardin and Last Great Dreamers, of whom Iโ€™ve not met since our schooldays. Fortuitously, itโ€™s nice to be reviewing something inspiring with a local connection, thatโ€™s the principal reason for blogging here.

โ€œRecording this album was something that Iโ€™d always wanted to do but never really got round to doing until now,โ€ Richard explained. โ€œSome of the songs are about me, some of them are about other people, but they all capture reality as I see it. I wanted to record an album that was about real life and with all the highs and lows that go with itโ€.

Richard began his career playing guitar for indie band Tiny Monroe in the 90s, recording several singles, an EP and an album for London Records, touring with The Pretenders, Radiohead and Suede and appearing at the Glastonbury, Reading and T in the Park festivals along the way. Following this, Richard recorded three albums with The Snakes: Songs From The Satellites, Sometime Soon and The Last Days of Rockโ€˜nโ€™Roll , as the band became major players on the UK Americana scene, picking up mainstream national airplay from the likes of Bob Harris and Mark Lamarr.

808 Delavega; Contemporary Dancehall, Swiss Style.

Not to be confused with Howard Rosen and Jerry Gordonโ€™s American jazz and blues record label of the same name, Evidence Music is a prolific contemporary reggae label with their recording studio in Geneva, Switzerland, but franchising and presenting many upcoming Jamaican artists. Ergo, while Iโ€™ve mentioned before the Swiss valuing archaic origins of reggae, with ska, rock steady and roots subgenres through labels like the fantastic Fruits Records, Helvetia also has a penchant for modern styles of Jamaicaโ€™s musical outpourings.

A decade prior to Bob Marley & The Wailers playing Zurich as part of their final Uprising tour, the presence of reggae was oven ready, in the seventies popular Swiss band Rumpelstilz produced Kiosk, with a definite reggae influence. Nowadays, the international market blends their own brand and traditions into reggae, and the Swiss are of no exception. Local artists Dodo and Jo Elle perform in the native tongue, and Zurichโ€™s Rote Fabrik club plays a key role in promoting reggae.

Still though, back across the ocean reggae is never stagnant and rarely dabbles in retrospection. Itโ€™s progressive. I look now to Wellington Smart, aka selector Freddy Krugerโ€™s Boot Boy Radio show after my own, to hear the latest trends via his label, Drop Di Bass and what I do hear is similar to Evidence Musicโ€™s DJ and producer 808 Delavega, on his self-titled debut album.

In tune with said progression, weโ€™ve come along way from the nineties divide between dancehall and lovers, through the millennial cross-over inclination to include dancehall toasting in US RnB and hip-hop tracks, and we find ourselves today with a sound almost void of offbeat and one-drop riddims antiquatedly associated with the reggae of Marleyโ€™s heyday. An era where Damien Marleyโ€™s anthological dancehall is more important than his fatherโ€™s. 808 Delavega embraces this, he’s passionate about hip-hop as well as dancehall, and founded Derrick Sound in the 2000s.

With Nicolas Maรฎtre and Nicolas Meury of Little Lion Sound, Derrick Sound was the mainstay for the formation of the Evidence Music label and it fast become Switzerlandโ€™s leading urban label. There the team involve themselves in a multitude of projects, 808 Delavega produces popular Jamaican artists such as Sizzla, Capleton, Morgan Heritage and Danitsa. Reflecting back on his excursions to Jamaica, he focussed on the innovative subgenres of afrobeat and trap to produce this fresh debut, and itโ€™s certainly that.

Iโ€™m not going to suggest this is for everyone, our retrospective preconceptions of reggae persist, Iโ€™m suggesting forward-thinking youth, maybe already partly allied via current pop trends in dancehall which seen Sean Paul featured on a Little Mix track, et all. But in essence this is diverse, experimental, and underground, pulling the boundaries of RnB grind and dancehall even tighter. There can even be intros here which ring of eighties electro and electronica, and relics of garage house; imagine David Morales producing dancehall and youโ€™re somewhere in the light of this interesting blend. How I think this works so well is the splinters of afro-beat, a beguiling genre Iโ€™m personally hot under the collar about.

Always held a penchant for dancehall too, though accepting the sparseness of the beats and uncompromising patois can sound alien to European and American audiences. 808 Delavega plays this down. The jargon is not misconstrued, and once the beat kicks in youโ€™ll hear nothing of the of scarcity of millennial dancehall, but riddims which ride along smoothly, like RnB. Dancehall artists established and upcoming feature, yet even when legendary Beenie Man toasts on the subject of election violence, it adopts this ambiently slick tenet. It may be rather glossy but this breaths wide-appeal, beyond reggae aficionados.

Charly Black offers possibly the sparsest track, Eesah perhaps the most sensual. Throughout though it never frenzies and takes it mellowly and euphorically. So yeah, I like it (despite it makes mi waistline feel old!) for its innovativeness, and freshness.

808 Delavega album backlinks

Tankus the Hengeโ€™s Luna Park

Londonโ€™s Tankus the Hengeโ€™s third studio album is released today (4th Dec.) Tis a quixotic rockโ€™nโ€™roll fable, a utopian realm of wonderment with ingenious prose and the composition of a variety performanceโ€ฆ.

Picked on this new release to scribe a few words about based upon Devizes Arts Festival organiser Margaret Bryantโ€™s thrilled expression when she leaked booking Tankus the Henge for the 2020 line-up, that sadly never was. Yet, sadder is the reality of the era, where so other many events didnโ€™t happen either, and the decline of live music venues. Such is the subject of this inimitable London-based groupโ€™s Luna Park, an album out today.

If the pandemic has been a catalyst for music production, and often the theme too, from all Iโ€™ve heard it generally focuses on the virus itself. Although Luna Park centres around the decline of music venues, an allegory for what is happening on Londonโ€™s Denmark Street and all across the UK, one should note while it may resonate of lockdown fever, it was actually recorded during the winter of 2019.

Though nothing comes across melancholic with Tankus, itโ€™s all clouts of glam-rock and funk wrapped in a showy, big top magnificence. They describe their sound as โ€œfive-wheeled, funk fuelled, open top, custom paint job, rock โ€˜nโ€™ roll jalopy that comes careering around the corner on a tranquil summerโ€™s day, ruining the silence and disturbing the bats.โ€ While rock n rolling songs blast, thereโ€™s refined moments, as with The only Thing that Passes Here is Time, but it’s gawdy big band fashioned horn-blowing. Picking it apart thereโ€™s so much on offer here, like a variety performance in one album, and for this, despite Iโ€™m grinch for glam, itโ€™s ingeniously composed and addictive.

Glitterlung, is borderline downtempo โ€œPortisheadโ€ triphop, for example, while the incredible Susie Sidewinder comes across as if Lloyd Cole and the Commotions wrote Sgt Pepper. Of course, it relies heavily on the glam side of rock n roll, but thereโ€™s rudiments of everything; Deacon Blue to Zappa is showing a bit shoulder here. Each influence it throws into the melting pot is taken with a pinch and is wholly fun. Particularly noted for the amusing element, Staying on the Side of the Dirt was the tune which swayed me, itโ€™s terribly Dennis Waterman theme tune fun, and I mean this is a good way! Chas n Dave are legends, given electric guitars and told to work with Noddy Holder, you might get something along similar lines.

During listening I pondered if this rock opera, and decided more on rock circus. I usually reserve that fairground comparison for the two-tone sound of groups akin to Madness, but it applies here too. Itโ€™s not a concept album as such, more a vision. A fantasy of a realm where creativity is celebrated and live music thrives. A place where venue closures are a thing of the past, and corporate gentrification is a non-entity. A refuge from greed and capitalism, and the salvation of independent music, free thought and good-times, packaged in dark, wry satire with a neon glow.

Speaking about the underlying themes at play, frontman Jaz Delorean said, โ€œI donโ€™t think the public knows the entire truth when it comes to the hardships and thin margins of running a venue, and most of the time we donโ€™t want them to. They go out to have a good time and forget about life for a while. Thousands of people work all hours to keep venues, and festivals alive, and at the moment all of it is under threat. The ripples will be felt in every household eventuallyโ€ฆ We learned and started honing our skill in Denmark Street, in clubs like 12 Bar Club and Alleycat, both of which have closed. Jamboree, Passing Clouds, The Peel, 14 Bacon Street, Madame Jojoโ€™s. All these venues were haunts of ours and are now closed permanently too.  We need to support these small venues so much more.โ€

Yet Luna Park is more then the sum of its parts, thereโ€™s gorgeous portrayals and the well-grafted, thoughtful characters of a novel, in disordered or decisive situations. If anything twisted my opinion on flares and glitter itโ€™d be this very entertaining scrapbook of sounds.

https://www.tankusthehenge.com


Top Twenty Local Music CDs For Christmas

Bag yourself some of our recommended long players for your friends, family or even yourself this Christmas and help a local musical talent.

Look at him, Grumpus Maximus, slouching on his sofa-throne investigating the inside of his y-fronts with one hand and clasping a tinnie with the other. Heโ€™ll need Google maps to find his local watering hole when things return to normal, and if he has to endure Kirstie Allsopp for one more half-hour episode heโ€™ll threaten to relocate to his shed for the yule. What do you get for someone like pops this Christmas, or anyone whoโ€™s lost the will of independent thought due to the modest inability to enjoy the odd fellow and guitar down their pub of choice, for that matter?

How about this suggestion; buy a CD from a local hero? Because not only will you cheer the old bugger up enough for him to consider shaving once a week, but youโ€™ll be putting your hard-earned shekels into the hands of a local independent creative sort, who, without revenue from standing in a draughty pub alcove singing the blues, really needs some pocket money right now.

Itโ€™s not my idea, I say let them scavenge for dead flies on their filthy windowsills while insanely mumbling a ditty about minute pixies invading grassroot venues. Thanks to our reader, George for this suggestion. Of course, this is the 21st century, or so Iโ€™ve been informed, and nowadays next to nothing is physical. Much as we find the online format or download accessible, you canโ€™t wrap an online stream up with a pretty bow and put it under your tree. So, our list is restricted to the ones putting out a CD copy; thatโ€™s a compact disc to youngsters, or even, dare I say it, vinyl, you know, some archaic listening format.

But how, ye cry. Iโ€™m going to provide links where I can, but another shot is your local indie record store; for if they care one iota for music, theyโ€™ll stock a range of locally sourced sounds. If they donโ€™t tell them to, without swearing.

Hereโ€™s an ideal template to use: โ€œthe brilliant, one and only Vinyl Realm Music Store in old Devizes town stocks many local artist discs, so I suggest if you want to be half as good as them, youโ€™d consider it.โ€ And that, is one good place to start; open the yellow door on Northgate Street, turn to your right and by the window thereโ€™s a stand with some local outpourings on. If you get lost ask one of the owners, they bite but not hard. I know, shopping is beneath you, be aware they have an online service and will deliver, cos theyโ€™re nice like that.

Am I waffling now? I tend to tangent, like to, did you come here for that, or are you looking for some music options? Very well, sit quietly, or stand noisily if you like, and I shall beginโ€ฆ. hopefully before Boxing Day. But oi, bear in mind this isnโ€™t a top twenty countdown, I just used that as the title for clickbait. Iโ€™ve not put these in any kind of hierarchy or rank, just listed alphabetical by artist name, to prove I know my A, B, C!

Billy Green 3: Still

Released at the beginning of this year, Devizes post-Britpop trio produce a beguiling sound that couldโ€™ve come straight from indieโ€™s finest hour. Itโ€™s scooterist, with a taste of mod and soul, but itโ€™s passionately scribed and delivered proudly. Review. Buy@ Vinyl Realm.

Chris Tweedie: Reflections

Affectionately reviewed at the beginning of the month, Melksham-based monarch of chill, Chris Tweedie has produced a mind-blowing album. If you like Mike Oldfield, Crosby, Stills and Nash, or George Harrison, you need to check this one out. Review. Buy.

Cracked Machine: Gates of Keras

Hometown space-rock has never been so good. This is the outfitโ€™s second album, and its journey of spacey rock like no other. Fans of Pink Floyd or the Ozrics will relive every minute of their misspent youth and clamber to the loft to find their fractural posters and chillum! Review. Buy.

Erin Bardwell: Interval

This year, without his Collective, Swindonโ€™s rock steady keyboard virtuoso blessed us with this unique lockdown inspired bundle of distant memories over sparse two-tone and reggae beats. If you think this genre can be samey, youโ€™ve not heard Erin Bardwell. This album is one of a kind. Review. Buy.

George Wilding: Being Ragdollian

Let the arguments begin, this 2013 EP is the definitive George Wilding. One not to collate tracks to an album, the EP may only contain three songs, but their brilliance makes up for at least ten mediocre ones. You can grab this at Vinyl Realm.

Joe Edwards: Keep on Running

Whilst itโ€™s had glowing international reviews, locally I feel this is severely unacquainted. Though I did say at the time of review Iโ€™ll be hard pressed to find another โ€˜album of the year,โ€™ back in May, this still stands. This is melancholic Americana played out with utter perfection, and I will never tire of its authentic and sublime stories. Review. Buy.

Jon Amor: Colour in the Sky

Though we fondly reviewed Jonโ€™s latest album just yesterday, like I said, thatโ€™s one which is only on download at the moment. Take his 2018 masterpiece of quirky electric blues as red, red as his telephone; this is the must-have album for every fan of local music. You can buy this in Devizes Books as well as Vinyl Realm, or you can buy online. Hereโ€™s a review from all those heavenly years ago, when Devizine was funny.

The King Dukes: Numb Tongues

Out in 2018, if you like your music with a taste of old-timey soul and blues, The King Dukes of Bristol do this with bells on. Numb Tongues is lively and memorable. Review. Buy.

Little Geneva: Eel Pie

Freshly produced and lively sixties mod-blues-rock done supremely, Little Geneva are Bristol-based but the Docherty brothers have the Devizes connection, enough to debut this down the Bear’s Cellar Bar a few years ago, and boy, was it a sweaty and memorable night! Buy.

Mr Love & Justice: Watchword

Mr Love himself, Swindonโ€™s Steve Coxโ€™s 2009 album is a must, a classic, even though I havenโ€™t reviewed it, because itโ€™s dated, its gorgeous acoustic goodness extends beyond atypical country-rock sounds and branches into many genres, even bhangra at one point. You can find this in Vinyl Realm for a mere fiver.

Mr Tea & The Minions: Mutiny!

Oh my, this chunk of energetic Balkan-ska influenced Bristol folk is breathtakingly good. I reviewed it last year, havenโ€™t gotten over it yet! Review. Buy.

Paul Lappin: The Boy Who Wants to Fly

Breezy Britpop acoustics shine throughout this ingeniously written debut from Swindonโ€™s Paul Lappin. Highly recommended and all-round good vibes. Review. Buy.

Phil Cooper: These Revelation Games

Trow-Vegas legend, Phil Cooper really gives it some with his latest offering, rocking out the lockdown. Review. Buy.

Ruzz Guitarโ€™s Blues Revue: Live at the Louisiana

No list would be complete without a bit of Ruzz Guitar and the gang; guitar by name and nature. This album captures his skill where he does it best, live. Rock n roll the night away as if you were there; this is a must have album for blues and rock n roll fans. Review. Buy.

Sound Effects: Everyday Escapism

Self-penned Irish-fashioned folk at itโ€™s most divine, Swindon duo Cath and Gouldy classic here. This is sweet and thought-provoking. Review. Buy.

Strange Tales: Unknown to Science

Iโ€™m unsure how old this is, but I do recall Pewsey singer Sally Dobson running back to her car to get me a copy at the long-lost Saddleback Festival. With Paul Sloots, Strange Tales are a wonderful if occasional electronica gothic-rock duo, and Unknown to Science is a spookily glorious album. Review. Buy or at Vinyl Realm.

Talk in Code: Resolve

True, Swindonโ€™s darlings of indie-pop have come along way since this 2018 album, fashioned closer each time to retrospective eighties electronica, Resolve stands as a testament to their dedication, but more importantly highlights their roots in indie-rock. Review. Buy.

Tamsin Quin: Gypsy Blood

Man-about-Devizes, surely, youโ€™ve a copy of this already? Tamsin Quinโ€™s debut 2018 debut album is something kinda wonderful, eight self-penned nuggets of goodness introduces you to the now one third of the Lost Trades and personifies anything that was awesome about our local music circuit. A local classic. Review. Available in Vinyl Realm, or online.

The Lost Trades: EP

When three of our most loved local musicians officially bonded, debuting at the Pump just prior to lockdown, it was clear all their talents combined into this one project and could only ever be a winner. We highly anticipate the debut album, but for now, this five track EP will whisk you to a better era of folk harmonies. All original songs, thereโ€™s a taste of Phil, Jamie and Tamsinโ€™s song writing talents, though each track wouldnโ€™t look out of place on the Oh Brother Where Art Thou? soundtrack. Review. Buy.

Ya Freshness & the Big Boss Band: Knockout

Boots and braces time, get skanking to the loud and proud ska sound of Ya Freshness and the Big Boss Band. This is joyful, fun and chockful of ska and rock steady riddims from 2018. We eagerly await a new double-album promised from these Bristol misfits of ska, but for now, this is great. Review. Buy.


No way is this list exhaustive; Iโ€™ve basically run this off adlib and will no doubt suddenly think, โ€œoh bugger, I forget this or that.โ€ But Iโ€™ve nailed it down to twenty, which was tricky. Do feel free to add a comment on something I might have overlooked, and apologises if I did. Remember, it should be available as physical copy. This is an interactive article!

Message my advice line if youโ€™re still in the dark for a pressie for Dad. Helpful hint, look through his old records. If you see one of a pig floating above Battersea power station, or a plain black album with a spectrum shining through a triangle, try Cracked Machine. If you see lots of black and white chequered patterns or a naked girlโ€™s torso with Tighten Up written across her abdomen, try Erin Bardwell or Ya Freshness. And if you see a rather splendidly busty woman carrying a hosepipe and various decorating equipment, try The Lost Trades; best of luck!


Jon Amorโ€™s Remote Control

Pop is pop for a reason. Without sounding like a government soundbite, what I mean is, pop, as in the music, is popular for good reason; the catchiness often in the simplicity, which consequently sells. And if it sells, itโ€™s pop, regardless of the many subgenres and youth cultures which an era carries pop along, itโ€™s always continued this ethos. Itโ€™s only a particular โ€œgenreโ€ for the time being. I use the term as loosely, then, as it should be used. Feel free to shudder at modern commercialisation, but thatโ€™s been building for decades and you shouldnโ€™t let it put you off; youโ€™ll miss something special because you preconceive its popularity is a hallmark from a polluted industrial mechanism.

The above annotation I write because I donโ€™t want you to run off with the idea, Iโ€™m talking contemporary chart hits when I use the term pop. Out of the assortment Devizesโ€™ legendary bluesman Jon Amor offered on his last major album two years ago, Colour in the Sky, I tended to cherry-pick those deviating from his traditional electric blues style, and they promptly became the standout tracks, Illuminous Girl and Red Telephone. He need not appease his devotees; they follow this modification with bells on. Because, fundamentally itโ€™s more โ€œpop,โ€ in so much as itโ€™s appealing for this beguiling ease.

This transitory, perhaps, shift for Jon was stamped on the last single, the incredibly addictive Peppercorn, a lively upbeat and Elvis Costello fashioned rock, without the leftist post-punk political angle of yore. Now the single has been followed up with an album, Remote Control, impulsively launched without the need for the usual pe-hype. All the tunes follow the aforementioned style of Peppercorn, the penultimate track on the collection. Dammit, this is good, but you knew it would be.

News of it literally arrived via Facebook post yesterday, โ€œthis year,โ€ Jon posted, โ€œIโ€™ve been spending a lot of my weekends recording some songs, and I appear to have made an album.โ€ And as if by magic, today (27th November) itโ€™s a thing. So, was it as spontaneous as it sounds, a result of lockdown?

โ€œI suppose initially it was the result of lockdown,โ€ Jon replied, โ€œyeah, I was working all week and had nothing to do at weekends!โ€ If there’s only one good thing to come out of all this, I noted, thinking Erin Bardwellโ€™s Interval album in particular, is that artists have had the time to write and create, and there’s good material flowing from all genres. Then I waffled some similarities in a piece I was reading about the great plague, where it modernised and revolutionized both folk and classical music, possibly gave birth to the renaissance.  

โ€œI think a lot of people embraced the spare time and the isolation and turned it into a positive,โ€ Jon added. โ€œNow Iโ€™m picturing video conference calls and zoom quizzes in the 1600s…โ€

While Jon is clearly experimenting, dabbling this more pop sound with Remote Control, itโ€™s also temptingly raw and punchy. There are some retrospective glances, the opening tune Song and Dance is a catchy three-minute Merseybeat blast, whereas If a Million is demarcated Curtis Mayfield funk. 03 57961 (Thatโ€™s my Number) bounces like a quirky ZZ Top, whereas Robot Skin follows, using the guitar like white noise, overridden with a Gecko styled rap.

Iโ€™m intrigued now, wondering where this will take me next, and even if Next plays out the downbeat trip-hop style, akin to Portishead meeting Costello, it remains definitively Jon Amor. Just a Bomb booms power pop, with a singable chorus after just the one listen. Weโ€™re one track down before Peppercorn, youโ€™d be mistaken by the title that this is locally-themed, Moonraker, is Bowie spacey and maybe a reference to the Bond movie rather than a Devizes pond fable.

Image by Nick Padmore

The finale rings with everything weโ€™ve suggested at the start, this is poptastic for catchiness. Do Bop-Bop is staunchly irresistible. Exotic bongos, Californian beatnik surfer goodness; ideal daydream for wintertime locked down in England!

In conclusion, I need not convince Jonโ€™s lifetime fans, they will buy it and love the fact they have. For others, this is an interesting progression with great prose, itโ€™s joyful and quirky and explores styles without selling-out or shifting the central pivot point, which is Jon Amor, da man rocks! All the above basically adds up to; this is highly entertaining on the ears and persuasive on the feet to tap.

     


Beans on Toast Knee Deep in Nostalgia

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

Though if Jay McAllisterโ€™s hometown evokes my own childhood memories, his forthcoming album, Knee Deep in Nostalgia will for all. Itโ€™s released, as all his annual studios albums are, on his birthday, the 1st December. Yet whereas Braintreeโ€™s Prodigy were sovereigns of progression, thereโ€™s nothing particularly ground-breaking about Jay, from the same Essex community, whoโ€™s tongue-in-cheek stage name, Beans on Toast suggests. But it makes up for it in highly entertaining folk songs which doesnโ€™t take themselves too seriously.

As with Frank Turner, who incidentally guested on and produced previous Beans on Toast albums, I jumped on the chance to review this on the endorsement from Sheer Musicโ€™s Kieran Moore, and just as before, perhaps more so, he didnโ€™t let me down. For as a folk singer-songwriter Iโ€™d evaluate Beans on Toast isnโ€™t Tammy Wynette, or Willie Nelson, of whom he takes a nod to in a song on this album, but he is the best thing at least since the sliced bread in his namesake. He is Beans on Toast, indefinitely, and I love beans on toast. you can add cheese, you can add little sausages, but as it remains, none matter, simplicity is key; just beans, on two slices of toast, it works.

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

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

Knee Deep in Nostalgia isnโ€™t going to wow you with technological advances in sound, it isnโ€™t going to whisk you to a fantasy world. Iโ€™d even say thereโ€™s sometimes clichรฉ with the subject matter, but when done itโ€™s done uniquely, insightfully reflective. Thereโ€™s ingeniously uncensored meagre material here, offering a range aside the general theme of nostalgia, particularly the upbeat and carefree Coincidence, which rings almost on a level of Madness for fairground joy.

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

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

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

I mean my offspring, they donโ€™t even like beans on toast, right, which I think is abnormal; all kids like beans, it should be enforced! Such should this album. And it comes with an accompanying album, The Unforeseeable Future, which I could only speculate about, as the title suggests, as they didnโ€™t send that. On the basis of this one though, Iโ€™m musically smitten.

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


You Do You, George

A message goes ping from that George Wilding, heโ€™s got a new single out since when we reviewed his band Wildingโ€™s last outing. Are they building up to an EP? I asked, and got the reply, this is a solo one. Then, nought, despite saying if you send it, Iโ€™ll bless it with some words. Thatโ€™s our George, never too hot on a press release, and if I criticise myself for being a technophobe, Iโ€™m Zuckerberg by comparison! So, I gotta go find it on these blasted streaming sites, but you know, and he does too, Iโ€™m going to, even if Dave Franklyn got in before me with a super review. Blinking Loreal; he’s worth it!

I take the chance not to read anything Dave has written prior to scribing something myself, if itโ€™s on the same subject. Such an expert with words, my penmanship pales in contrast. Still, I got to say a little something, George being such a popular charismatic and approachable guy, aside his natural flare and virtuosity, musically. ย ย ย ย ย 

Encouragement and reassurance for a falling star, practically rather than spiritually, seems to be the subject for You Do You, a delicate resonance in such a fashion only George could execute. Perhaps the most melancholic yet, opposed to the bouncy country acoustic of some of his earlier classic bombasts, it contains no skilfully-placed vulgarity, itโ€™s mellowed, inspired and stunning. Itโ€™s crying out for an emotional upsurge, yet whispered with sincerity, the key to a great song, and George nails it, unsurprisingly.

The kind if performed live it would suspend the whole venue in awe, as if time suddenly stopped and nothing mattered other than counselling this lone girl. Everything moral spells this character needs help, yet by natural testosterone, perhaps her beauty distracts; a perpetual cycle of bad karma. Like any truly-written masterpiece, thereโ€™s obviously a private connection with the author, yet the listener identifies by conjuring a similarity to a particular own experience, in this case be it a girl, your mind locates the ideal suspect. Yeah, I know that chick, you contemplate, least one too close for comfort!

Every need then, to check it out for yourself. George Wildingโ€™s You Do You is out now, across all streaming platforms.

https://open.spotify.com/embed/album/3PQr8HIQjtQBv6f9WsC7hb


Shiine Weekender Festival 2021

Imagine, a festival. Right now, imagining Joe Bloggs from the down the road clonking the ivory and singing a ditty down your local is wishful thinking. Itโ€™s hard to envisage an autumn a year away, and I accept, not ideal to invest in a ticket until you are sure this fiasco is blown over. However, if we donโ€™t least assume it will have and buy advance tickets for events, there will be nought sorted for when we can and are itching to go out.

While festivals, for me, are something of a past reality, I just know Iโ€™m going to aching to get out as much as feasible. So, we have to tip our hats at those ambitious organisers trying to arrange bonza events on the hope things will return to relative normal. Hereโ€™s a blinding example, the Shiine On Weekender at Butlins Minehead. Itโ€™s not due until November 2021, when if it hasnโ€™t blown over by then, I think weโ€™ll be clinically insane! Check out the knockout line up.

The festival returns for itโ€™s sixth year, with Feeder, Cast, Peter Hook & The Light, The Coral, Black Grape, Glasvegas and The Bluetones all headlining. Plus 808 State, Asian Dub Foundation, Sice Boo & The Radleys, Nedโ€™s Acoustic Dustbin, Jim Bob, Chameleons, The Pigeon Detectives, Milltown Brothers, Neville Staple Band, and more. Ding dong, I say, tickets are on sale now.

The rest of this piece Iโ€™m copy and pasting direct from the press release, save a bit of typing! Go knock yourselves out.

Staking its place as a stalwart of the UKโ€™s Winter festival scene, the Shiiine On Weekender returns for its sixth instalment on the 12th, 13th and 14th November 2021 and boasts an unbeatable crop of indie and dance as always.

Taking over Butlinโ€™s Minehead Arena for a long-weekend escape of music and mayhem, the fest will be hosting a trio of legendary headline acts of the highest order…

Getting the festival underway in style, Friday night headliners FEEDER will see dynamic duo Grant Nicholas & Taka Hirose blasting through over 20 years of hits, from โ€˜Buck Rogersโ€™ to โ€˜Just A Dayโ€™ and airing cuts from their revitalised comeback LP of 2019: โ€˜Tallulahโ€™. Marking the 25th anniversary of their seminal โ€˜All Changeโ€™ album, Saturday night will see CAST top the bill with their electrifying live show to remind us just why they were crowned โ€˜The Who of the 90sโ€™; expect a healthy dose of classics in a confirmed Greatest Hits set too. PLUS, closing-out the Shiiine On Weekender with a Sunday showdown of pure substance: PETER HOOK & THE LIGHT will bring a set brim-full of Joy Division and New Orderโ€™s very finest moments.

Giving plenty of reasons to get down the front early, there will be superior supporting sets across the weekend from some long-established festival heroes. Merseyside psych-pop sorcerers THE CORAL (Friday), Shaun Ryderโ€™s rabble-rousers BLACK GRAPE, plus a long overdue return from Scottish shoegazers GLASVEGAS (Sunday), will throw down the gauntlet to the headliners each night.

And of course, the mainstage is just the tip of the iceberg. Revealing its full and complete billing today, the Shiiine On Weekender will pack the holiday park with incendiary indie acts from all eras….

Thereโ€™ll be sets by Brit-Pop powerhouses like THE BLUETONES who will be arriving for an all-guns blazing greatest hits slot; PLUS, a Shiiine On 2021 festival exclusive set from SICE BOO & THE RADLEYS, which will see Sice reunited with the Boo Radleys rhythm section Tim Brown and Rob Cieka to โ€˜Wake Up, Boo!โ€™ and their many dormant classics at long last. There will also be sets from The Seahorsesโ€™ CHRIS HELME, JAMES ATKIN (of EMF), REPUBLICA, BENTLEY RHYTHM ACE, MOLLY

HALF HEAD, THE CLONE ROSES, and THE SPACE MONKEYS will all be flying the flag for that seminal era of British music.

Elsewhere, 21st Century alternative torchbearers like HUMANIST, THE PIGEON DETECTIVES and GOLDIE LOOKINโ€™ CHAIN will be showcasing their own tried-and-tested modern festival anthems.

Showing the kids how itโ€™s done, vintage indie veterans including: CHAMELEONS, NEDโ€™S ACOUSTIC DUSTBIN, JIM BOB (of Carter The Unstoppable Sex Machine), THE MILLTOWN BROTHERS, and the JAMES TAYLOR QUARTET will be bringing timeless tunes and experience to the fest.

And with a packed programme of music day and night, the entertainment wonโ€™t stop when the mainstage lights go up. Throwing their doors open from 10pm – 4 am, the Shiiine On Weekenderโ€™s Centre Stage and Reds Stage promises to be the-place-to-be for top tunes late into the night. Full live sets from proven party starters inc. Acid House innovators 808 STATE, original rude boy NEVILLE STAPLE BAND (ex-The Specials), plus an unmissable closing party set from Electronic/Dub overlords: ASIAN DUB FOUNDATION. In addition, late-night slots from ALISON LIMERICK, DUB PISTOLS, SHADES OF RHYTHM, SUNSCREEM, plus DJ sets from SLIPMATT, JON DASILVA (Hacienda), RHODA DAKAR (Bodysnatchers), radio legends STEVE LAMACQ (BBC 6 Music) and CLINT BOON (XS Manchester / Inspiral Carpets) will ensure thereโ€™s good reason to keep the candles burning at both ends.

Announcing nearly 80 artists and performers today, the Shiiine On Weekender can also confirm a huge array of new and established acts who will also be making tracks for the seaside resort come this November. Across the weekend, look out for: ELECTRIC SOFT PARADE, DEJA VEGA, TOM HINGLEY, MARTIN BLUNT, ANDY BUSH, HOLY APES, MATT McMANAMON, THE WALTONES, SECTION 25, THE CHESTERFIELDS, MIDWAY STILL, THE CLAUSE, THE SHAKES, PSYCHO COMEDY, DERMO, DJ MILF, PHIL SMITH, LEO STANLEY, SHADER, UKE2, OASIS (UK), TAM COYLE, DIRTY LACES, CUT GLASS KINGS, THE ROOM IN THE WOOD, THE JACQUES, CROSS WIRES, THE IDLE HANDS, THE MALAKITES, GOOD MIXER, TRAPPSY, DAN FULHAM, WELSH LEE,  LEE HOWE,  DJ STARKEY, DAVID DUTTON, MISFIT MAN, ALEX LIPINSKI, NIRVANALOT, and STEVE ADJ; all of whom will be making the festival’s sixth edition its biggest and best yet.

Itโ€™s not all just about the bands either. The Shiiine On Weekender will also be throwing one big holiday park house-party to rival the best, crammed end-to-end with even more entertainment inducing: CLUB NIGHTS, POOL PARTIES, LIVE COMEDY, CINEMA SCREENINGS, a SOCIAL RECLUSE EXHIBITION and much, much more. 

TICKET DETAILS

Taking place 12th, 13th, 14th November 2021, tickets and packages for the SHIIINE ON WEEKENDER 2021 at Butlinโ€™s Minehead Arena, Somerset are on sale now. All packages include 3 nightsโ€™ accommodation on-site at the Butlin’s Minehead Holiday Resort. (A deposit scheme is also available for customers who wish to pay by instalments.)

PURCHASE TICKETS HERE:

EXCLUSIVE EARLY BIRD DISCOUNT

** PLUS, early bird customers who use the promo code NCB10 will also be offered a discounted rate. This is an 18+ event only. For more T&Cs please visit the website.


1/2 Dove – 1/2 Pigeon with Micko and the Mellotronics

Had to chuckle to myself, trying to find this album stored on my phone I kept thinking about Mike & The Mechanics! Just, No, leave it; nothing of the sort, Londonโ€™s Micko and the Mellotronics debuted last year with the single The Finger, the accompanying album 1/2 Dove – 1/2 Pigeon is due for release Friday (27th November.)

Weโ€™ve come so far since Televisionโ€™s Marquee Moon, neo-avant-garde anarchism comes across cleaner this decade. You Killed My Father, now you must die, is a tune lesser aggressively executed than you might imagine from the lyrics. Thereโ€™s a fairground, vaudeville style to Micko & The Mellotronics, wrapped in wryness, at times; which you donโ€™t get with Sonic Youth, but unpredictably often spawned cringeworthy from the Velvet Underground.

Melancholic free, though; thereโ€™s nothing retrospective on offer, this is post art-punk, a distant cry from Talking Heads, feistier, it floors the vox, elevates to high-fidelity and fires on all four cylinders. At times it shadows Pulp, and at others Blur creeps in, but throughout, itโ€™s fresh and exhilarant. Welcome to the eccentric and individual biosphere of Micko Westmoreland, actor and creative, hitherto renowned for solo releases and material as The Bowling Green.

The Mellotronics initially began playing out as a three-piece with founding member Nick Mackay (drums) and the enigmatic addition of Vicky Carroll (band โ€œwicket keeperโ€ and bass player). In 2018, the band were joined by revolutionary guitarist Jon Klein (Siouxsie & the Banshees/Specimen, and founder of the iconic Batcave club) who also adds his flare to their upcoming debut.

A stellar array of special guest musicians feature too, including The Specialsโ€™ bassist Horace Panter (a friend & collaborator who has worked with Micko on an annual charity record alongside Rat Scabies for the last 7 years), horn impresario Terry Edwards (PJ Harvey/Madness/Nick Cave) and alternative violinist in excelsis Dylan Bates (Waiting On Dwarfs/Penge Triangle), plus the late Monty Python/The Rutles/Bonzos great: Neil Innes. Early videos for featured singles โ€˜The Fingerโ€™ and โ€˜Noisy Neighboursโ€™, have also seen the band working with actors Paul Putner (Little Britain) and Susy Kane (The I.T. Crowd, Gavin & Stacey) respectively.

ยฝ Dove – ยฝ Pigeon is elated trialling, chockful of historical and philosophical references, palpably paranoid of a modern apocalypse and merged in citations to pop-culture, at times rocking, others a tad unnerving. But while power-driven guitar impediments contribute to the discomforting moments, off-kilter horns counteract it with this sardonic glee.

Contradictory this arrangement puts your defences up, akin to walking into a modern art gallery not knowing what to expect. I wanted at times not to like it, as tracks like The Fear does what it says on the tin, but Good Friend is having-it joyously and bought me around. If I remain undecided itโ€™s due to my own personal preference, and have to tip my hat at the ingeniousness of the writing and composition. It took me some adjusting to fully appreciate, yet I feel those leaning harder to post-punk rock and emo-indie will take Micko & The Mellotronics as new idols.

This is especially true of the next single released from it, Psychedelic Shirt. A coming of age theme, eighties set, when the culturally cool was at loggerheads with Thatcherite careerism, and tribalism was rife on the dancefloors of the local disco. Micko sums his notions, โ€œPsychedelic Shirt tells the story of venturing to an out of hours school disco in a dishevelled scout hut in Leeds. Where Top Man flick heads had seized upon my newly procured paisley shirt and sought about destroying it. Iโ€™d taken it off because I was too hot, left it on a peg in the boyโ€™s loos. Later, I found the article, โ€˜mopped up in the fluid, screwed up in a ballโ€™ on the lino floor as the songโ€™s lyrics state. I was forced to make a choice between victimhood or empowerment but left contemplating shades somewhere in betweenโ€ฆโ€

Itโ€™s one slick album, razor-edged rockโ€™nโ€™roll meets avant-garde pop-art meets satirical Edgar Allan Poe short story, but in a cracker of fun.

PRE-ORDER HERE: Facebook: Twitter:


Youโ€™ve Been Mangoed; With Mango Thomas!

Vast developments in the later days of breakbeat house saw a split in the blossoming rave scene. Techno-heads being directed away from the newfound UK sound found solace in a subgenre dubbed โ€œhappy hardcore,โ€ whereas the trialling occurred in the dawn of drum and bass, or โ€œjungleโ€ as it was known at the time. Yet it was still underground and reserved for the party. No one considered a concept album, myself included, until I heard A Guy Called Geraldโ€™s Black Secret Technology. I bought it on a memory tip-off, I loved the late eighties acid house anthem Voodoo Ray. It was like splinters of drum n bass over an ambient soundscape, and wasnโ€™t for everyone, but while I was still gulping about it, Goldie released Timeless and the rest is history.

Creative outpourings too radical or experimental for the time are commonplace, and perhaps our necessity to pigeonhole excludes Manchesterโ€™s Mango Thomas. He emailed with a list of rejections from specific music blogs and radio shows, being if one part did, the rest of his new EP โ€œGoes De,โ€ out today (22nd Nov) didnโ€™t fit their restrictive agenda. Thereโ€™s part of me which says I donโ€™t blame them, this is a hard pill to swallow, juxtaposed randomly at breakneck speed, itโ€™s a roller-coaster alright; you have no control where itโ€™ll take you.

Mango Thomas throws every conceivable psychedelic genre of yore into a breakcore melting pot, and pours you a jug; if you take a sip you might as well down the whole thing, for it works fast, itโ€™s a trip and youโ€™re in it for the duration. You have to be, if only to wonder whatโ€™s coming next. And in that, it has to be one the most interesting things Iโ€™ll review here for a while. Yeah, it uses contemporary breakcore, but at times nods back to drum n bass of yore, but it funks too, it rocks, unexpectedly, and if you thought you could be shocked no more, it even mellowly bhangras at the finale, as if Ravi Shankar wandered in.

There are so many elements to contemplate in this hedonistic frenzy of chaos, yet with crashing hi-hats, stripped down rhythms, sonic belters, echoes and reverbs, it primarily relies on dub techniques absorbing industrial metal and hardcore. Imagine an alternative universe where the Mad Professor is remixing Bootsy Collins, but in this realm Bootsy actually fronts a thrash metal band, and Frank Zappa peers over the mixing board putting his tuppence in; something like that, but more bonkers.

Picking it apart, at times youโ€™ll contemplate Mango Thomasโ€™ location and hear shards of the Madchester scene, other points will wobble you over to the Butthole Surfers, for if it is industrial hardcore skater, itโ€™s done tongue-in-cheek. But it doesnโ€™t come over dejected, as such a genre archetypically does, rather showy and egotistical like a funkmaster general. The man himself explains the effect will leave you โ€œmangoed,โ€ Iโ€™ve a tendency to agree.

Itโ€™s four major tracks with reprises and clippits between, often Bonzo Dog Doo-Dah Band fashioned, bizarre, amusing or deliberately belligerent to the mainstream, in true counter culture fashion. Do I like it, though, thatโ€™s what you want to know, isnโ€™t it? Damn you and your demands, fuck, I donโ€™t know. Itโ€™s always going to be something you have to be in the mood for, certainly not drifting Sunday afternoon music to take a snooze to after a roastie. A younger me would lap it up, as it twists so unexpectedly. Any psychedelia gone before doesnโ€™t touch it for cross-genre experimentation, and for that, in my artier moods, I give it full points. A sensible somebody as Iโ€™d prefer to strive for might suggest itโ€™s too far out there. But it entertained me for sure, so it has its place.

Can I suggest you throw caution to the wind, listen and see how long you can bear to hold out for? If you like Tim Burton, Zappa or Lee Scratch Perry youโ€™ll be partly prepared. Try though, as the finale is something quite astounding and as an erratic mishmash it mirrors A Guy Called Geraldโ€™s Black Secret Technology for pushing new boundaries, but it mirrors Sgt Peppers, the Doughnut in Granny’s Greenhouse and Bitches Brew too.


Dirty and Smooth Seed to the Spark

That moment after a message from a local band, when you click on their Facebook page to find eleven friends already โ€œlikeโ€ them, and not one of them told you! Yeah, Iโ€™m talking, but I ainโ€™t saying anything new; does everyone know Malmsburyโ€™s The Dirty Smooth, except me?!

If not, you should. Since their debut single five years ago, The Dirty Smooth are no strangers to the festival circuit, gaining a reputation for playing original, anthemic pop songs. On top of numerous live appearances, they helped organise the Minety Music Festival in 2017. Shortlisted at the UK Festival Awards it has become a well-established festival, hosting acts like Toploader, Republica and Chesney Hawkes. Over the past two years, but setback by lockdown, theyโ€™ve been working towards a forthcoming album, Running From The Radar, due to be released in February. Theyโ€™ve a very worthy teaser from it, a single you should check out, Seed To The Spark; itโ€™s certainly convinced me.

With a sonic booming bass intro, itโ€™s as it suggests on the tin; dirty. Yet itโ€™s got that perfect pop blend in melody, which draws in many influences. Central vocal hooks of eighties rock, punky attitude, but beguiling backing female vocals and funky rhythmic grooves of soul-related pop, ah, the smooth part. Iโ€™m left thinking if Simple Minds met Deacon Blue, or Roxette. Though Iโ€™m contemplating they met today, for nothing is left completely to retrospection with The Dirty Smooth, thereโ€™s vibrant freshness to the sound too. Thing is, itโ€™s aching with confidence and undoubtedly brewing with potential. The ingredients are all there and being unified by some musical Michelin star chefs, who clearly love their cuisine.

Few local bands aim for the stadium sound, knowing a pub circuit is more workable. Here, as with Swindonโ€™s Talk in Code, is something which needs some big stage festival airing, it has that range, it has that wide appeal. As with the apt band name, Dirty and Smooth righty word their single, you get the sensation this is far from their opus-magnum, for if it is just a seed to a spark youโ€™ll want to be there when that bomb drops.


Shake a Leg this Christmas in Swindon with The Tribe, Showhawk Duo, and Brother From Another

With the beguling blend of hip hop and reggae, Swindon’s pride The Tribe are a force to be reckoned with. Always a lively show, they team up with a most original act you’ll see this millennium, the Showhawk Duo. Recreating rave classics acoustically, yes you read that right, they’re super amazingly awesome.

And not stopping there, local purveyors of funky reggae, the ever-entertaing Brother From Another are also invited to the Christmas Shake a Leg party at Swindon’s Meca.

It โ€™s been a crazy year to say the least and we all need a good olโ€™ knees up so weโ€™d like to invite you to the Shake A Leg Christmas Party on 12th December.

This could be just what you need to liven up this terrible year.

Full production for the show; Amber Audio & Patch are providing sound, IC Lighting will be bringing the stage to life with a lighting show and OT Films will be streaming the event live.

Adhering to restrictions, thereโ€™s a limited capacity and table service for the show. Tables of up to five are ยฃ33. Over 18’s only.

Frank Turner and Jon Snodgrass; Still Buddies

Ten years ago, Frank Turner and Jon Snodgrass recorded an album that became a cult favourite among fans: โ€˜Buddiesโ€™. Here comes the long awaited follow up…

Right, Iโ€™m gonna try. Without Google, it goes: Hartnell, the guy with the black combover, Pertwee, Baker, Davidson, Sylvester McMonkey Mcbean…I think, Bernie Ecclestone, wee David Tennant, Matt Smith and erm, Forrest Whitaker.

Somewhere near close, I reckon. But when Davros, least the guy who played him, leaned over a table at a comic con and asked me what my favourite Dr Who episode was, Iโ€™m like, wha? I dunno, pal, you want me, what, to roll off an exact series and episode number like an overweight geek in a Buffy tee? I can barely recall all the actors, or what I just ate.

Similar to another occasion when a fanboy’s jaw hit the deck at a comic con upon my confession, I hadnโ€™t read Maus. I have now, for the record, thinking my life might depend on it, but at the time, no, I hadnโ€™t. Iโ€™m not Denis Gifford for crying out loud into a Millennium Falcon, Iโ€™m not intending to draft a history of comics. I was only there to punt my stoner comic, for want of a next meal. Still, I get narked by the expectance Iโ€™m supposed to know everything about everything, to have read every piece of literature in the developed world, to have listened to every album, and seen every film, because I write reviews. Especially being Iโ€™m partial to occupying a hefty percentage of my time daydreaming through a closed window.

Still I worry Sheer Musicโ€™s Kieran will kill me, or least tell big Mikey Barham, whoโ€™ll hunt me down, if I say Iโ€™ve a Frank Turner album to review, and this is the first time I have listened to him. Itโ€™s nothing personal, Frank, just an oversight on my part, I could apologise, but Davros takes priority.  Fact is prog-rock is not my bag, I slipped headphones on with only minimal caution, being Mr Moore hasnโ€™t failed me yet. Prolific Hampshire punk and folk singer, Frank Turner begun as vocalist for post-hardcore band Million Dead, and pursued an acoustic solo career in 2005, after the bandโ€™s breakup, accompanied by The Sleeping Souls, his backing band.

Apparently, a decade past saw Frank team up with Missouri-born alternative-country musician, Jon Snodgrass of the Armchair Martian, Scorpios, and Drag the River bands to drink whisky and record Buddies, a 10โ€ split album that became a cult favourite among fans. Written in four hours, recorded the following day, itโ€™s an experimental project proved popular and now followed up with โ€œBuddies II: Still Buddies,โ€ out this Friday 13th November.

Under similar premise as the original, the sequel was written in just one day, albeit via the internet due to lockdown. Iโ€™m going in blind, but informed they were able to flesh out the album with more time on their hands, and recruited the aid of Descendents/ALL drummer Stephen Egerton and Todd Beene of Lucero, Chuck Ragan and Glossary, on pedal steel. Blind is good though, as I was pleasantly surprised, completely unexpectedly entertained. For itโ€™s more podcast than album, they chat like a comical zoom meeting and bounce off each other while adlibbing their next song.

A musical Whose Line is it Anyway, where straight-man Frank, akin to Ernie Wise replaces Eric for Cheech or Chong, Jon sounding like the Californian beatnik, the guys amusingly chinwag on all manner of random subjects: having children, their travels across the States, and name-checking other songwriter โ€œbuddiesโ€ like they did on the original, but with lockdown prose. Musically it contrasts they desired genres, getting heavy and thrash at times via Frankโ€™s ideas, or country with Jonโ€™s, who often attempts to slip in a kazoo! Yet the opening tune, a parody theme tune sounding uncannily like Randy Newmanโ€™s Toy Story โ€œYouโ€™ve got a Friend in Me,โ€ is decidedly novelty ska-punk, and thereโ€™s a promise of a third Buddies album with the prospectus of an even funnier marine theme.

Frank explains, โ€œlockdown has been such a blow to the music industry, and such a drag that we were all looking for things to do. Jon and I have been buddies a long time, and I noticed the 10-year anniversary of our collaborative album was coming up. Technology is such that we were able to reprise the writing method remotely, and indeed it turns out we’ve got a lot better at it in the intervening decade. I’m really, really proud of the record.โ€

And Snodgrass adds, โ€œBUDDIES II was somehow even more fun to make. It even sounds better too! Frank mixed it & we enlisted Todd Beene & Stephen Egerton. So yeah, 2 more buddies. Itโ€™s twice as good, imo. I canโ€™t wait until 2030! Itโ€™s gonna be three times better & weโ€™re gonna do it at sea!!โ€

If improv Facebook feeds from novice jokers are becoming tiresome in these times, I believe many of the more memorable will become a testament to era, and Buddies is perhaps the best Iโ€™ve heard, but as an album itโ€™s not what Turner fans might expect, but will be delighted by the variance. It entertained me, that is, Iโ€™m not about to be die-hard fandom, but it placed both Frank and Jon on ones not to be missed out again.

Out on Xtra Mile Recordings this cheerful reflection is out on Friday 13thย  November. If unlucky for some, itโ€™s certainly not for Frank Turner fans. Oh, and Patrick Trouton was Doctor with the black hair, and I canโ€™t imagine how I ever forgot about Peter Capaldi.


Who Remembers our First Birthday Bash?

Proof you donโ€™t know whatโ€™s around the next corner, I put off doing a second birthday bash last year as weโ€™d run a few fundraising events, in favour for doing a mahossive one this year. As it stands any third birthday celebration for Devizine would constitute me, with a cup of tea, sitting at the computer. Two years ago, though, to the day, our birthday bash was monumental, personally, as it made Devizine feel actual, a real โ€œthing,โ€ so much more than me, with a cup of tea, sitting at the computer!

Still, I can reminisce and remember how so many of us come together at Devizes Conservative Club, made it such a fantastic night, and raised close to four-hundred smackers for the Devizes branch of Cancer Research. But it was down to a Facebook messenger chat with Dean Czerwionka, who now organises Devizes Family Club at The Cavalier. If memory serves me right, unusually, I was unable to draft anything, suffering a hangover. Rapping with da man, I merely suggested the possibility of putting on a charity event, and before I knew what was what, tickets were being sold online.

Such was the nature of the evening, throughout. Dean and Cons Club staff worked hard to make it such a great event. Those fantastic Daybreakers arrived early despite being the grand finale, and set up the system, organised the other acts. My wife prepared a buffet and son helped arrange it on the table. Ben Borrillโ€™s mum Beverly, who had told me about her famous hamsters but neglected to tell me of her musically talented son, made a Black Forest gateau. Local poet Gail Foster entertained intervals between acts. Matthew Hennessy and Nick Padmore snapped the photos and Nickโ€™s wife Joy made an effective bouncer on door duty! Even Resul of the Turkish Barbers gave me a free trim, and Tamsin Quinโ€™s niece Erin rounded up everyoneโ€™s loose change for the bucket collection. All the while I swanned around talking toilet, propping up the bar and taking all the credit!

It should be bought to attention, now time has passed and any argument could be condensed to water under the bridge, that it wasnโ€™t really Devizineโ€™s birthday at all! I started it back in the September the previous year, it just took us a while to sort it out and get news out there. In that, it taught me a hell of a lot about putting an event on, all of which I now haveโ€ฆ. erm, forgotten.

But it makes me proud to look back at our acts. Lottie J was only fifteen at the time, is now a star, off to music school, and producing some amazing pop. She jammed with the next act, the sadly disbanded Larkin, despite never having met. Sam Bishop of Larkin is studying music in Winchester, and has produced some great singles, solo, and with a new band. Martin of The Badger Set tipped me off he has something new up his sleeve. Then musical partner, Finely Trusler has since worked on solo projects, with his cousin as the duo The Truzzy Boys and now donned a Fred Perry and fronts the ever-awesome Roughcut Rebels.

We had, of course, our darlings, The Lost Trades, collaborating with each other, long before they were the Lost Trades. Jamie joined after an eleventh-hour cancelation, which I was overjoyed to have fit him in. Tamsin wasnโ€™t feeling so good, but still performed to her usual higher than high standard anyway. Cutting her slot short, as things became quite a squeeze, Phil Cooper followed and really shook the place up. Still performing solo, but ever helping each other out, as The Lost Trades theyโ€™ve set a precedence on a national scale despite debuting just a week prior to lockdown.

Everyoneโ€™s favourite, George followed, with added Bryony Cox for a few numbers. After a move to Bristol, Mr Wilding set up a highly accomplished namesake band, Wilding, of which talents are boundless. Bryony continues working as a fine artist, with a penchant for landscapes.

Aching to get on and get everyone dancing, The Daybreakers did their lively covers thing. A change in line-up, they continue to do so today, composing their first original song recently. Yet really, theyโ€™re no strangers to writing and composing, Gouldy and Cath as an original duo are Sound Affects, and they sneaked in a slot at our Birthday Bash too.

It really was a great night in the end, if there was an end, I cannot recall, and Iโ€™m eternally grateful to everyone for their help, particularly proud to hear how much theyโ€™ve progressed and how far weโ€™ve all come. Itโ€™s a crying shame we cannot yet replicate it, but I sure would like to when we reach that better day. So, look at for our fourth birthday bash, all things well by that time. Hereโ€™s some photos to get me teary-eyed.

Tuareggae; Bombino is the African Hendrix

In conventional record shops of yore, albeit some survived, youโ€™d find the mainstream alphabetically presented, and itโ€™d be a dare on to yourself to venture to separate genres. They were usually labelled thus; Reggae, Classical, Easy Listening, and World, perhaps Blues too. While some conveniently slip into a standardised genre, others must have had grey areas. But, surely the most diverse was โ€œWorld,โ€ as if every remaining country in the world except the one you live in, and probs America, sounds the same, and furthermore, youโ€™d be some kind of beatnik pseudoscientist weirdo to even contemplate browsing there.

Itโ€™s all so vague, and without the music industry pushing, a minefield of guestimation. I was fairly young when I figured thereโ€™s a world of music weโ€™re not exposed to, pop was the tip of an iceberg. I dipped my head under, but it was freezing with typecasts, impossible to know where to search to find something affable.

Today, and thank goodness, the internet is a universal reference library, there are no excuses for not thinking outside your geographical sphere. But with anything foreign to your ears, you need to unlearn your ingrained judgements, and listen with an open mind. Rarely something comes along so exclusive and diverse, but with a familiar element to comfort you.

On November 27th Partisan Records will release, Niger-born Tuareg guitar virtuoso Bombinoโ€™s first live album as a solo artist, Live in Amsterdam. Iโ€™ve had this unique marvel on play for a while now, and if youโ€™re put off by the presumption any African music never relates to our rock music, this could be the introduction to a world outside said sphere.

The ingenious part of this album, other than the atmospheric quality of a live performance, and Bombinoโ€™s sublime proficiently with a guitar, is the rich musical palette. It rings with genres youโ€™re accustomed to, shards of funky soul and reggae, which often come into play in African music, but the man, I swear to you now, is the African Jimi Hendrix, so bluesy rock is prominent.

Tuareggae is his self-penned, totally unique genre to define it. The โ€œTuarโ€ part derives from his own people, the Tuareg people, a Berber ethnic confederation of nomadic pastoralists, which populate the Sahara in a vast area stretching from far southwestern Libya to southern Algeria, Niger, Mali and Burkina Faso. So, what we have here is principally a fusion of these accepted European and American genres with this brand of North African folk.

Just as a bhangra-pop hybrid now appeases western ears, Bombino has something which will placate any preconditioned aversion of African musical styles. In fact, the untrained ear might liken it something Eastern, or middle eastern at least, as it is spoken in Bombinoโ€™s native tongue. Note though, his on-the-record fans includes Keith Richards, Stevie Wonder, and Robert Plant, and if itโ€™s good enough for themโ€ฆ…

This album will not only challenge your presumptions, itโ€™ll do so while drifting you on gorgeous a journey of musical greatness akin to any known bluesman. Bombino knows precisely what buttons to press to evoke a mood, it can drift down a river at times, it can explode into up-tempo funk, but its ambience is awe-inspiring throughout.

Recorded in November of 2019, while Bombino and his band were touring behind his acclaimed latest studio album Deran. Live In Amsterdam is dedicated to the loving memory of long time Bombino rhythm guitarist and vocalist Illias Mohamed Alhassane, who sadly and suddenly passed away in September. The recording, then, features Illias in his final performance with his โ€˜brothersโ€™ in Bombinoโ€™s band. Yet, you need no background, not really, if youโ€™re looking for something different, but with shards of something familiar, if you like either blues, reggae, rock or funk, or if you want to be taken on a musical journey beyond your usual perimeters, Bombino is your newfound gem. You donโ€™t have to thank me, but you will; Iโ€™m here all week.


Chris Tweedieโ€™s Reflections

With over three decades experience writing music and composing songs, Melksham-based Chris Tweedie acknowledges on his website he can sing, but disparages his ability to limitations, inquiring of other singers for possible collaborations. While timorousness is common when self-assessing the worth of your own output, especially for musicians, thereโ€™s an argument that no one can express your own words better than you. While the many whoโ€™ve taken on songs of Dylan, who letโ€™s face it, isnโ€™t the most accomplished vocalist, may well have manufactured a better sound, but lack the sincerity and emotion of the written word coming from its author. ย ย ย ย ย 

First impressions last, Iโ€™m only a few songs into Reflections, his debut album released yesterday, (6th Nov) and Iโ€™m drifting into its gorgeous portrayals, meditative and knowing his notion is modesty. The vocals are apt for this wandering, sublimely ambient twelve uniformed tunes. And anyway, Tracy Whatleyโ€™s beautifully grafted vocals with a country twinge feature on the one tune, Virtuous Circle, and the title tune is an instrumental finale to make Mike Oldfield blush. The rest are self-penned and executed with vocals, mellowly with acoustic goodness, reminding me of the posthumous Nick Drake.

With poetic thoughtful prose, these are exceptionally well-written songs, performed with passion and produced under the ever-proficient Martin Spencer at the Badger Set Studio. His website and the CD inlay has text of said lyrics, to pick one entirely at random; โ€œYou are the thousand winds that blow, You are the diamond glints on snow, You are sunlight on ripened grain, You are the gentle autumn rain,โ€ taken from You are the Stars, are not the exception, theyโ€™re all this serenely stunning.

Itโ€™s Sunday sunrise music, sitting by a stretch of water, and we all need this once in a while. The album cover of such a scene sums it up in one image.

The relaxed attitude hardly drifts to anything of a negative narrative, perhaps with the exception of Slow Down, which suggests oneโ€™s life is moving too fast. The majority on offer is uplifting, perhaps reaching the apex at the seventh song, aforementioned You are the Stars, which is enriching, period.

โ€œThere are various musical influences that come through in my music,โ€ Chris says, citing rock, pop, country and folk. โ€œThe direction this mix has taken my songs is still fairly mainstream with a leaning towards the West Coast path and an element of Americana in places.โ€ I certainly agree, thereโ€™s hints of the Byrds, of Crosby, Stills and Nash, but majorly its definingly English, think George Harrison, not to hype but to compare the style of. Thereโ€™s experimentation at work here, but the experience shines through, Chris Tweedie could chill out Donald Duck!

Buy Chris Tweedie’s Reflections here


Bionic Rats, Alive in Dublin

A superb new live album from Dublin’s finest ska-reggae outfit, The Bionic Rats….

Thereโ€™s some wonky logic in the character Jimmy Rabbitteโ€™s bemusing outburst in The Commitments film, โ€œThe Irish are the blacks of Europe. And Dubliners are the blacks of Ireland. And the Northside Dubliners are the blacks of Dublin. So, say it once and say it loud, I’m black and I’m proud!โ€ Persecuted before the slave trade, there are some intelligible contrasts between the oppressed races.

Still, the thought of Dublin conjures rock legends to outsiders of every decade, be it from Thin Lizzy to Skid Row and U2 to The Script. Diverse as any city though, if you thought the idea of music of black origin was the stuff of films, think again.

Far from a retrospective regression going through the motions of a bygone Two-Tone era, The Bionic Rats are an exciting, energetic reggae and ska six-piece from Dublin with a building collection of original and stimulating material. Even their band name, I suspect, is taken from a Black Ark tune, Lee Scratch Perryโ€™s renowned studio. Yesterday they released a dynamic album doing their thing where they do it best, on stage, in their home city.

In a conclusively roots reggae inspired track, Red Gold and Green, frontman, Del Bionic lays down a chorus not so far fled from the Commitments quote, โ€œreggae is talking about the things I bear witness to, on and off the Liffey quays. Iโ€™m not Jamaican, Dublin born and bred, I don’t wanna be a natty dread,” Though a bulk of the material here is upbeat ska, if it relates to a modern ska era, it borrows extensively from Two-Tone, particularly for itโ€™s no bullshit attitude and social commentary. A component definingly reggae, or correlated to any plight of poverty and societal righteousness in general. It rings out the enduring message, reggae is universal.

Reggae often takes on board regional folk roots, be it influenced by, or using traditional instruments of that area, the recent surge in Balkan ska for example. Yet, the only local element the Bionic Rats take is said Irish bitter repartee and attitude within their subject matter.

Their sound is beguiling and directed towards the very origins of Jamaican pop music, and skanks to any highest region! The very reason why theyโ€™re a force to be reckoned with, internationally, having shared the stage with their mentors, Madness, Bad Manners, Horace Andy, Israel Vibration, Johnny Clarke and their aforementioned namesake, Lee ‘Scratch’ Perry, also opening for Damien Dempsey and Imelda May. A hit with the crowds at the One Love Festival in Sussex, London International Ska Festival, theyโ€™ve made the frontpage of eminent Do The Dog Skazine, Doc Marten’s used their song Dear John for an online campaign and they continue to skank the crowd at Dublinโ€™s longest running reggae night โ€˜The Sunday Skankโ€™ in the Temple Bar.

Ironically the 2009 debut album was titled Return of The Bionic Rats, and since three more albums have followed. The good news is, wonderful as their studio albums are, we can all now pretend weโ€™re in the crowd of a Sunday Skank with this beauty of a recorded live show, and boy, do they give it some.

The premise is simple, as it is with ska. Lyrics often minor compared to offbeats and horns. Subject matter slight; between girls, lust, dancing, record buying and being rude, the Rats offer sentiments on prejudges, tyranny and oppression, but seldom will romance be on the cards. You may not be enchanted by The Bionic Rats, who describe this release as โ€œperfectly capturing The Bionic Rats in all their sloppy greatness,โ€ but your waistline will get a darn good workout.

While weโ€™re tempted by the simplicity of the upbeat ska sound in danceable tracks like Annie Oakes, the sweary Bad Garda and the particularly well grafted tale of obsessive record buying, Hooked on 45s, thereโ€™s roots, like aforementioned Red, Gold & Green, and rock steady numbers such as prejudice themed Dear John. Thereโ€™s no end of expected banter and comical themes, such as the English Beat sounding Girl with Big Hands. Then thereโ€™s that contemporary third-gen fashioned ska-reggae but wrapped in a no-bars-held cussing, of which titles speak for themselves; Twisted Little Bitter Little Fuckers, for example.

Such is the expected acrimonious nature of an Irish ska band; lap it up, itโ€™s refined rudeness. Done too, with experience, The Bionic Rats rose from the ashes of Dublin-based reggae band, King Sativa, who were active on the scene from 1998 until their breakup in 2005. Their guitarist Graham Birney, and drummer Anthony Kenny moved over to the Bionic Rats. Like them, or not, Iโ€™m convinced they probably donโ€™t give a toss, but going on this superb live album, you certainly canโ€™t ignore them.

Alive in Dublin, out now, here.

Singer, Del Bionic also does a live streaming set every Sunday from Facebook at 9pm (GMT) well worth tuning in to: https://www.facebook.com/thebionicratspage/live/


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Join me every Friday night from 10pm to midnight GMT for a fun two hours of ska, reggae and anything goes!

Dreamlands; New EP from Daydream Runaways

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

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

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

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

Out on the 13th November, the releaseโ€™s title I was asked to keep it under my hat, for a โ€˜guess the name of the EPโ€™ competition was to be announced. The title got me to pondering the name Daydream Runaways. So, I asked them how they came about it.

Frontman Ben Heathcote replied, โ€œCameron came in with the name suggestion after numerous discussions and almost instantly we knew that was it. It seemed to describe us and have a connection immediately to our sound. We all daydream and get lost running away in our minds, our dreamsโ€ฆโ€

Cameron added, โ€œWe spent quite a while trying to work out a name that suited us, actually. We were looking for something that sounded hopeful and had a sense of escapism about it. Ben remembers that I brought it to a practice one evening, I think Iโ€™d been reeling off loads of names that the boys didnโ€™t love. Then one day my fiancรฉe had been playing lots of Ben Howard and he used those two words in a few of his songs and I just liked the way the sounded when merged together.โ€

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

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

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

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

Nathaniel Heathcote confirmed, โ€œyeah, itโ€™s definitely reminiscent of skater punk, very 2000s with baggy jeans, spiky hair and a skateboard in hand!โ€

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

โ€œThey seem to be!โ€ Cameron figured, โ€œI was listening to Machine Gun Kelly the other day and his sound is very 00s. We obviously inspired himโ€ฆโ€

From here I teased about the possibility of getting a rapper in, if thatโ€™s the case. But Daydream Runaways has spent their few years really nailing a uniformed style, I hoped I wasnโ€™t rocking the boat. Thereโ€™s a question developing in that though, how far theyโ€™re willing to diversify?!

Cameron admitted, โ€œBen has floated that idea about actually, we always say we donโ€™t want to write the same song twice or be bound to one genre. And I think that comes across in our music. It helps that each of our individual musical influences are quite different so that makes the song writing process quite fun and the songs are always a bit unexpected.โ€

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

โ€œSo,โ€ Cameron replied, “I think we balance each other out?โ€

Ben Heathcote got deep, โ€œthe world canโ€™t exist without Ying and Yang.โ€

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

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


Very Brave or Very Stupid; End of Story

Very brave or very stupid, to suggest five-piece band End of Story are terrible, more so if I tell you theyโ€™re a bus journey away in Calne! Terrible is as terrible does, Forrest; a complimentary adjective in punk, like the magnificence of being spat on by Sid Vicious, itโ€™s a term of endearment.

For End of Story are the localist epithet of skate-punk, they do it well and as it should be done. Their new EP of four original tracks titled thus, Very Brave or Very Stupid is terrible, if terrible means awesome. Itโ€™s raw, angry, energetically entertaining; the very blueprint of punk.

Through the passage of time, generations warped the tenure of the house of punk, and new subgenres evolved, their attributes far-flung from the roots. No wonder why Iโ€™m particularly picky about the genre, tending to steer away from modern takes. Be they aiming commercially, like power-pop, like Blink 182, or excessively overkill it, like skatecore. Principally I guess itโ€™s predominantly youthful American, and I tick neither box.

I reserve my right to appreciate from afar, though, especially when procured with an amusing take, Back to the Future references, fancying your girlfriendโ€™s mum, for examples. Or if thereโ€™s a clever narrative like Avril Lavigneโ€™s Sk8er Boi. I even allowed myself to be dragged to a Bowling for Soup gig at Bristolโ€™s 02 by my son, albeit a taxi service. I gulp and confess, didn’t stage dive, but it was alright. But, and this is a big but, my erroneous dejection; canโ€™t help but feel itโ€™s lost its raw way from my first love, Ramones, Pistols, Buzzcocks, et all.

Precisely why I find End of Story refreshing, skate-punk it may be, but with full beams blasting into original punk, shining the way, reminding me of Welsh punkers, Sally & Kev Records and punk-paste zines of yore. The four tunes are archetype skate-punk subjects, Sweet Sticky Kiss of Mary Jane the only stoner ballad, the others theme on disjected romance and broken promises. But itโ€™s catchy with boundless rage, and as garage as punk should be.

Nosebleed perhaps the loudest, Shattered Earth perhaps the most interestingly grafted, and the finale, Itโ€™s not Him, perhaps the most commercially viable within the confounds of skater punk, but all equally beguiling. Top effort guys, highly enthralling, and itโ€™s out today. Punkers, check it out:

https://music.apple.com/gb/artist/end-of-story/1535986645


Johnny Lloydโ€™s Cheap Medication

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

Iโ€™ve had nothing but praise for the โ€œindieโ€ Iโ€™ve been sent recently, thereโ€™s been some great stuff, particularly on our local scene. Thereโ€™s only a tenacious local link, being Johnny is going out with Swindonโ€™s nineties teen heartthrob Billie Piper. This isnโ€™t Hello magazine, though, least not the last time I checked.

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

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

Tabloids quote smitten Johnny declaring he was lost before he met Billie, and in so much as hope and love, this album is personal and openly frank, though through the often too private bulk I couldnโ€™t identify with where it wanted to take me. Itโ€™s like that infatuated associate who speaks of nothing else.  

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


MeTooMpls โ€“ Various Artists (album review by Dave Franklin)

Even up until about a year ago I was bemoaning the fact that, despite the way the world was turning, music still seemed to lack any political bite or social messaging, had forgotten what a great platform it had in favour of serving itself, was about the โ€œmeโ€ rather that the โ€œus.โ€ Where was the [โ€ฆ]

MeTooMpls โ€“ Various Artists (album review)

Americana maverick Jim White returns with Misfitโ€™s Jubilee

Going in blind, crucify me if you will, but Iโ€™m unfamiliar with Americana maverick Jim White. Additionally, Iโ€™m streamlining due to the backlog and giving this one listen prior to reviewing. Yet, even if my analysis isnโ€™t as exhaustive as other fervent bloggers, Iโ€™m bloody loving his latest album Misfitโ€™s Jubilee.

Itโ€™s precisely what it says on the tin, a discarded rusty old tin in a desert somewhere. An upbeat roll in a haystack of psychedelic Southern Americana, and a festivity of folk-driven geriatric observation. Yet thereโ€™s his trademark, apparently; dark trippy twist of narrative in the depths. Jim White muses US politics, divided state ethos, and national stereotypes. Subjects range from a dope smuggling teenager to Big Foot, and he does it with the professionalism of quart-century experience, and self-confessed โ€œhole of sickness, depression and poverty.โ€

Multiple-instrumentalist, singer-songwriter, Jim, works this personal arse-whipping outing with only the tangibly cohesive musicianship of his long-time drummer Marlon Patton, trusted Belgian sidemen Geert Hellings on guitar and banjo, and Nicolas Rombouts on keys. Recorded primarily at Studio Caporal in Antwerp, it features new songs, plus some older-penned ones, only now surfaced. Put out on Loose Records, it’s out now. To me itโ€™s all new, but Iโ€™m contemplating Neil Young jamming with the Pixies as its mind-blowing cogitates flow over my psyche like waves of a resilient dustbowl.

Ruminations are somewhat curtain-twitching but contemporary, and it hardly ceases its brainy grip on the necks of proletarian American orthodox devotees, but does so with the fashion of a perpetual parade of agitated and cynical characters, but oh, joyfully, and with a heartfelt sonic agenda.

The sound is toe-tappingly memorable, maintains upbeat jovial generation X indie-folk-rock, yet smells of vintage. If some moody piano rings out, as it does with The Sum of What Weโ€™ve Been, a zephyr of buoyant guitar riff repairs it. There were times when I figured itโ€™d mellowed, like Mystery of You, but it was just building the track. And for that, it rocks!

Through ever-thickening material, straggly kitsch metaphors and uncensored outpourings, itโ€™s perhaps the twanging guitars juxtaposed with samples from authentic US police chases which makes my reasoning for citing the tune, Highway of Lost Hats as the peak of Misfitโ€™s Jubilee. Thereโ€™s rib-tickling Hollywood narrative, adroitly directed at the carefree insolence in defence of US counter culture of yore. Herein is its niche, a bombast of the direction his nation heads, and comparison of what it could be. It is Born in the USA times a billion, itโ€™s Guthrie partnering with Lou Reed, for a new era.

The finale defines this, an earnest and heartfelt speech, reflecting on quotes from George Washington, poet Emma Lazarus and even Jesus, but after the contemplative, it slides into a fading McDonalds order. Such a nimbly placed, sombre scrutiny, is the conclusion of the Divided States of America, as itdumps you in cold silence gasping for air.

Iโ€™m going to have to dive deeper into this impressive torrent of melodic genius, as I figure itโ€™ll be some time before I fully unpick it, and its gist is sussed; thatโ€™s when you get the notion, itโ€™s value for your hard-earned pennies.


Island Bop with Shuffle & Bang

San Diego, California, 2018, King Pops Horn and son, Korey Kingston began on a musical partnership, merging Koreyโ€™s deep vested love for dub and reggae with his fatherโ€™s tenure as a decorated traditional jazz singer.

Gathering a gang of musicians with resumes including savvy veterans from The Aggrolites, Rhythm Doctors, Suedehead, Brian Setzer Orchestra, The Original Wailers, Stevie Wonder and a pianist who plays organ for the San Diego Padres baseball team, they formed Shuffle & Bang.

Over multiple recording sessions taking two years, this unique musical journey culminated in an accomplished album, Island Bop. Pirates Press Records, partnered with the bandโ€™s own Jetsetter Records are ready to deliver this gem to the world on 6th November; everything about it suggests itโ€™s right up my street and banging loudly on my door.

And it is, and it is loud. Dressed as a classic Blue Note jazz album, with indistinct band-in-action photo and simple capitalised font running down the left side, it comes exceptionally close to capturing the elegance of an era of definitive jazz and soul. Yet it drifts wildly between genres, a surprise to know whatโ€™s coming next in many ways, but often, perhaps, constituting a Jack-of-all-trades.

I mean this in the nicest way possible, to hit the benchmarks of such legendary epochs, to come close to all the variety of influences represented here in one shebang, from Blue Note to Stax and Studio One, is quite near impossible. You got to hand it to them for trying. For all it is worth, it is accomplished, highly polished and grand. Itโ€™s exceedingly entertaining and highly danceable, to boot! Just donโ€™t let the cover art allow to run off with the idea youโ€™ve stumbled upon a new Marvin Gayeโ€™s Whatโ€™s Going on.

At all times, no matter what subgenre itโ€™s mimicking, itโ€™s brash but not slapdash, flamboyant and proud. Thereโ€™s minimal subtly of soul, delicately tight riffs of ska, and to cast it overall is to say it is akin to big band, as itโ€™s in your face and wonโ€™t let you escape, even if you wanted to, which, you probably wouldnโ€™t. Big Band does jump blues, ska, soul, and even by the end, dub reggae.

Yep, you heard it right; it ticks all the boxes. The opening song is a deep acapella with a booming Teddy Pendergrass fashioned soul voice, whereas the second sets the running theme as this big band panache. Taking the jazz end of a classic ska sound, the third tune dragged me onto the dancefloor, or my kitchen lino to be more precise; yep, Iโ€™m reviewing while washing the dishes again!

Switching back to Cab Calloway big band groove for a fifth song, it is perhaps the next which is most interesting to date, Naima maintains a big band style but serves it with a rock steady riff. Quickly as it does it, it shifts again, onto a shuffle rhythm with some killer horns, more Louis Jordan than T-Bone Walker.

Within the thirteen strong songs, the whole album is showy and that makes it rather magnificently inimitable, and because of this running big band ethos incorporating all the various styles, at no time does it jerk into an alternative genre, shudder the goalposts, rather surprisingly, they flow all rather splendidly.

It gets unpremeditated and rides the Ratpack train, with beguiling vocal gorgeousness, When I Take My Sugar to Tea, particularly, or a take of traditional ska like the Skatalites, but the next tune might again return to up-tempo swing. Given our Louis Jordan reference, the only recognisable cover is his Tympany Fiveโ€™s Let the Good Times Roll, at least you think it is, until the end song.

If you figured this cover might act as a grand finale, prepare, because after a drum and cymbal interlude, the groove suddenly and without warning dubs. Yep, true dat; with a deep rolling bass and reverbs akin to King Tubby, and perhaps melodica to impersonate Augustus Pablo, we are treated to a divine dub of the Gorillazโ€™s Clint Eastwood. Although theyโ€™re calling it Drum Song.

The culmination forces you to hardly recognise the style at the beginning of the album, and to return to it might make you think, no, I want to go listen to some Sly & Robbie now instead. However, Island Bop will rest accustomed in a jazz, blues, soul or reggae record collection, and you will return to its gorgeous portrayals. For all its swapping and merging, yes, Island Bop is hard to pin down, but for eclectic jazz and soul fans, its refreshingly experimental and a damn good groove!


Paul Lappin Wants to Fly

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

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

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

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

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

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


Talk in Codeโ€™s Secret

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

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

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

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

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

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

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

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

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

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


The Return of Wilding; Falling Dreams

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

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

Processed with VSCO with p5 preset

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

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

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

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


On the Climbing Frame with Gecko

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Click to pre-order; gorgeous Christmas pressie!

Will Lawton and the Alchemistsโ€™ Live Stream Album Launch

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

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

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

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

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


A Thrashing Surprise, with Typhoidmaryโ€™s Death Trans

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

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

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

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

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

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

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

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

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

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

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

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


The Revelation Games of Phil Cooper

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

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

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

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

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

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

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

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

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

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

Details on Phil Cooper and These Revelation Games, here.


Daydream Runaways and their Crazy Stupid Love

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

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

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

Image by Van

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

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

Image by Van

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

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

Image by Van

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

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

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


Atmospheric Country Goodness Fits Kirstyโ€™s Shoes.

Subscribe on YouTube to local independent country, singer-songwriter Kirsty Clinch and youโ€™ll receive a selection of wonderful pop-driven covers with a country feel, lots of chat videos where she explains her thought processes and announces news, provides advise and even beauty tips. Catch Kirsty live and sheโ€™s unplugged, expressing the same dedication to her music but as an acoustic performer. Either way, she is a pleasure to hear, a smooth silky voice and accomplished guitarist.

It is also the very reason Iโ€™ve been in anticipation of this debut single, to hear which way Kirsty will take it, lean more on her matured live acoustic sets, perhaps, or the pop-inspired subtlety of her videos. Iโ€™m pleased to say, Fit the Shoe balances both equally. Though far from bubble-gum, it uses a sublime bassline behind her country guitar-picking to create a wonderful and emotive sound. This is contemporary country, combining popโ€™s ambient-influence of William Orbit and blending it with the vocal range and narrative of classic Dolly Parton, enough to make Madonna blush.

Yet thereโ€™s another side to Kirsty, a fervently astute entrepreneur with clear direction on how to market a vocation through projecting the perfect appeal and disposition. Yet none of these reasons, I suspect are the sole reason why Fit the Shoe, is shooting up the streaming sites after being released only today, rather an amalgamation of them all, but mostly, because itโ€™s gorgeous and immediately lovable.

Our fiery redhead instinctively knows where the goal is, shoots and next thing you know the net is pulsating with the shock. โ€œMy main goal is to touch the hearts of many though my art and spread awareness that a positive attitude leads to better paths,โ€ she explains. โ€œI already achieved my first goal by travelling and performing in Nashville at venues such as the BlueBird.โ€ Nashville is something Kirsty regularly brings into conversation, who wouldnโ€™t. But itโ€™s here, in collaboration with Peter Lamb, providing bass and mastering, in the atmospheric splendour of this single that we see a true star shining.  

โ€œAs an independent artist,โ€ Kirsty Clinch speaks her motivation, โ€œyou must have 100% faith in yourself and your worth, you must work hard to gain all your goals and dreams you desire and I have a lot of energy to still give to the world, so I’m going hard or I’m going home.โ€

Stick this on your playlist and freeze in awe.

Emma Langford Sowing Acorns

If Iโ€™m majorly disappointed by all the planned events and gigs this year done gone cancelled, probably the biggest of all was when I badgered Devizes Arts Festival into booking Limerickโ€™s folk singer-songwriter Emma Langford. It didnโ€™t take much convincing, just a song or two, and if you hear her new album Sowing Acorns, released yesterday, I guarantee your arm will be twisted too.

Sowing Acorns is everything Iโ€™d expect and much more. A spellbinding composition of intelligent lyrics reflecting on past, a place or observation, Emmaโ€™s mellifluous vocals and enchanting folk melodies. A magnum opus for this award-winning emerging artist who Iโ€™ve followed the progress of for many years.

Itโ€™s an album which will transport you to an Irish coastal path, a gentle zephyr as you peer out to the ocean. Port Na bPรบcaรญ perhaps the prime example, with its chilling cello merging into the drifting poetic title track. Itโ€™s a whisk of untamed Andrea Corr blending Clannad to Mari Boine, yet somehow completely inimitable. Yet thereโ€™s astute honesty within these pieces of musical jigsaw, tales of family woe or enriching scrutiny of a lifecycle. Thereโ€™s enough going on here to pull to pieces and discover alternative angles with each listen, but allowing it to drift over you is recommended, like waves upon said ocean.

But while Sowing Acorns opens acapella and drifts into traditional acoustic folk, it doesnโ€™t rest, rather merges styles, and by the time you get to Ready Oh some nine tracks in, thereโ€™s a blithe soul pop feel, teetering do-wop, similarly the Latino marketable feel of Goodbye Hawaii. Towards the end it returns to the thoughtful prose of Emmaโ€™s sublime acoustic and feelgood Irish charm, and it ends with an ambient trance remix of the title track by Avro Party. But each and every segment, every journey this album takes you on, darker or uplifting, is expressively awe-inspiring, as if Emma pushed everything she has into this release; the definitive Emma Langford.

It is, in a word, utterly gorgeous, a definite contender for album of my year, and one Iโ€™ll be submerged in its mesmerising portrayals for a long time yet.

Click to download from Bandcamp

Hew Miller; Does Something!

When I started Devizine it was an exploration, knowing next to nought about local performers and artists. Nowadays I consider venturing further afield, figuring Iโ€™ve successfully mapped our region of musical talent. But whenever I do, I find an area of unchartered territory, a Devizes resident lurking undetected in a dusty shed. Literally this month, itโ€™s Hew Miller, a singer-songwriter, multi-instrumentalist, producer and mix engineer living among us.

Upon hearing his uplifting and breezy pop-rock latest release, Let’s Do Something (but nothing at all) I figured, Iโ€™m going to hassle this guy for an article and expose any inhibitions he might have about his talent, as itโ€™s common for an artist to shy away from shameless self-promotion. I warned him what we do here, and how scrupulous we are. He replied heโ€™s a reader but โ€œthe reason you haven’t heard of me is that I’ve been pretty backwards in coming forwards!โ€

None of that matters, you see, backwards or forwards is all the same to me because I never know which way I’m going. Itโ€™s not so much about allowing me to spread wild gossip about him, rather I haven’t seen Hew listed for a gig locally either. Does he like playing live?

โ€œI haven’t played live for quite a long time. I tend to focus on writing, producing and recording,โ€ he explained.

Hew Miller

Hew has three singles released on Bandcamp, the earliest, Upside Down World (We’re fine in here) was this April. Itโ€™s a stomping Peter-Gabriel-fashioned pop-rock observation on the tranquillity of lockdown. And in the middle, itโ€™s not over yet, causally breezes with equal skill, a trumpet and quirky romantic reflexion. That one was released in July, but youโ€™ve only got to listen to the competence in song writing and production to assume Hewโ€™s must have been making music long before that.

โ€œI played in bands when I was younger but then moved down to Devizes for work and never found the time or musicians to start up a band,โ€ he tells. Hewโ€™s been in the Vizes since 2002, moved from Nottingham.

โ€œI’ve been a recording and mix engineer mainly as a hobby for many years; it was an underground thing but I’ve been wanting to get more exposure for my own music and to expand on the producing, mixing and mastering sides.โ€ Hence his nom-de-plume, Hew, โ€œbecause there are loads Matthew Millers and the name has already been taken on Spotify.โ€

Ah, story checked out. I found a Hungarian one on Bandcamp, among others, who by his profile pic, bears an uncanny resemblance to Elvis Presley. ย โ€œDefinitely not me!โ€ he expressed, as did the rest of our chat retain a witty and light-hearted angle. Flicking through his Facebook page I paused on an image of an amazingly plush tree-house styled studio, and given heโ€™s called his studio Dusty Shed Studios, I figured this was it. โ€œNo,โ€ he owed up, โ€œI wish…. I went there for a weekend! Mine is less grand…. it literally is a shed!โ€

โ€œIt was in the middle of a fields away from everyone. No-one to complain about the volume of the drums,โ€ Hew enlightened, but I changed the subject, fearing it might get like a Monty Python sketch continuing discussing his shed! โ€œYes,โ€ he agreed, โ€œwell when I was young, we lived in a cardboard boxโ€ฆโ€

On the subject of boxes, Let’s Do Something was recorded at Real World Studio in Box, and his own studio, said Dusty Shed. โ€œIโ€™m open for mixing/mastering and recording projects,โ€ He informed. Hew works a DIY ethos, all instruments and production are his own. I like this, freedom of creativity an all; judging by these singles, he knows his way around those buttons and switches.

โ€œYou said you were in some bands back in Nottingham,โ€ I asked, trying to unearth a possible heady past of thrashing metal or punk, โ€œwhat kind of genres?โ€

โ€œYes,โ€ he replied, โ€œI guess it hasn’t changed that much; its indie pop/rock.โ€ No juicy gossip there then, I thought Iโ€™d inquire about Hewโ€™s influences. โ€œThey range from David Bowie to Peter Gabriel, David Sylvian to The Psychedelic Furs to The BareNakedLadies.โ€ Hew seems at ease with where he is with his music, a quiet hidden gem, and as the tranquillity of lockdown subject of his first single, Upside Down World, might suggest, heโ€™s happy mixing and producing in his dusty shed; itโ€™s a guy thing!

Just as lockdown tore down borders of what weโ€™ll feature here, Hew found it a rather fruitful period, โ€œas everyone is getting into playing music,โ€ and continued to say about some tunes heโ€™s mixed for some American rappers and another international artist, โ€œwhich I probably wouldn’t have done without lockdown. Hopefully we can now get back to some normality and live music can flourish with more musicians.โ€

True, for his easy-going amiable sound would be great for a Sunday session at the White Bear, or an afternoon in the Southgateโ€™s garden, but even if we cannot prise Hew from his dusty shed, you should check out his discography. On Bandcamp, here. And his latest, Let’s Do Something (but nothing at all) is released on the streaming services on 25th September.


Blank Pages of an Atari Pilot

This extensive belter of eighties-fashioned high-fidelity pop waits for no man, a sonic blast opens it, and the riff wouldnโ€™t sound alien appearing in a John Hughes coming-of-age eighties movie. Visualise Jud, Molly, Emilio et all, dancing around a school library to this latest track from Swindonโ€™s Atari Pilot.

After our glorious appraisal of their previous single Right Crew, Wrong Captain in July, they reckon Iโ€™m going to be fair on them again, but really, thereโ€™s nothing to dislike about Blank Pages. A review in which they quoted me suggesting, โ€œthis sound is fresh, kind of straddling a bridge between space-rock and danceable indie.โ€ Here though, save the strong bassline, the space-rock element is lessened and retrospective synth-pop chimes in a racing beat, twisting this into a real grower on the ears.

Press release aptly cites โ€œeverything from Springsteen to Daft punk, Kathleen Edwards to Love,โ€ as influences. As if Daft Punk would work with Springsteen, but if they did, Iโ€™d imagine something rather like this. And that alone, makes for an interesting sound, again akin to what Talk in Code are putting out locally, perhaps more so for this single. While we could hinge on an inglorious comeback from an eighties pop star and be thoroughly disappointed by their timeworn platitude and fame induced narcissistic attitude, nostalgia has never been so energetic and fresh when itโ€™s channelled as an influence rather than comeback or tacky tribute act.

Thereโ€™s a backstory about Atari Pilot, I may have mentioned before but worth reminding. After their debut album โ€œNavigation of The World by Soundโ€ in 2011, a long hiatus took in a serious cancer battle for Onze. But getting a second chance at life gave him the inspiration to get back to writing, and Atari Pilot reformed in 2018 with an acoustic set at the Swindon Shuffle. Reforming the band was actually planned from his hospital bed.

With this in mind, Onze describes the thinking behind this great song, โ€œBlank Pages, like the other songs for the struggle, were inspired by being diagnosed with and recovering from cancer. The songs reflect the highs and lows of life and the struggles we are faced with and have to overcome to reach where we want to be.โ€

Thereโ€™s a heartening theme of struggle in the face of change, โ€œitโ€™s also about trying to recognise that we canโ€™t escape ourselves, and asks whether we can use our history and baggage to fire a brighter future,โ€ Onze explains.

Itโ€™s a DIY production, recorded and mixed in Onzeโ€™s home studio by using Logic Pro X, but sounds stunningly professional. Atari Pilot are Onze (vox,) Paj (bass,) Frosty (guitar) and drummer Andy, and we look forward to hearing more from them. I even managed to review this one without mentioning retro-gaming:


The Bighead!

“The Truth is Hard to Find celebrates their unique but retrospective style with a passion for pop-reggae, an uplifting beat, chugging ska riff and beguiling two-tone vocal harmonies….”

Far from what the name suggests, and common generalisation of the genre, I found Northamptonโ€™s six-piece reggae/ska band, The Bighead, not in the slightest egotistical and very approachable! Thus, Iโ€™ll be spinning their tunes on Ska-ing West Country on Friday, and for the foreseeable future.

That said in this era where a plethora of bands like the Dualers and Death of Guitar Pop have breathed renewed energy and a fresh approach to the UK two-tone scene, which otherwise risked falling into a diehard cult of seniors on Lambrettas who spent their pension on a pair of cherry Doc Martins!

Though nothing with Bighead is as the frenzied ska blended with delinquent-filled punk of yore. They tend to flow maturely, with rocksteady and roots reggae, while attire the fashion akin to the two-tone era. Iโ€™ve no issue there, through the furious ska thrashings of The Specials, the downtempo Ghost Town is likely cited foremostly, and on the island of origination, the short rocksteady age between ska and reggae was undoubtedly the most creative musical period in Jamaican history.

Seems while previous decades hugged youth cultures which devoted to a sole variety of Jamaican music, newly formed bands, like Bighead in 2008 by Da Costa, follow a similar ethos as what we discussed when Trevor Evansโ€™ Barbdwire came to Devizes Arts Festival. They select the benefits and choosiest elements of ska, rocksteady and all subgenres of reggae, and fuse them with sublime results.

Thereโ€™s a plentiful gap to fill, and itโ€™s all trilbies and shades for Bighead. Their May single, The Truth is Hard to Find celebrates their unique but retrospective style with a passion for pop-reggae, an uplifting beat, chugging ska riff and beguiling two-tone vocal harmonies, signifying an optimistic new era for the old genre. In contrast, the other two brilliant tunes Da Costa kindly emailed me, Step Up and Try Me Again, rely on roots reggae and doo-wop rocksteady respectively.

The Bighead are no strangers to the festival and club circuit, have headlined and supported original 2-Tone acts such as the Beat, The Selector, Bad Manners and a 2013 show with Madness. Theyโ€™ve played over Europe and are regulars on the Berlin Reggae scene.

So, polish your boots, snap on your braces and follow Bighead; not that I should really be flattering a band who are already self-confessed big heads!


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A Modern Reggae Classic: Wonderland of Green

On first hearing Wonderland of Green, I was like, yeah, thatโ€™s as sweet as a sugarcane field. But itโ€™s moreish; every listen it approves all elements, everything I love about reggae, and why I love it.

Fruits Records may be based in Switzerland, but their dedication to authentic Jamaican roots reggae is paramount. This latest release featuring the Silvertones is a prime example, a sublimely balanced one-drop riddim with all the hallmarks of reggaeโ€™s golden era; the roots sound of the seventies, Black Ark, the legendary studio of Lee “Scratch” Perry, and the Roots Radics rub-a-dub riddims of the early eighties. These traditional styles echo through this 7โ€ EP; the heavy bass, the offbeat guitar riff, and the traditional female backing vocals as passed into mainstream by the Wailersโ€™ I-Threes.

Yet it also pounds contemporary at you too, fresh sounding, with a version, Living In A Wonderland, toasted by Burro Banton, an incredibly gritty-voiced DJ popular in the late eighties and nineties dancehalls of Jamaica. Even the subject matter of Wonderland of Green is timeless, as it suggests, itโ€™s earthy and ecological, a tenet inherent in Rastafarians long before it became trendy.

The band behind the riddim is the 18th Parallel. Produced, composed and arranged by Antonin Chatelain, Lรฉo Marin and Mathias Liengme, and recorded at Genevaโ€™s Bridge Studio by Liengme. Thereโ€™s an instrumental on the flipside, and an extra killer dub mix by French wizard Westfinga, who retains the retrospective ethos using the traditional dub values set by King Tubby.

Burro Banton

But what makes it so thoroughly beguiling is the vocals by The Silvertones. A legendary vocal harmony trio from the early ska era, originally, Keith Coley, and Gilmore Grant, with Delroy Denton joining early in their career. Delroyโ€™s individual baritone and guitar skills saw him quickly become the frontman. Though he migrated to the States and was replaced by Joel โ€œKushโ€ Brown.

Though the only remaining member is Keith, who takes lead, thatโ€™s just technicalities, as the modern line up rests with Norris Knight and Nathan Skyers on harmonies, both of whom have solo careers in their own right.

Westfinga & The 18th Parallel’s Wonderland of Dub

Recording at Coxsone Doddโ€™s Studio One, they interestingly triumphed in Jamaica with their debut single, a ska re-creation of Brook Bentonโ€™s โ€œTrue Confession,โ€ a track producer Duke Reid would also have the early Wailers record, but the Silvertones is indisputably more poignant. They also recorded under guises The Gold Tones, The Admirals, but most popularly as The Valentines, prevalent with the skinheadโ€™s ska revival era was a tune called โ€œBlam Blam Fever,โ€ denouncing the rude boyโ€™s gun culture.

The Silvertones

Through the late sixties they enjoyed success recording for Reidโ€™s Treasure Isle label and Clancy Eccles, as vocal harmonies became more significant during the rock steady era. Yet their dominant period was the early seventies when they stepped into the converted carport which was Black Ark.

The eccentric amplifier genius, Lee โ€œScratchโ€ Perry is renowned for getting the best out of any artist, he shaped the way we view Bob Marley & The Wailers. With penchant for outlandish, heavyweight psychedelic sound testing, he was the experimentalist who would pave the way for dub pioneers like King Tubby.

Historically then, Wonderland of Green slips right in as if itโ€™s been there all along, but prominent now with its environmental subject matter, itโ€™s gorgeous. I look forward to blasting it on my Boot Boy Radio show this Friday, maybe blending versions together, even if theyโ€™re live from the Skinhead Reunion, and whoโ€™s punters would favour boss reggae!

Wonderland of Green is newly released this week, as download, or on regular black wax 7โ€ vinyl and on a beautiful limited and numbered picture sleeve edition with opaque dark green vinyl; how apt!

Streaming: http://hyperurl.co/wonderlandofgreen

Vinyl records: https://fruitsrecords.bandcamp.com/album/wonderland-of-green


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Our IndieDay at Brogans!

Images by Gail Foster

Coming from Essex where shopping is religion, youโ€™d think Iโ€™d be impartial to the duty. But no. To be bluntly honest, as I believe I mostly am, I find nothing entertaining or enjoyable in sauntering a continuous stream of mundane chain stores aimlessly, other than to spend money I havenโ€™t got on crap I didnโ€™t want or need in the first place. Blessed we are then, in Devizes, with an array of original, charming and interesting independent shops, which make shopping endurable for whinging cronies like me! An ethos celebrated, kind of, this Saturday by the group Devizes Retailers and Independents who, in order to return commerce to our wonderful and lively town, held an โ€œIndieDay.โ€

MP Danny Kruger opened the event, I missed that, loads of shops got involved and opened their doors to a festivity-fashioned celebration, missed that too. Donkeys and more, I missed. Far better for me to contribute by loitering outside Brogans cafรฉ, munching on a bacon roll and taking credit for Mike J Barhamโ€™s hard work!

I arrived late, The Devizes Rotary Club arrived long before to lend us a grand gazebo, and Mike too, he set up a PA, he managed the PA, he hosted the event with his charming and entertaining charisma, and everyone came up to me and thanked me; result!

Honestly, as Iโ€™ve said, I have to give a massive thanks to everyone involved for making it such a special day, and in this day and age it was indeed even greater. Mike Barham for one, aforementioned contributions, but two, for rocking both the opening and finale with a plethora of his own work, such as the lively Bowserโ€™s Castle, and thoughtful prose through downtempo blues, to the thundering satire of a west-country-styled Top Gun theme, Danger Zone! The guy is a one-man machine, the best of the best, of the best.

So yes, breakfast to a late lunchtime at Brogans got lively, as people filled the plot outside and the carpark, in the sunshine. It was something until late last night I feared would fail, with gapping gaps between the confirmed acts. Sadly, and for various reasons, Archie Combe and Tom Harris had to cancel, and our opening act, Pewsey singer-songwriter, Cutsmith was also unable to attend. The worry took me until 10pm when I unleashed a masterplan; Tamsin Quin cropped up on the book of face, to thank me for reviewing the new Lost Trades single, and so, whammy, I dispatched note of my concern and asked nicely if she would be able to grace us with her presence, and naturally, sing us a song or three.

I highly suspect theyโ€™re secretly superheroes, Tamsin, Jamie and Phil, and if not, they certainly saved my skin, more than once before. Tamsin dragged Jamie R Hawkins along, and as their alter-egos with no need for superhero costumes, they did it again. Thank you both so, so much. Tamsin gave it her all, which needs no surprise, her confidence and professionalism doesnโ€™t preside her charming grace and skill to entertain. Jamie accompanied her brilliantly on cajon, claiming to be โ€œgetting into it now!โ€ after just two songs in.

Then Cath and Gouldy rocked up on their way to the Southgate, to play as their folk duo Sound Affects, which was, as ever, blindingly awesome. All originals and finishing on Mr Blue Sky and Come on Eileen covers, it was superb. So, a massive thanks to them.

The finale then, was rocked by Mr Michael J Barham, which Iโ€™ve said already, but needs another mention. Thanks to everyone who turned up and made it really special day, including our photographers, Ruth, Nick and Gail, writer Andy and all the supporters. Thanks to Brogans for having us, I trust we behaved, least it couldโ€™ve been worse, believe me! Itโ€™s times like this which make Devizine feel more than me clonking on a keyboard, and rather a thing of community, of spirit and substance. Though now Iโ€™m back clonking, vainly bigging up our own gig, which I justify by noting itโ€™s not about me, or my bacon roll, and more about the good folk who regularly contribute to make this website function, the musicians, writers and photographers, and supporters. Hereโ€™s to more, I want more!

This is not an act of vanity, but a condition Gail set forth in order for me to get permission to use them! Thanks Gail, it takes a highly skilled photographer to capture me smiling!

Two Man Ting Bring Sunshine to the Southgate Today

Winding up their โ€œmini tour,โ€ after last nightโ€™s gig at Salisburyโ€™s Winchester Gate, world/reggae duo, Two Man Ting appear at Devizes Southgate for an afternoon session from 4 to 6pm.

Midlands Jon Lewis and Sierra Leonian Jah-Man Aggrey, are a branch of world dance collective Le Cod Afrique, who play a cheerful combination of multicultural roots-pop. A welcome addition to the Southgateโ€™s continuing mission to provide a diverse range of live music to Devizes; and a grand job theyโ€™re making of it!

With Aggreyโ€™s bright, chatty vocals and bongos, and Lewisโ€™s acoustic guitar picking, this promises to be something great and wholly different around these waters. Theyโ€™ve done the festival scene from Womad and Glasto to the Montreux Jazz Festival & Glastonbury, and their acclaimed album “Legacy” has been much featured on BBC Radio 3 & BBC 6 Music.

Should be a good ‘un!

The Lost Trades on Cloud 9

New song from our local purveyors of the perfect folk vocal harmony trio, The Lost Trades. Out for another Bandcamp Day, today, Friday, where the website drops itโ€™s fees and gives the artists 100% royalties; and darn it, if this isnโ€™t worth a quid when it constitutes a mere quarter-cup of coffee from a posh cafรฉ these days, I dunno what is.

The origin of the idiom, cloud nine is largely debated. Explanations relating the US Weather Bureau of the 1950s denoting fluffy cumulonimbus type clouds, or the penultimate stage of the progress to enlightenment for a Bodhisattva, are mostly debunked. But who needs a debate when youโ€™re in a definite state of blissful contentment anyway?!

All you need know is this tune will land you on said cloud as if you were the monkey-god Sun Wukong on a mission. We are blessed with all the hallmarks of a Lost Trades signature tune; the calming tingle of xylophone, the gentle sway of acoustic guitar, the heavenly vocal harmonies, and uplifting lyrics to boot.

As Pink Floyd, around the Meddle era, after a bout of heavy space rock, when it suddenly drifts into thoughtful acoustic mega-bliss, this song just drifts akin, without need of heaviness, of Simon & Garfunkel, perhaps, meandering along a river on a gondola, thinking; hey man, letโ€™s, like, sing; and itโ€™s gorgeous, as we mayโ€™ve come to expect from this Trowbridge-Devizes trio. I wonder if weโ€™re looking at a track from the highly anticipated album, yet, even if no, itโ€™s the perfect display of progression for the newly-formed trio, whoโ€™s exceptional solo careers combine to create just as the title suggests; sitting on cloud nine.

With Tamsin advancing with her album, and Phil some way in front, teasing us with a cover design for his, titled Revelation, itโ€™s clear the solo side projects will continue, but as a trio they bounce perfectly off each other, though itโ€™s hardly a shove, more mooch. ย Download it here.


Devizineโ€™s IndieDay Outing!

Well blow me down, cover me in peri-peri sauce and call me Natisha if weโ€™ve had a Devizine event recently. Understandable all things considered. Annoying though, being I passed on the idea of holding a second birthday bash last autumn thinking weโ€™d host or co-host something better in the summer.

Crystal ball smashed, see? Face bothered? Yeah, a bit, yโ€™ know. Hits to the website has taken a blow, yet that informs me just how many people were using it as a whatโ€™s on guide in times prior to lockdown. And anyhoo, for me itโ€™s a hobby, like trainspotting, just without the trainsโ€ฆ.and spots. I still don an anorak for formal appearances! For businesses and performers alike though, itโ€™s been a rough ride.

What was waffling about before a class 55 diesel locomotive chugged past me? Oh yeah, events. Well, you may/may not be aware town centre will be alive on Saturday, 5th September, when the Devizes Retailers and Independents group hold their Indie Day, celebrating our array of independent shops and cafes. Thereโ€™s fun to be had, shopping and eating and stuff, with lots of prizes to be won, etc. Original idea was to have buskers around and about, but I believe thatโ€™s not so easy to do with current restrictions.

So, we plan to be in presence, centred in the rear garden of Brogans in the Brittox, purveyors of a fine breakfast, nice tea or coffee and scrumptious lunches and cakes. In which we will have some live acoustic music running throughout the day from, I dunno, 10ish till 3ish; that sound good?

Check dis out; Vegan Jaffa Cake style cake @ Brogans, say no more!

Rather hastily put together at short notice, due to getting approval on our proposal to observe social distancing, so if you come along, itโ€™s essential you abide by them. We will track and trace, advise you to wear a facemask if wandering outside of your โ€œbubble,โ€ and Brogans has measures already in place too.

I think itโ€™s important, the day as a whole, being local business have been hit hard by the lockdown. Yet equally is our side-stall, gigs were the bread and butter for musicians, sadly missed by the punter, desperately reducing performerโ€™s revenue. That said, the budget Iโ€™m working on is zero and Iโ€™m asking the acts to come for the love of it. I sincerely hope if you come along, you can show your appreciation when I badger you with a bucket, thank you.

I also encourage them to bring their wares, CDs and any merchandise they have for sale on the table; and this goes for anyone passing by also, who may have a creation for sale. Make sure you drop past by 3pm to pick up any earning. Any earnings are 100% yours, I might get my arm twisted if your offer me a bacon butty, other than that Iโ€™m asking for nothing!

Said tip bucket will be shared between all participating performers at the end. Shutdown is around 3pm, giving us time to finish up and head to the Southgate where the amazing Absolute Beginners will play from 4pm, and Iโ€™m getting a round in for all the performers. Thatโ€™s the plan anyway, subject to change as ever. In fact, Iโ€™m delighted to say Cath and Gouldy of Absolute Beginners are pencilled in to drop by around 1pm, before the gig at the Gate, so you can see for yourself how damn good they are.

Everything is in pencil at the moment, just wanted you to give you plenty of notice before you start planning a shopping trip to the Greenbridge retail park, or anything wildly hedonistic like that. Colour pencil though, rainbow; on the cards we have the one-man army, Mr Mike J Barham, whoโ€™s kindly to offered to setup a small PA while I rub my stubble, and pretend I know the technicalities heโ€™s referring to.

Also, hopefully dropping by will be our brilliant Tom Harris of the Lockdown Lizards, Pewseyโ€™s finest Cutsmith, and London-based Archie Combe, a classically trained jazz pianist, composer and musical director. Iโ€™ve not given them timeslots as of yet, but weโ€™ll play it by ear, which will be a beautiful thing given the wealth of talent. There might be room for one more, if youโ€™re up for it, let me know, or just drop by with a guitar on the day and Iโ€™ll try fit you in; canโ€™t be any vaguer than that! But vague is my middle name (actually, itโ€™s Lee, but cโ€™est la vie, Lee.)

So yes, it only leaves you to browse past and enjoy the day. Danny Kruger is coming, and if he can make it so can you; donโ€™t believe the hype! Let us know you’re coming on the book of Face.


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Jon Veale Flicks the Switch

How long does it take to take to put together a single, and how much longer during the lockdown?

I dunno; donโ€™t ask me, I just write about this stuff, and donโ€™t make a great job of that! I suppose youโ€™ve got pull in all the elements, yโ€™ know, paste together drums and vocals and stuff like that, and yโ€™ know; okay, Iโ€™ve no idea what Iโ€™m talking about. But they do down at Potterneโ€™s Badger Set.

Marlborough guitar tutor, singer-songwriter and bassist of local covers band Humdinger, Jon Vealeโ€™s single, โ€œFlick the Switch,โ€ is flicked on tonight. As the name suggests 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 lockdown to end before getting Paul Stagg into Martin Spencerโ€™s studio to record the vocals.

Jon Veale

Patience paid off, with a speedy vocal harmony intro, this song packs a steady rock punch, yet none too metal. It appeals wide, as a driving, rolling-stone-themed belter, and Paulโ€™s vocals are stimulating, reminding me of a grinding Jamie R Hawkins. Yet, for what itโ€™s worth, itโ€™s the composition which makes this a winner; a couple of listens is all it takes to be singing the chorus, allowing the drums and guitar combo to wash over you like a warm wave crashing on a tropical beach, or, something like that, (apologies, I need a holiday.)

As well as this supportive team, the distribution through Emu Records, Jon also thanks Christine Hurkett who has produced โ€œan insaneโ€ lyric video and cover for the song. โ€œIn case youโ€™re wondering what did I do on this song,โ€ he jokes, โ€œI wrote the music, the lyrics and played all the guitars!โ€

Iโ€™m intrigued to hear more now, for if this was a track on an album itโ€™d be a title track, unless Jon has something else up his sleeve, there’s already a previous tune featuring the vocals of our Sam Bishop on the iTunes link, so yeah, I dunno, donโ€™t ask me, I just write this stuff!

Spotify Link

iTunes Link


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Bill Greenโ€™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. Itโ€™s like Granโ€™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 otherโ€™s jumpers, shared a love of music from the Beatles to the Stone Roses, and hung out on the guest list with Chesterโ€™s indie rock band, Mansun on their โ€™96 tour.

Billyโ€™s mate John โ€˜Jimmyโ€™ Burns โ€œsimply wanted to be in a band and dressed well.โ€  Never having played their instruments before, let alone in a band, one night they decided to form one with another of Billyโ€™s friends, Mark Molloy. โ€œWeโ€ Bill explained, โ€œjumped about to โ€˜The Jamโ€™ and had often spent nights drumming along on bars and tables.โ€

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.

โ€œIโ€™d written a few songs,โ€ Bill continued, โ€œso we set up second-hand instruments in Marston Village Hall, and banged out a few tunes, no covers mind.โ€ย  He had been DJing the โ€˜Vroom!โ€™ Club, at the Corn Exchange. โ€œIan James was kind enough to put us on that Christmas and New Yearโ€™s, and people actually came to watch, a band was born.โ€

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 Lambโ€™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 Billโ€™s delight, and the demos have been remastered โ€œand tidied up a bit,โ€ 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. โ€œAnd here they are,โ€ he excitedly called, โ€œas a permanent record of the biggest indie band ever from Devizesโ€ฆ. called Still!โ€

โ€œI’m just shocked that Marston has, or had a village hall,โ€ I expressed.

โ€œRubble when we finished playing!โ€ 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 Britpopโ€™s โ€˜big fourโ€™ are represented here, in the jaunty attitude of Blur, the maladroit studiousness of Pulp, the euphoric ballads of Oasis, and the brashness of Suede, thereโ€™s also arty punk rock and psychedelic reprises, like Elasticaโ€™s affection for Wire, even the Beatles.

There are echoes of Britpop inspirations, โ€˜Respect Nowโ€™ feels like itโ€™s drawn from the genreโ€™s eighties influences; the Jam, up to the Stone Roses. Yet tracks like โ€˜Happier Nowโ€™ ring drum-based upbeat riffs, but slating postpunk vocals, and the sobering drone of The Smiths. Whereas, โ€˜Pale Impression, Manโ€™ is closer indie enthused from post-punk gothic, rather the end of the era anthems, like the track โ€˜Catch,โ€™ which rings Suede or The Verve.

โ€˜Lady Leisureโ€™ just rocks, simple; this was produced at Pete Lambโ€™s, along with the other first bout of garage-style rock, โ€˜Happier Nowโ€™, and โ€˜Superstars,โ€™ the latter savouring the sound of the Kinks. Perhaps the most poignant are two the love ballads, which along with โ€˜Catchโ€™ were recorded at Holt. Bill informed me, โ€œโ€˜Gav4Safโ€™ was a fledging love song written for a friendโ€™s wedding.โ€ But the beautifully crafted โ€˜LoveSongโ€™ is a missing piece of Oasis, and as a stand-out ballad is the only track rightfully to be reworked for Billy Green 3โ€™s modern album Still. The finale is the title track, with a sublime rolling bass guitar, Who-like.

ย โ€œWe hope there are some people who will listen and remember those heady days as fondly as we do,โ€ Bill expressed, โ€œitโ€™s basically demos but such good memories!โ€ 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 โ€˜The Wild, Innocent and E-Street Shuffleโ€™ rather than Springsteenโ€™s โ€˜Born in the USA,โ€™ 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. โ€˜Destructionโ€™ is out now, as well as the single, โ€˜Catch,โ€™ across the streaming sites, (Spotify) a notable antiquity of the local music scene.


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Jamie Williams and the Roots Collective Do What They Love, at The Southgate

Heโ€™s a fast learner, that Keanu Reeves; think how he progressed to โ€œthe chosen oneโ€ in little over an hour and half, while his superiors barely advanced at all; comes with the chosen one job, I suppose. Think cat scene, for example, where this novice presumed dรฉjร  vu, but twas a glitch in the Matrix.

Had a touch of dรฉjร  vu myself on Sunday, chatting with Essexโ€™s Jamie Williams and the Roots Collective; alas Iโ€™m not the chosen one, until itโ€™s time to do the washing up. Barefacedly had to check my own website, suspecting theyโ€™d been mentioned before. And I was right, Andy wrote a part-review back in July; I was briefly there too. Blame it on a glitch, rather than memory loss; this is 2020, glitches in the Matrix are abundant.

Regulars at the Southgate in Devizes, Jamie Williams and the Roots Collective are as the name suggests, but donโ€™t do run of the mill. Cowboy hats and chequered shirts held a clue, but arrive excepting unadulterated county & western and youโ€™ll get nipped. While thereโ€™re clear Americana influences, hereโ€™s an exclusive sound unafraid to experiment.

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Jamieโ€™s abrasive vocals are gritty and resolute, perfect for this overall country-blues sound, but it progressively rocks like Springsteen or Petty, rather than attempts to banjo twang back to bluegrass. It also boundlessly exploits other folk and roots influences, with a plethora of instruments and expertise to merge them into this melting pot. And in this essence, they are an agreeable rock band, appealing to commonalities; but do it remarkably, with upbeat riffs, tested but original material, and passion.

Not forgoing, I still need to be careful, and it was but a whistle-stop to the Gate, to wet my whistle. As current live music restrictions being the way they are, itโ€™s unfair to use a gig review as a base for an actโ€™s entirety. For starters, theyโ€™re missing bassist Jake Milligan, and drums deemed too loud to bring, James โ€œthe hogโ€ Bacon made do with a cajon and bongos. The remaining two, Jamie and Dave Milligan, cramped in the doorway of the skittle ally with acoustic and electric guitar, respectively. Which, in a way, proves this bandโ€™s aforementioned adaptability and desire to experiment. The proof is the pudding though, and battling through the restrictions of the era, they came up with a chef-d’oeuvre.

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Professionally, they scorched out a great sound nonetheless, mostly original, but a rather fitting Knockinโ€™ on Heavenโ€™s Door, with Jamieโ€™s grinding vocals apt for a later Dylan classic. But this downtempo cover was the exception to the rule, their originals upbeat and driving.

To pitch a fair review, though, is to take a listen to their latest album, Do What You Love. The cover of which is unlike your clichรฉ Americana tribute too; highly graphical splashes of colour akin more to pop, or a branding of fizzy drink. The songs match, a popular formula of cleverly crafted nuggets intertwining these wide-spanning influences. One track they did live from their album was accompanied with an explanation the recorded version used a brass section and even a DJ scratching, yet they made do with Jake joining James for a hit on the bongos.

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They certainly enjoy what they do, and appear relaxed in the spotlight. This doesnโ€™t make them tongue-in-cheek, like, say Californian Watsky & Mody, who blend hip hop into bluegrass for jokes. Rather Jamie Williams & The Roots Collective has evenly balanced said collectiveโ€™s influences and conjured this celebrated, danceable and fun sound, flexible for a standard function, like a wedding party but would also liven up the day at a mini-festival.

As an album though it encompasses all Iโ€™ve said above, thereโ€™s cool tunes like Lazy Day, the orchestrated reprise If I met my Hero, and rather gorgeously executed ballad, Held in Your Glow, but also frenetic tunes, driving down the A12 with the windows open music, Red Hot and Raunchy being a grand, light-hearted example but Iโ€™m A Stone as my favourite, with its clever pastiches of Dylan and The Rolling Stones, it rocks.

You need not visit the Oracle, waiting with spoon-bending broods, Keanu Reeves, for her to tell you Jamie Williams & The Roots Collective are not some โ€œchosenโ€ livid teenagers trailblazing a new sound and striving for the spotlight, but a collective of passionate and talented musicians loving every minute of performing, and this comes across as highly entertaining.


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Open Music Venues, or Do They Hate Art?

The Smart Eโ€™s โ€œSesameโ€™s Treetโ€ bleeped through the hills of a west country location in 1991. There was an air of delight and mirth when someone pointed to the ridge yonder. โ€œLook,โ€ they chuckled, โ€œthe pigs are dancing!โ€ Story checked out, I turned my head to witness a couple of police officers jumping and waving their arms, mocking the fashion of a dancing raver. Imitation we never took to heart, ravers were tongue-in-cheek about their chosen music; repetitive beats over a childrenโ€™s tv theme was comical nostalgia, and not supposed to be taken seriously. As for the police, seemed as individuals observing, they saw the simple truth that there was no harm in what we were doing. Yet there was always hate in the establishment they took orders from, and we were months away from being grounded by force.

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Hysterical measures by a desperate conservative government, who failed to see the value we held for something they couldnโ€™t understand, an electronic art movement, principally, a modern folk music.

Authoritarians detest art, least the progression of art, seems to me. And it has been plaguing my mind of recent. Freedom of expression, they fear, encourages liberation, unrest and consequently, rebellion. Munich, 1937; Third Reich leaders combined two opposing art exhibitions into one, the โ€œGreat German Art Exhibition.โ€ The first hall featured art which Hitler considered suitable, orthodox and representational, lots of flaxen folk gallantly posed like Roman deity sculptures, and local idyllic rural sceneries.

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The second displayed what Hitler deemed โ€œdegenerate art,โ€ contemporary, progressive and mostly abstract. But they ensured it was demoted, through exhibiting it callously, with disorder, and bestowing dissuading labels on it, describing โ€œthe sick brains of those who wielded the brush or pencil.โ€ Hitler pushed stringent boundaries onto German artists, because he figured art was key to the rise of Nazism and his vision for the future.

Damn, he hated the Bauhaus. Forced the art school to close in 1933. Their angular designs which would herald the most efficient revolution of modernist architecture, were deemed communist intellectualism by the Nazi regime; give them an archaic Spalato Porta Greek arch, or be shot!

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I see humour as my art, my aim is to make you laugh, whenever possible. In a week where a keyboard warrior reported me to Facebook for an ironic slate at Boris Johnson, yet a grammatically atrocious meme, stating they need not pay for a holiday, when purchase of a dinghy from Argos will see them put up in a hotel, is hailed as hilarious, I receive a message of eternal doom for the grassroots music industry, from a professional musician.

Gone, it seems, are the days of eighties โ€œalternative comedyโ€ of the Footlights, of Ben Elton and Rick Mayell scornfully ridiculing Thatcherism. Gone is the echoing mantra of Joe Strummer demanding โ€œa riot of our own.โ€ Today the art of comedy, and music, barely touches political matter, and never takes risks. Humour is subjective, as is all art, I accept this, but art enriches our lives, provides joy and entertainment, and should never be curbed or censored. Yet we find a consistent urge by blossoming traditionalists to dampen the spirit of artists.

The Trump administration eliminated the budget for the National Endowment for the Arts. An annual $150 million is a devastating blow to the industry, yet hardly major cost-cutting as it weighs in at only 0.004 percent of the federal budget. Akin to the ethos of the โ€œGreat German Art Exhibition,โ€ history is peppered with examples of right-wing philosophy opposing art. The Stalinists enforced stringent principles of style and content, to ensure it served the purposes of state leadership, methodically executing the Soviet Unionโ€™s Ukrainian folk poets, according to the composer and pianist, Dmitri Shostakovich. Just as Chileโ€™s coup of 1973, when Augusto Pinochet tortured and exiled muralists. Singer, Vรญctor Jara was murdered, his body presented publicly as a warning to others.

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In the UK, the reopening of lockdown restrictions despite the pandemic still mounting, where it seems perfectly acceptable to travel to foreign lands on a luxury holiday and return without quarantine, where we are encouraged to shop till we drop and eat out in restaurants to save the food industry, and itโ€™s commonly accepted our children will be used as lab rats in a herd immunity experiment, a government, who letโ€™s face it, should have imposed a lockdown sooner, as was the example of every other developed nation worldwide, rather than fail to attend meetings with the World Health Organisation, and use unreliable companies to supply software and PPE to help combat the virus, simply because they are mates of theirs, will not allow us to have a sing-song in a pub.

Now, at first, I accepted the possible threat, but in light of recent lessening of restrictions, I fail to comprehend the logic in this, in continuing the restrictions on art and music. Given the historical facts surrounding the authoritarianโ€™s apparent hatred of art, I am beginning to fear the virus is a being used as a convenient excuse to suppress and suspend creativity. Oi, loony leftie, shut up, stay in your home and watch the celebrity Pointless special.

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I suggested, didnโ€™t I, art is subjective? If Hitler liked the conventional, representative of Renaissance tradition, it was his prerogative, but there was no need to kill everyone simply because he couldnโ€™t draw horses very well. Since the invention of photography can duplicate precise imagery, artists seek expression, inimitability and design according to their own mind. If it constitutes liberal or reformist ideals, why should it be devalued by opposing attitudes? The problem arises when oppression is enforced, freedom will return the fire, and will be back, refreshed, to bite them on the bum!

Just as the Jamaican JLP party of the right, battled burgeoning Rastafarians into the Wareika Hills in the 1950s, and labelled them โ€œBlackheart Men,โ€ or bogeymen, yet the surge of reggae and the popularity of Bob Marley today sees Rastas accepted in Jamaican society for the tourism it attracts, The Battle of the Beanfield in 1985 did nothing to control travellers in the UK. Less than a decade later the free party scene metamorphized into a rave generation which saw youths rally to support them. You cannot curb progressive movements in any art without risking a wave of rebellion. Ironically, the very thing theyโ€™re trying to prevent.

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Weโ€™ve seen a return of the rave, police fearing a riot if they try to prevent them, but they reflect nothing of the magnitude of the nineties, yet. Unless grassroots music venues and pubs who were regularly supplying live music are reopened, even if that means social distancing measures are in place, it is inevitable you will open a gapping underground and future generations will strike back. This does nothing for the values conservatives uphold, or their vision of a totalitarian future, but furthermore severely punishes every professional in the arts industry from rock star to sound engineer, every prospering new performer in an era formerly to lockdown, I see equivalent to those swinging sixties; a time I suspect most baby boomers of tory ethos hold dear. An era where every youth was in a band, and focused on music rather than belligerent misdoings.

Yet still, gammons, I believe is the modern terminology, if the left is snowflake, persist in whinging about how youths have no respect, how they were flaunting rules in the park, gathering, conspiring, they so suspect, against them. What if they are, though probably just socialising as they likely once did in their younger years, what if theyโ€™ve some masterplan to overthrow this Tory charade; they surprised by this? How egocentrically imprudent, how selfishly insular. This is peopleโ€™s livelihoods they are toiling with. As Bob Marley once said, โ€œa hungry man is an angry man.โ€

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Paul Lappinโ€™s Broken Record

A cracker of a single from Swindonโ€™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, โ€œignore the voice of reason, leave the key and close the door, do you think youโ€™re ready, to become unsteady, like a broken record, you have heard it all before.โ€ Paul does this frankly, with appetite and it plays out as a darn good, timeless track.

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Itโ€™s head-spinning rock, intelligent indie. Harki Popli on tabla drum and Jon Buckettโ€™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 Iโ€™ve said before about Paulโ€™s music, he does it with bells on.

For less than a chocolate bar, download this track from Bandcamp, it doesnโ€™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, Iโ€™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? Hereโ€™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, Iโ€™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, Bathโ€™s first external artist of Wise Monkey Music is a producer and instrumentalist, defined as โ€œa bright shining light in the future of DIY and Bedroom Pop,โ€ 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! Itโ€™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. Benโ€™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 Iโ€™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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Worst Pop Crimes of the Mid-Eighties!

Relished in your own nostalgia or, if you’re too young to have lived it, curiously influenced by a bygone era, no one can deny the eighties was a decade of musical progression in a similar manner to the sixties. From the beginnings of the decade, pop showcased a legacy of youth cultures, from glam to rockabilly, from punk to two tone, from the refurbished mod to ironic ethos of the skinhead, and from frilly-sleeved new romantics to jogging-bottomed breakers. The pioneering genres of electronica and electro saw hip hop become the new rock n roll, but it would take some time to find a niche in the UK. Naturally, by the end of the decade, a new driving force via electronics would saturate the underground, as acid house exploded, and we stomped into the following decade with whistles and white gloves.

While it developed, there was a period, a kind of no-man’s-land of youth culture, a void in creativity in which the hit factories strategically bounded out of the trenches and perpetrated a full-scale attack. Make no mistake, pop crime is wrought in every decade, manufactured atrocities occurred throughout every era since pop begun, but never on this scale. It was mass genocide with diddy-boppers.

“It was mass genocide with diddy-boppers.”

Maliciously, the target was aimed younger than ever before, the demographic was 10 to 14-year olds. The commanders were specialists in the field, making Simon Cowell seem like Beethoven by comparison. Three in control of the fiercest battalion, one Mike Stock, the other Matt Aitken and last, but by no means least, Pete Waterman. Fortunately, I had just surpassed their target audience, and thanks to Zeppelin, Hendrix, and others, our generation rewound to previous eras for protection against the shelling, eagerly awaiting rave. But prior, when I was the right age, I fell hook, line and sinker; most pre-teens do.

This is why itโ€™s important to note, Stock Aitken Waterman mayโ€™ve redefined pop crime to an all-time low, but not until near the ending of the decade did the crimewave truly flourish. Plus, they did not offend alone, many tried before, no matter how petty the crime, they committed them. SAWโ€™s first singles, Divineโ€™s โ€œYou Think You’re a Man,โ€ and Hazell Deanโ€™s โ€œWhatever I Do,โ€ only charted at numbers 16 and 4, respectively, in 84, their first number one, โ€œYou Spin Me Round (Like a Record)โ€ by Dead or Alive the following March, but all were petty compared with the carnage of their perpetual recidivism during the decadeโ€™s second half, dubbed an โ€œassembly line.โ€

“Petty compared with the carnage of their perpetual recidivism during the decadeโ€™s second half, dubbed an โ€œassembly line.โ€

I tried not to choose the obvious then, the classically nauseating novelty songs which slayed for humorous effect. From the only way we Tweeted in the 80s for example, the Birdie Song, to ethnic stereotyping for kicks; shaddap your own face, Joe Dolce. Or randomly pushing pineapples, shaking trees, and wishing you could fly right up to the sky. Never forget, thereโ€™s no one quite like Grandma.

Neither have I selected the memorable later evils of Stock Aitken Waterman et all, where the naive befell to their despicable set formula, from Bananarama to Cliff Richard, and a showcase of new recruits, many from Ozzy soaps. No, I favoured to concentrate on the period just prior, when I was susceptible to pop crime, an accessory to murder; for actually buying these 7″ monsters, and, at the time, loving them. We tend to block the worst parts of our memories and focus only on the highlights, so to buy a “best of 80s” 16-CD boxset for a fiver from a supermarket is deflecting the whole truth. These are the commonly cited worst songs of the period, Europeโ€™s Final Countdown, Rick Astley, and so on. But to list the renowned offenders would be to simply copy and paste SAWโ€™s discography; the truth being, we had some other serious pop crime in the mid-eighties, which went largely unpunished.

“To list the renowned offenders would be to simply copy and paste SAWโ€™s discography.”

See, credit where credit is due, Vanilla Ice deserves some recognition for not only publicly apologising for his wrongdoing but elucidating the reason for pop crime. โ€œThey waved a massive cheque in my face,โ€ he later explained, โ€œWhat would you have done?โ€ We could do with the staff of the TV show New Tricks to reopen these case files and investigate. The only problem I foresee with that is Dennis Waterman, who was partially guilty himself.

Here then I present evidence to the court, in hope pleading guilty by circumstance may lessen my sentence. Forgive me Marley, for I have sinned. Yes, the pop crimes which I naively involved myself with, the ones I played over and over, and live to regret my foolish immaturity. I warn you now, this was no simple to task to access the archives of my memory, it was dangerous to both mind and ear, musically akin to regenerating Frankenstein’s monster. But do not fear, fear will only lead to the dark-side, and you might just permanently injure yourself mentally by the horror of these video nasties, or even, open the closet to some skeletons you had long forgotten about. Tobacco needs a government health warning, if these tunes resurfaced, it would be advisable to do likewise. You have a lot to answer for, YouTube.

 

1: Five Star: System Addict

I confess, I loved Romfordโ€™s would-be-Jacksons siblings, period. My uncle lived in Romford and driving to visit, Iโ€™d keep a keen eye out in hope to catch a glance of them, until the Daily Mirror reported they moved to a plastic palace in Berkshire.

Buster Pearson, their Jamaican-born father and manager had an impressive rรฉsumรฉ, working with soul and reggae legends Otis Redding, Jimmy Cliff, Wilson Pickett, and Desmond Dekker. From โ€œAll Fall Downโ€ their debut single, unconcerned if I fancied Doris or Denise, I loved everything about them, until their flopped hard-edged dance comeback in 1988.

I loved their style, their soulful harmonies, and choreographed moves; ask me my favourite album in 85, it wouldโ€™ve been Luxury of Life. I was 12, my only defence. I had some years before comprehending the crime of manufactured pop; today I can only cringe. This video for 1986โ€™s System Addict says it all, a warning, I think, about the over usage of computers. Maybe they shouldโ€™ve been warning about the over usage of shoulder pads.

2: Jermaine Stewart: We Donโ€™t Have to Take our Clothes off

The junior disco at Pontins, Camber Sands in 1986, I didnโ€™t know what to do next, but I knew Iโ€™d reached first base with a husky-voiced brunette with zips on her sleeves. Then this song came on, which I liked, but would be the stinger in any chance of ever taking the relationship further. Maybe for the best, the song was commenting on the AIDs pandemic and probably lessened the funky Jackson-a-like Jermaine Stewartโ€™s chances of copping a shag too. I imagine the girl saying, โ€œbut you said, in the songโ€ฆ.โ€ as she holds up some cherry wine suggesting they danced all night instead. And an infuriated Jermaine replying, โ€œI know what I sung, baby, but thatโ€™s not my words, just a song, come onโ€ฆ.โ€

Sadly, and perhaps ironically, though, Jermaine died of aids-related liver cancer in 1997. Still, a foul pop crime, though only a single, first time offence.

3: Falco: Rock me Amadeus

Someone, somewhere thought it would be a good idea to rap in Flemish, and, fortunately for Falco, it was. He is the best-selling Austrian singer of all time. But hereโ€™s a massive selling pop crime single which time doesnโ€™t do justice to.

At the time, 1985, I couldnโ€™t get enough of this avant-garde trash, and the plush video of powdered-faced Germanic bourgeoisie busting out of their corsets. More so when I mistook a line, thinking he used both the F and C swear words, which was actually, โ€œFrauen liebten seinen Punk,โ€ โ€œwomen loved his punk.โ€ But the follow-up โ€œVienna Calling,โ€ didnโ€™t do it for me, and two things I learned from Rock me Amadeus, if anything, Mozart didnโ€™t rap and the wonder of the one-hit-wonder.

4: Sam Fox: Touch Me

Interesting video portraying Samantha Fox as an established rock chick when the truth was, I always thought, she was famous only for getting her tits out in the Sun newspaper. Hers were, undoubtedly, the first pair of knockers Iโ€™d ever seen, and for that Iโ€™m truly grateful. But reinventing herself as rock star was a step too far.

Though, it was her mum who sent photos of her in her under-crackers to the tabloids, while the same year, a sixteen-year-old Samantha struggled with a pop career. In โ€˜83 โ€œRockin’ With My Radio” was her first single, produced by Ray Fenwick formerly of the Spencer Davis Group. Makes you wonder; mum distracts daughter from the depravities of the music industry my encouraging her to get her tits out for the newspapers. A lesson learned, never trust your mum if you want to be a pop star.

Me, I donโ€™t care, I never wished to wallow in my brotherโ€™s obsession with Sam Fox, not because I was a prude, just more of a Linda Lusardi kind of kid, and, secondly, this title track from Jive Recordsโ€™ 1986 album โ€œTouch Me,โ€ is horrifically criminal, and, nice tits or no, that is all.

5: Trans X: Living on Video

As with poor olโ€™ Sam Fox, Trans X is listed here due to assumption. Research again proves me wrong. As I figured, here was a mid-eighties single which desperately harked back to the synth-pop sound of the early eighties, rather than took the progressive stance with music technology other similar bands were. In actual fact, the 1985 version I had of it, which I thoroughly loved at the time, was a remix, the original dating back to 1982, bang on time for its style.

Trans-X were from Montreal, their only defence, passing the buck to the DJ for his remix is akin to getting your mum to take your speeding points. Even for 82 it sounds unpleasantly tacky. Mud sticks, itโ€™s barbarism by todayโ€™s standards, in a manner Blue Monday doesnโ€™t; I rest my case.

6: Nick Berry: Every Loser Wins

Wicksy, you wet blanket. If promoting your slushy song through your soap opera character isnโ€™t cringeworthy enough, the character dedicated it to mismatched couple, Michelle and Lofty, and labelled it โ€œtheir song,โ€ only for Michelle to jilt Lofty at their wedding; such is EastEnders. For Berry though, this mawkish crime against pop swashed in enough sentimental sludge for it to hit number one in the charts for three weeks, the second biggest selling single of 86, and helped him ditch his contract with the soap.

Yeah, I bought this one, sucked in under false Disney-esque pretences that every loser does win. In reality of course, they donโ€™t, else theyโ€™d be called winners instead by the terms of the wordโ€™s definition; idiot. Please, letโ€™s never speak of it again.

7: Huey Lewis & The News: Stuck with You

There is no honour among thieves with pop crime. Huey Lewis cried โ€œRay Parker Jnr started it, sir!โ€ When he did blatantly nick from Hueyโ€™s track โ€œI Want a New Drug” for the Ghostbusters theme, and they settled out of court, but Lewis blabbed, so Parker hit back, a violation of the agreement to not discuss the settlement publicly. They both shouldโ€™ve been slimed.

It was the reason why Huey Lewis got involved with rival movie Back to the Future, the reason I got into the group. It sure was a captivating moment, Marty McFly avoiding 1955โ€™s bullies on a self-made skateboard with Huey Lewis and the News blasting The Power of Love in your face.

Yet, I cannot think of a better example of a band who got progressively worse as they went on. Someone must have known, and did nothing to stop them. Fore, they called their 1986 album, it destroyed any shards of creditability, foreskin more appropriately, and one which shouldโ€™ve been circumcised because of the build-up of cheese. I only choose this pathetic pastiche of doo-wop barbershop over Hip to be Square, as that was at least upbeat, that is all

8: Maria Vidal: Body Rock

Graffiti artists might fancy the idea of telekinetic spray cans as featured in the video for Maria Vidalโ€™s Body Rock, but while I supported the commercialisation of hip hop, at the time, this was step too far.

Agreed, left up to the comparatively documentary film, Wild Style in 1983, we may never have heard of hip hop in eighties Britain. Though Beat Street, the following year, was commercial, it had clearer narrative and higher production values. Beat Street was boss, but movies on the subject flowed thick and fast, and increasingly wrecked the reputation of the genre. Breakinโ€™ kicked it off, and its sequel followed within the year, Body Rock took it to a whole other level.

Here is a song which advises one to move out of the way rather than stand up for yourself; hardly โ€œstreet.โ€ But what is more, itโ€™s a template for the crimes of the hit factory, this and eurotrash, which is why we mention the next pop crime.

9: Spagna: Call Me

Ivana Spagna took it upon herself to assume she was famous enough to mononymous her name, and through her work with Italo disco duo, Fun Fun in her native Italy it might have been true. We didnโ€™t know of her until this monster of a pop crime, Call Me.

Euro-pop would never regain the success of Nenaโ€™s 99 Red Balloons upon the UK charts without manufacturing a revolting formula. Itโ€™s catchy but empty of content, verses do not matter, just repeat the chorus, spray enough hairspray to bore a hole in the o-zone above you and jump into a stranger with headphoneโ€™s Suzuki and youโ€™ll be fine. The criminal aspect so widely attractive to Pete Waterman went unpunished and, still at large, she continues to offend.

10: Peter Cetera: Glory of Love

Nothing wrong with fighting for honour and being the hero, theyโ€™ve been dreaming of, but, put a bit of umph in it for crying out loud. Peter Cetera was from acclaimed seventies band Chicago, it was sentimental slush but with grace. Take his song โ€œIf You Leave Me Nowโ€, a song he wrote for their tenth album and gained Chicago its first Grammy Award. Begging the question then, what went so terribly wrong in the mid-eighties?

It seems the pop crime pandemic was at large and no one was safe; the soft rock power ballad proves it. This mullet-driven monstrosity is so nasty, so corrupt if you hear it through to the end, youโ€™ll puke, Karate Kid or not. Wax on, wax off, sweep the leg, yes, this didnโ€™t do anything for the sequel expect cause the audience stomach upsets. Yet, as with all these songs, at the time, I thought it was great, I thought it was a romance advise line, and ultimately resulted in years of hurt and anguish; no one was ever this romantic in 1985, not even Chris de fucking Burgh!


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Three Times Better; The Lost Trades @ The Southgate

From Robert Johnson selling his soul to the devil at the crossroads to bipolar bank robber George โ€œBabyfaceโ€ Nelson, thereโ€™s so many Americana mythologies and folklore veracities apropos in the Cohen Brotherโ€™s โ€œOh Brother, Where Art Thou?โ€ I could draft a lengthy essay. One Iโ€™m reminded of last Sunday down our trusty Southgate, was the scene depicting the Carter Family singing โ€œKeep on the Sunny Sideโ€ at a governorโ€™s election rally. Reason; thereโ€™s something simplistically bluegrass about The Lost Trades, matchless vocal harmonies, ensuring the circle is unbroken, even in a distant Wiltshire.

It was only a whistle-stop to wet my whistle, and when I did arrive the trio Iโ€™d came for where on their break. Tamsin was selling handcrafted spoons and lesser original band merchandise such as t-shirts and CDs, Phil was lapping the pub chatting enthusiastically and Jamie was having a pint with his family. None of this really matters, as individuals, weโ€™ve rightfully nothing but praised these marvellous local musicians. When they formed a more official grouping and the Lost Trades were born, we broke the news. Neither did it matter, at the time, that I would be unable to attend their debut gig at the Village Pump. I had my new writer Helen offer to take my place, and what is more, I knew Iโ€™d be catching up with The Lost Trades in due course; couldnโ€™t have predicted the impending lockdown the following week.

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Yet prior to Sunday I had ponder if there was anything else to write about these individuals weโ€™ve not covered in the past, but I was wrong. The angle can only be the difference between them as individuals or periodically helping one another out at a gig, to the trio The Lost Trades. Because, when they did everything was very much adlib, with the Lost Trades three minds are working closer than ever before, and if two brains are better than one, three is not, in this case, a crowd.

It wasnโ€™t long before they resettled, and huddled in the doorway of the skittle room playing to the crowd in the garden, as is the current arrangement for these brief acoustic sessions at the Gate. They joyfully toiled with a cover of Talking Headsโ€™ โ€œRoad to Nowhere.โ€ This was followed by my favourite track from Tamsinโ€™s album Gypsy Blood, aptly, โ€œHome.โ€ Topped off with a sublime version of Cat Stevensโ€™ โ€œMoon Shadow.โ€ But I did say it was a whistle stop.

In consolation I picked up their self-titled debut EP, something I should have done months ago. With this beauty in hand I could take a little of The Lost Trades home with me; itโ€™ll play perpetually through those thoughtful moments. Recorded in session at The Village Pump, โ€œbecause we really like the acoustics in there,โ€ explained Tamsin, here is a recording oozing with a quality which, despite predicting, still blew me for six. As I say, itโ€™s the combination of these three fantastic artists in their own right, as opposed the jamming weโ€™ve previously become accustomed to, which really makes the difference.

Five tunes strong, this EP equally celebrates these three talents and harmonises them on a level weโ€™ve not heard before. The acapella beginning of the opening tune, โ€œHummingbirdโ€ glides into stripped back xylophone and acoustic guitar, and is so incredibly saccharine, it trickles like some beatniks performing on a seventies Childrenโ€™s TV show. Yet, it works. In true Simon & Garfunkel manner, itโ€™s not mawkish, just nice.

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Hummingbird serves as a great introduction, but is by no means the template. As is commonplace, from the Beatles to The Wailers, The Trades, I detect, conjoin the writing effort but the lead singer seems to be the one who plucked the idea. โ€œGood Old Days,โ€ then, screams Jamie at me, who leads. It has his stamp, ingenious narrative centred around thoughtful prose. โ€œWherever You Are,โ€ likewise is a Tamsin classic, wildly romantic and wayfarer.

โ€œRobots,โ€ follows, the quirkiest and perhaps erroneous after an initial listen. Yet through subtle metaphors the satirical slant charms in a manner which nods Phil Cooper, and why should one stick to a formula in subject matter? Because the sound is authentically Americana of yore, Robots superbly deflects the notion itโ€™s lost in a bygone era and cannot use modern concepts, and Robots ruling the world is, however much a metaphor, still fundamentally sci-fi, and that makes for an interesting contrast. With that thought in mind, this could be the track which stands out for originality.

As in this review, weโ€™ve returned to the unbroken circle. In full circle the final song, โ€œWait for my Boat,โ€ is a sublimely cool track, casting a direction the trio are clearly heading. For although Jamie leads, thereโ€™s elements of all three middle tracks combined in this sea shanty sounding song. Itโ€™s metaphorical, romantic, with sentimental narrative. It wraps up the EP perfectly, leaving you hanging for the album theyโ€™re working on.

Yes, the Lost Trades is a live group you need to see in person, but this EP really is way beyond my already high expectations. Itโ€™s combination of talents is honest, bluegrass-inspired acoustic gorgeousness you need in your life.

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Atari Pilotโ€™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 couldโ€™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 Kidโ€™s mum appeared to guard Willyโ€™s bedroom, tapping her foot impatiently. Touch this mean rotund mama and sheโ€™d kill you, unless youโ€™d tided every bit of leftovers from the bash. Turned out, months after the gameโ€™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 โ€œIf I was a Rich Man,โ€ 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 โ€œAtari Pilot.โ€ I had heard of them, but not heard them. I was pleasantly surprised.

For starters, this is rock, rather than, taken from the bandโ€™s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geekโ€™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 itโ€™s certainly loud and proud.

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A grower, takes a few listens and Iโ€™m hooked. Their Facebook blurb claims to โ€œchange the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.โ€ After their debut album โ€œNavigation of The World by Soundโ€ 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 โ€œSongs for the Struggle.โ€ This will be the title of their forthcoming follow-up album, โ€œWhen we were Childrenโ€ being the first single from it, and now this one, โ€œRight Crew, Wrong Captain,โ€ is available from the end of July.

Its theme is of isolation, โ€œand defiance, after the ship has gone down,โ€ frontman Onze informs me. Thereโ€™s a haunting metaphor within the intelligent lyrics, โ€œyou 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.โ€

Thereโ€™s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands Iโ€™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. Hereโ€™s hoping itโ€™s โ€œgame overโ€ 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, youโ€™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, Iโ€™d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!


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Ben Borrill Takes A Little Time

Bobbing around the St Johnโ€™s corner of Long Street, trying to act important, and sober, I had a message for Ben Borrill, Pete was looking for him, he was on next; ah, gave me something to do. It was the fantastic Devizes Street Festival, made that much more fantastic by Vinyl Realm organising a second stage, showcasing local talent. You mustโ€™ve heard about it, even if you werenโ€™t there, Iโ€™ve harked on about it enough!

Mission accomplished, he was loitering the doorway, and equably replied with an โ€œoh, okay.โ€ Thereโ€™s a casual air around Ben, perhaps the most altruistic and modest musician, and, oh, skateboarder too, on the local circuit. It was this way when I first met him during an acoustic jam at The Southgate. Yet thereโ€™s a magnetic sparkle when he performs, which captivates. Other than friendship, itโ€™s probably the plausible reason he supports Daydream Runaways recurrently.

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I never held out for something recorded from Ben, content as he seems to roam the local circuit performing live, yet with the current climate surrounding gigs, time and effort is channelled into getting studio time down, for everyone. Sometimes this transmits the talents of a live performer, occasionally not, and I happily report itโ€™s far from the latter.

Groovy, in a word; thereโ€™s something pleasantly sixties Merseybeat-come-beatnik about Ben Borrillโ€™s debut single, Take a Little Time; not in a tacky tribute kind of clichรฉ but in a nonchalant, progressive way. Particularly in the intro, the reference of seasonal change, shifting leaves and blossom of a fading spring, balances into romantic ditty, and spanning just over two minutes too; itโ€™s short but sweet.

While it doesnโ€™t go off down a completely psychedelic sixties formula, itโ€™s no Mammas & Papas, the riffs do lean heavily on all thatโ€™s golden about that golden era, of Kinks or Hollies, with a fresh tinge of modern acoustic. Hereโ€™s a smooth ride into an intelligently grafted, but easy-going song, reflecting Benโ€™s charismatic and breezy attitude. It is, blinking marvellous, and leaves you yearning for moreโ€ฆ jump to it Ben, equably Iโ€™d imagine he would reply with an โ€œoh, okay!โ€ Spotify link here.


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Sam Bishop and the Fallen Sky

Ex-Devizes boyband and half of Larkin, Sam Bishop is away studying music in Winchester. He posts about his latest single, Fallen Sky with the thought, โ€œI really do think this is the best song Iโ€™ve ever made.โ€ You do always say that, Sam, tee-hee, but itโ€™s no bad thing! I think it was legendary underground cartoonist, Hunt Emerson, who once told me, โ€œnever put anything out youโ€™re not confident to say itโ€™s the best thing youโ€™ve ever done.โ€ It suggests Sam is always striving for better, but the proof is the pudding, and this is a Michelin star sundae. Yeah, I believe youโ€™re deffo right with this one.

Itโ€™s got that dark, moody ambience, backed with a deep bassline, sonic piano and ticking drumbeats, as if William Orbit took boyband to dubstep. This compliments Samโ€™s humming vocals to a tee, as it characterises dejected teenage anguish and echoes the passion in early romantic interactions. While itโ€™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!

I feel old ears will nod in memory, but Samโ€™s defining style speaks volumes to younger generations. This is heartfelt stuff, as ever with Sam, but this time, in particular, the production on Fallen Sky envelopes that atmosphere so brilliantly.

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You know what Iโ€™d like to hear? And call me old-fashioned if you will, Iโ€™ve been called worse, but Iโ€™d like an amalgamation of songs filling a complete narrative, as the parable ends like an open-ended short story, leaving you wondering the next decision Samโ€™s character in the song will take. Like a chick-flick plot, he sings, โ€œdoes it feel like itโ€™s the end of our lives?โ€ While this is great, Iโ€™m left yearning to know if they get back together or not, so, just a suggestion, but an intertwined set of songs spanning a complete fictional relationship, like, dare I say it, a concept album. This may not be the modern way to go with distribution I know, but here is Sam Bishop at his best, and a development worthwhile expanding.

Yeah, alright, I hear you, Iโ€™m old, yeah, thanks a million! Check this Fallen Sky out here.


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The Big Yellow Bus Rocks The Gazebo

Two things former humble truck driver Gerry Watkins is a natural at, plucking an ingenious idea and putting it into action, and putting on a gig to fund it. In 2017 Gerry raised four-grand to buy a double-decker bus, which he converted into a homeless shelter in Cirencester. Since heโ€™s launched a similar plan in Swindon, and continues to raise funds for this amazing homeless project. The Big Yellow Bus project is innovative but simple, and Gerry works tirelessly to keep it running.

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With live music teetering on return, it still maybe a while before some venues are ready to reopen, despite yesterdayโ€™s sudden given date of August 1st. The following weekend, 7&8th, sees a grand restart for The Big Yellow Bus, to get funds rolling once again. The Tavern Inn in Kembleplays host to this glorious two-day mini festival, which is free, with collection buckets for the Big Yellow Bus doing the rounds.

Music plans to kick off at 7pm on Friday 7th August with our good friends, Absolute Beginners. I know, like most, Cath, Gouldy and the gang will be itching to get back to live music. While thereโ€™s still a few gaps in the line-up to confirm, The Roughcut Rebels will be a welcomed act, introducing their new frontman, the one and only Finley Trusler; an awesome unification we look forward to hearing. Mick O Toole is also on Fridayโ€™s header.

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Saturday 8th though is an all-dayer. Paul Cooper (Martin Mucklowe) from the twice BAFTA award-winning BBC tv series, This Country, will be opening up the event at midday. Shaun Peter Smith will be the Compรจre for the day, as Miss Lucy Luscious Lips, heโ€™s certain to add a little bit of glamour and sparkle. Thereโ€™s a number of faces I know to this busy line-up, and plenty new to me.

An interesting Opening at midday, Ascenda are a four-piece, playing smooth music with a rock edge and thoughtful, theatrical vocals. Their current collection of songs ‘Celeste,’ forms a love story that explores conflicts; solitude versus companionship, and spirituality versus practicality.

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Acenda (image by Eric Hobson Photography)

Cath, Gouldy and the gang return as The Day Breakers at 1pm, with their irresistible blend of Celtic and mod-rock covers, itโ€™s guaranteed to go off! Swindonโ€™s all-girl rock and pop covers band, Bimbo follow at 2pm. Dirty and filthy punk is promised to followed with The Useless Eaters, a band who accurately recreate the iconic sound of late 70โ€™s British and American punk.

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Six Lives Left

Cirencesterโ€™s masters of high-energy classic eighties rock covers, Loaded Dice are on at 4pm, followed by a mesh of Britpop, new wave and ska with SkAโ€™D Hearts at 6pm. Era-spanning soul follows with Joli and The Souls, and rock restarts in style with Six Lives Left. Sticking with six as the magic number, the finale will be from Calneโ€™s fantastic misfits of Britpop and new wave, Six O Clock Circus, who are always up for a party!

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Joili & The Souls

Yeah, itโ€™s all slightly out of our usual jurisdiction, but with a line up like this, all for such a great cause, and with limited events these lockdown days, this is highly recommended and worth the effort. Kemble Railway Station is right opposite The Tavern Inn so itโ€™s easy to find.

Note, putting such an event on so early after lockdown will not be without expected guidelines, everyone must abide by. Gerry urges social distancing and that you respect those around you. โ€œThis is all done so you can enjoy yourself and have a great time watching and dancing to great live bands and performers, thank you for all your support and together we can have a great time.โ€ I’m sure they will, Gerry. If anyone is heading off from Devizes, gimmie a lift, pal, because this sounds unmissable!

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Talk in Code Taste the Sun

Back in January 2019, I was dead impressed with Talk in Codeโ€™s debut album Resolve, and labelled it โ€œsophisticated pop with modern sparkle.โ€ I offered the track โ€œOxygen,โ€ 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, itโ€™s clear theyโ€™ve come an incredibly long way to enhancing and refining that fashion.

Reflecting back, Resolve has the definite โ€œindieโ€ 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 โ€œsophisticated pop with modern sparkleโ€ label much more.

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Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as โ€œabout waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.โ€ 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, itโ€™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 โ€œWhamโ€ anthem a younger you wouldโ€™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 clichรฉ 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 โ€œtalkyโ€ part; โ€œI thought I told you, Michael, Iโ€™m a lover not a fighter!โ€

Yet I find similar with todayโ€™s pop, and hold my daughter accountable! โ€œWhy they doing that bit?โ€ I grumpily whinge. โ€œWhat bit?โ€ she retorts. Itโ€™s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of โ€œindieโ€ to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. Itโ€™s true, I concern myself at the prospect of taking my daughter to a pop festival, be it Iโ€™m cowering at her modern taste, or sheโ€™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 canโ€™t!


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Jamie at The Southgate; first live music review for a while!

Has lockdown made us appreciate the simpler things in life we once took for granted? Even if, itโ€™s pathetic to lose your shit over the lessening of restrictions and go on an all-out bonkers spree of drunken foolishness, playing into the mediaโ€™s hands creating a drama from a crisis. It is understandable isolated folk fear the idea of venturing to pubs when carefully selected images of hordes of pissheads scrapping outside some chavvy chain bar are spread across social media, just as a few weeks ago a trip to the beach wouldโ€™ve been scorned at.

For me, a relative good, aging boy, whoโ€™s been looking forward to the prospect of an unpretentious pint down the Southgate all morning at work, to return home and regrettably check Facebook to notice a local post claiming sixty-plus youths were last night causing havoc in town, and extend the horror to hear similar events occurred in the Sham too, itโ€™s discouraging. Will I be held up as a hooligan, because I desire life to return to a time when going to the pub was normality?

Itโ€™s a matter of being selective. If it was up to me, Iโ€™d encourage a mass boycott of Bojoโ€™s philistine bum-chum, Tim Martinโ€™s shamelessly uncultured shithouses, but each to their own. They lead by example, a bad one. If you want to pour your hard-earned pounds into the pocket of this billionaire who treated his staff with such utter disrespect, perhaps youโ€™re the kind of insensible sociopath who enjoys a punch-up. Not me, I went to the Southgate for an afternoon pint and report back a decidedly lack of hooliganism from rampaging shirtless knob-jockeys; donโ€™t believe the hype.

Going to this pub was safer than shopping, and the delightful experience it always was, if not more being itโ€™s been a while.

I actually got what I anticipated all along; a warm welcome, orderly queuing for the bar, a bottle or two of hand sanitiser and a slight gathering observing social distancing, able to contain their excitement at being let off their leash. But what is more, some breezy live music; what Iโ€™ve been holding out for. Yay! Iโ€™m not writing to slag off some corporate monopoly, but wanted to compare and contrast, plus get the rant off my chest. Rather it is, our first live music review for seemingly eons, and who better to grace the step of the Southgateโ€™s garden than Jamie R Hawkins? Okay, I know Iโ€™m asking too many questions in this piece, but that was rhetorical.

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Perched in the doorway of the skittle alley, slighter of beard and longer of locks, Jamie was every bit the icing on the cake. Predictable, could be said, but welcoming to see the many faces admiring over his ambiance of acoustic goodness. In faith too, of the gradual phase-in for live music, the session wasnโ€™t intended to be long; just a few songs from 4-6pm. Enough though to get a taste, and Jamie looked to be enjoying it as much as the crowd.

There were some new ones, Walking into Doors (?) one I arrived for, one perhaps called โ€œSpeechless.โ€ Jamie did one cover, Simon & Garfunkelโ€™s Cecelia, and went through some of his benchmarks, the wonderful Capacity to Change, the remarkably sentimental Not Going Anywhere, and being it was a family affair, the ukulele-driven โ€œWelcome to the Family,โ€ aimed at his restless toddler in her pushchair. Yes, an intimate setting, but with words crafted so beautifully and perceptible as Jamieโ€™s, one cannot see the relevance in your own life.

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It was also a notable notion that Jamie was the last person to perform at our splendid Southgate, prior to the lockdown, so fitting he set the ball rolling in reopening. Though, with the unification with Phil Cooper and Tamsin Quin as The Lost Trades, a band formed in just enough time to play a debut, Jamie and the gang are really gathering acclaim further afield. They are promised at the Gate, but again, we have to be patience; this was a teaser under certain restrictions. A band, a late night outside may not be feasible for this humbling pub, yet, but time will tell.

Here then, was a lovely teaser afternoon, and proof above all media hype surrounding this ease of restrictions, that it can be done sensibly and responsibly, and the Southgate is on top of the movement towards normality; when it does, itโ€™ll be something wonderful. Has lockdown made us appreciate the simpler things in life we once took for granted? Not really, itโ€™s always been this good.


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The Unforgettable Film Scores of Ennio Morricone

Ever seen those videos where some clever-clogs takes out the music to a film clip and it immediately loses all clout? It makes one realise how dependant the film is to the music, how, without it, thereโ€™s hardly any emotion, and in turn is symbolic of how music can emotionally move us.

None so much when evoking emotions such as fear or suspense, when the creepy music starts youโ€™re edging on the sofa, feeling for the protagonist, you are beside the sacred little girl in the haunted house, or the cop seeking out the hiding villain in the disused warehouse, dreading what might be around the next corner. Take the film score out and youโ€™d be like, yeah, whatever.

Saddened then to hear of the passing of Ennio Morricone yesterday, the Italian composer and conductor, best known for his work on Sergio Leoneโ€™s great westerns, The Dollar Trilogy. Though the films this prolific composer scored the music for are too many to name. Born in 1928 in Trastevere, Rome, when Italy was under fascist rule, Ennioโ€™s father was a professional trumpet player and consequently, was the first instrument the young Ennio picked up. At just six he began writing his first compositions.

By the early 1950s he was composing pieces for radio plays, incorporating American influences, and also playing jazz and pop for the Italian broadcasting service, RAI. From Paul Anka to the Pet Shop Boys he has orchestrated many a pop song, but Ennioโ€™s first love was film scores. After several, his association with Sergio Leone begun in 1964. Hard to imagine now he created those masterpieces of grandeur and suspense with a limited orchestra, the budget wouldnโ€™t stretch to a full one. He used effects such as gunshots and cracking whips, and the new Fender electric guitar. Yet they will never be forgotten, and his work here expanded the possibilities and paved the way for progressive techniques in film scores.

Spaghetti Westerns would never be the same again, but neither would the benchmark for all film scores. Yet Ennio never left Italy, and never learned English, but still went onto working with hundreds of directors, including John Boorman, John Huston, Terrence Malick and Roland Joffรฉ, even Roman Polanski and Quentin Tarantino.

 

 

 

NervEndings For The People

More clout than Ocean Colour Scene Iโ€™d expected after hearing frontman Mike Barhamโ€™s prior thrashing solo releases and drummer Luke Bartels previous band, but more roaring blues than Reef was an angle I didnโ€™t see coming when I first checked our local purveyors of loud, NervEndings.

Weโ€™re countless gigs in now, the band, with bassist and secondary vocalist Rob McKelvey, still tight and raucous. Iโ€™m glad thereโ€™s a six-track album doing the rounds on the streaming sites, as by way of a meanderingly drunken tรชte-ร -tรชte 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 itโ€™d see the light!

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โ€œFor The Peopleโ€theyโ€™re calling it, then, out last week. Itโ€™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 weโ€™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, Iโ€™d best describe Colour Blind; smoother, drifting indie rock. And in that, Fighting Medicine is more as Iโ€™d supposed, guitar riff rocking like a driving song and Mikeโ€™s brainy lyrics, with added profanity to describe the drunken hooligan spoiling for a rumble. You know the bloke, thereโ€™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, itโ€™s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, itโ€™s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isnโ€™t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Hereโ€™s Jimi Hendrix covering Blurโ€™s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the clichรฉ 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 โ€œAlexa!โ€ Ah, it needed to be done and Iโ€™m grateful, in a sense. โ€œSend me a download or something,โ€ I pleaded, โ€œI donโ€™t understand this Spotty-Fly thing!โ€ But it only met with the reply, โ€œitโ€™s on all the streaming sitesโ€ฆ.โ€ Iโ€™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 Iโ€™m causally informed downloadingโ€™s sooo millennial.

I dunno, all moving too fast it; seems so unphysical, not to have a record collection, rather a playlist. You canโ€™t skin up on a Deezer playlist. At least downloading had a file, nearer, somewhat, to owning a record. But Iโ€™ve persevered and found the Spotify app on my PC more user friendly; I didnโ€™t harass my daughter for assistance once, as I regularly do with the phone.

So, cheers, Mike. Hopefully this will help me surpass the โ€œnoobโ€ label my son has tied to me, which, Iโ€™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, โ€œwhereโ€™s your tele?!โ€ 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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Jon Amor is Cooking

Last time I saw Jon Amor he was queuing for Sainsburys. Sign of the times I suppose, wouldโ€™ve much preferred to say we were in a pub or hall, and Jon was doing his thing. Capers, was what, he explained, he went in for. Those Mediterranean pickled berries, I figured; Jon is as epicure with his tucker as he is with his music. A new single, Peppercorn, expands the hypothesis; heโ€™s cooking alright.

A contemporary blues performer with an established diverse repertoire, I was surprised upon reviewing his 2018 album, Colour in the Sky, of a distinctive and quirky fashion akin to late-seventies pop-rock in the more beguiling tracks; a drainpipe-suited Elvis Costello, of type, and songs as good to match. Iโ€™m thinking of the tracks Red Telephone and Illuminous Girl in particular, they donโ€™t follow the archetypical modern bluesman manner, theyโ€™re upbeat, zany and define a certain panache emerging with Jon. Iโ€™m pleased to say Peppercorn doesnโ€™t just correspond with this notion, but expands upon it.

Accompanied by video of crazy antics around his home, presumably recorded over his many entertaining lockdown live streams, with not only a rather perfected Ministry of Silly Walks tribute in snappy blue winkle-pickers, but an amusing puppet sequence to scream Sledgehammer at you. This is a quirky, catchy little tongue-in-cheek number. From Shanks & Bigfootโ€™s Sweet Like Chocolate to, more appropriately, The Soul Leadersโ€™ boss reggae classic, Pour on the Sauce, food innuendo is no new thing in music; Louis Jordan nailed it in the thirties. Still with his demarcated and inimitable stylishness, hereโ€™s Jonโ€™s own take on it.

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With a little slide-guitar intro, after thirty seconds itโ€™s having it; immediately enticing and definingly why Jon Amor sets the local live music bar high. Though he is, the hybrid between man-about-Devizes-town and blues legend. At a quid from Bandcamp, this shiny example of why is a winning dish.


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From The Specials; Neville Staple Band in Lockdown

Photos by John Coles
Artwork by Sugary Staple

If last yearโ€™s fortieth anniversary of Two-Tone Records saw an upsurge of interest in this homegrown second-generation ska, it shows no sign of flawing anytime soon. Perhaps you could attribute parallels to the social and political climate of our era, or debate intransigent devotees are reliving their youth, but Iโ€™d argue itโ€™s simply an irresistible sound.

One thing our eighties counterparts didnโ€™t have to contend with was the Covid19 pandemic, and musicians of every genre are reflecting on it. Ska is of no exception, weโ€™ve seen many contemporary performers releasing new material on the subject, but here we have a legend doing his thing, topically.

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The Neville Staple Band releases this timely single, Lockdown. A dynamic modern-sounding reggae track, yet encompassing all the goodness of the Two-Tone era of yore. Understandable, original rude boy Neville Staple is conversant with this, a founder member and co-frontman of The Specials, Fun Boy Three and Special Beat. Those influences shine through here. Thereโ€™s something very Fun Boy Three about this tune, with a slice of poetically-driven Linton Kwesi Johnson to its feel.

As true as the song suggests, in lockdown Dr Neville Staple has teamed up with wife Sugary Staple, to pump out this relevant single, commonly reflecting on the feeling of many concerning the virus and staying safe. โ€œSugary came up with the idea to write a song about the lockdown,โ€ Neville explains, โ€œwhich, at first, was a very fast-stomping ska track. We then realised that it was too fun and happy a tune for the theme. Most of us have been quite down about the whole virus thing, so we decided to take it on a more sweet but moody 2Tone reggae route, in a similar vein to ‘Ghost Town’, with some music we had worked on previously with Sledge [Steve Armstrong.]โ€

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While I detect echoes of Ghost Town, this tune also breathes originality and present-day freshness, confirming progression of the genre rather than a frequently supposed nostalgia. Being a local site, some may recall his visit to Melkshamโ€™s ParkFest last year, where an unfortunately damp evening didnโ€™t stop the revelling, and Neville stole the show with an assortment of Two-Tone classics. I was backstage with the wonderful support band Train to Skaville. A chance meeting with Neville, when he popped out of his tent for pizza, humourlessly failed to engage long enough to explain who I was, and ended with him pointing at his pizza-box and saying โ€œyeah, Iโ€™m going off to eat this.โ€ I shouldโ€™ve known better than to harass a legend when their pizza is chilling in drizzle! I nodded my approval, knowing Iโ€™d have done the same thing.

Neville was awarded an honorary doctorate from Arden University last year. With a tour, and so many international shows and festivals postponed, the couple decided to do a lot of extra charity work as well as new song writing. DJ recordings for people sick in hospitals or in isolation, personally dedicated to them, was just the start. Sugary and Neville wanted to highlight the work of Zoeโ€™s Place, a charity run for terminally ill babies and toddlers. As ambassadors for this charity, Sugary expressed, โ€œcharities like these really do suffer at a time like this, as the focus is on other things. But the work they do at Zoeโ€™s Place is like one of a kind and so very special. They step in when families really do need the support, providing 24-hour high quality, one-to-one palliative, respite and end-of-life care for children aged 0-5 years. A heart-breaking time for anyone involved. We must not lose a charity like this – it is too important and so we will be supporting this, along with other charities we are patrons or ambassadors to, with this single.โ€ And the duo dedicates this song to all those who have been affected by Covid-19.

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Shared to our Boot Boy Radio DJs, you can expect we will be spinning in for the foreseeable future, but you can get it here:

7″ vinyl order https://bit.ly/2NeeoUA

Spotify https://open.spotify.com/album/1s2wuLNQ3q4wsvq7tOUfVh

iTunes https://music.apple.com/gb/album/lockdown-single/1515072018

Amazon https://www.amazon.com/Lockdown/dp/B0894K4G1Q


SPECIAL NOTICE – FROM THE SPECIALS, NEVILLE STAPLE & SUGARY:

A MESSAGE TO YOU..! The Legendary Neville Staple (Dr), Sugary Staple & the Band, need your help please.

Can you wonderful people please donate just ยฃ3 towards this project (which will also get you 2 signed exclusives pics), or any random amount, or check out the mega exclusive vinyl 45ย & CD gift set offersย (these are going really well, and are extremely rare limited edition items, so grab them while you can). You just click this link and choose your reward, to then register your donation.

https://www.kickstarter.com/projects/fromthespecials/lockdown-ska-2020-from-the-specials-neville-staple-and-sugary/ย  ย 


If you like a bit of ska and reggae, catch me on www.bootboyradio.co.uk Fridays from 10pm GMT till midnight!

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A Cracked Machine at the Gates of Keras

Don my headphones, chillax with a cider, and prepare my eardrums for a new album from our local purveyors of space-rock goodness; Cracked Machine is a wild rideโ€ฆ.

There are few occasions when mellowed music truly suspends me in the moment, when it just exists in the air like oxygen and totally incarcerates and engulfs my psyche. Jah Shaka and ambient house rascals the Orb both achieved this a couple of dusks at Glastonbury, but the same with likewise happenings, I confess I was intoxicated on matter maturity caused me to long leave in my past!

The issue for any reborn psychedelic-head is pondering the notion, will it ever be the same again, will music and art tease my perception to quite the same degree. The sorry answer is no, unless your intransigent mate slips something in your drink. Yet itโ€™s not all despair, with a sound as rich and absorbing as Cracked Machine, itโ€™s doable without drugtaking shenanigans.

They proved this at the most fantastic day in Devizes last year, which was that bit more fantastic, when what was intended to be a bolt-on feature became the highlight of DOCAโ€™s Street Festival. Funded and arranged by Pete and Jacki of Vinyl Realm, the second stage highlighted everything positive about local music; a historic occasion weโ€™ll be harking on for some time yet. I nipped away briefly after Daydream Runaways stole the early part of the day. But where the lively indie-pop newcomers had roused the audience, I returned to witness a hypnotised crowd and a mesmerising ambience distilling the blistering summer air. Smalltalk was numbed, as if the area was suspended in time. A doubletake to confirm we were still perpendicular, sitting in deckchairs or slouching against a wall on the corner of Long Street and St Johns and not slipped through a time vortex to a Hawkwind set at a 1970 free-party love-in. I was beyond mesmerised, but not surprised.

For this is how it was with their impressive 2017 debut album, I, Cosmonaut, the soundscapes just drifted through me, as I causally drafted the review, reminding me of a smoky haze of yore, giggling in a mateโ€™s bedroom, listening to Hawkwindโ€™s Masters of Universe. Youth of my era though, were subjected to electronic transformation in music, which would soon engulf us. Rave culture cut our space-rock honeymoon short, though, Spaceman 3 were a precursor to the ambient house movement of the Orb, Aphex Twin and KLF, others changed their style, like Fromeโ€™s Ozric Tentacles merging into Eat Static, and a perpetually changing line-up for Hawkwind appeased the older rock diehards.

I love I, Cosmonaut, it manages to subtly borrow from electronica and trance, only enough to make it contemporary, but keep it from being classed as anything else other than space-rock. I felt their second album, The Call of the Void avoided this slice of Tangerine Dream, and submerged itself totally in the hard rock edge; bloody headbangers! Therefore, itโ€™s a refreshing notion to note newly released Gates of Keras bonds the two albums and sits between them perfectly.

Again, thereโ€™s little to scrutinise as it rarely changes, it meanders, trundles me to a world beyond wordplay, as these completely instrumental tracks roll into one another, gorgeously. A Deep Purple styled heavy bass guitar may kick it off, yet the opening track Cold Iron Light takes me to the flipside of Floydโ€™s Meddle, with seven and half minutes of crashing drums and rolling guitar riffs. Temple of Zaum continues on theme, Ozrics-inspired funkier bassline, and weโ€™re off on the drifting journey, splicing subtle influences. The Woods Demon, for example, stands out for particularly smooth almost Latino guitar riff, making it my personal fave. Yet Move 37 is heavier, upbeat, like the second album. Low Winter Sun is sublime blues-inspired, imagine Led Zeppelin created Satisfaction rather than the Stones, if you will.

Recorded back in November, this is eight lengthy soundscapes of pure bliss, and will guarantee you a safe trip. A signature album for a lonely lockdown of dark, yet emersed in a time of Tolkien-esque vibes and mandelbrot set fractal posters. If this was released in the mid-seventies-to early-eighties every spotty teenager would be inking their army surplus school bag with a biro-version of Cracked Machineโ€™s logo. As it is, age taking its toll and all, I have no idea if this still happens, but doubt it. None of that matters, here is a matured era of the genre, only with a glimpse of how it once was. Nicely done.

International Ska! Hugo Lobo teams up with Lynval Golding and Val Douglas

If I penned an all-purpose article a week or so ago, about ska in South America being as prospering now as it once was in England, I follow it up with this grand example….

Argentinaโ€™s Dancing Mood trumpeter and producer Hugo Lobo made history this week, releasing โ€œFire Fire,โ€ a skanking upbeat cover of a Wailers rarity, by calling in international troops. Throughout this prolific career, Hugo endeavours to encourage legendarily collaborations, exalting the international genre and keeping the flame of Ska and Rocksteady alive.

Dancing Mood staggeringly sold over 200,000 albums. Hugo Lobo presented his debut solo album ‘Ska is the Way’ in 2017. This renowned trumpeter not only performed and produced for many of the south American ska and reggae bands I mentioned in my previous piece, but transcends to international acclaim, working with Rico Rodriguez, Janet Kay, The Skatalites, Doreen Shaffer, and Dennis Bovell. With Jerry Dammers, Hugo paid tribute to Rico Rodriguez in 2015 at the London International Ska Festival.

In a transcendental meeting, three generations of ska artists from the corners of the planet combined to recreate this 1968 musical nugget from the Wailersโ€™ homemade label โ€œWailโ€™n Soulโ€™m,โ€ where Peter Tosh leads. Jamaican-born British rhythm guitarist and vocalist Lynval Golding, of the Specials and who later founded the Fun Boy Three with Terry Hall and Neville Staple, is central to the single, yet he always is central to something ska! Lynval appeared on Glastoโ€™s Pyramid Stage with Terry Hall backing Lily Allen, and the Park Stage where Blur frontman Damon Albarn and beatboxer Shlomo knocked out Dandy Livingstoneโ€™s โ€œMessage to You Rudy,โ€ a popular cover for the Specials.

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Lynval Golding

With a generation-spanning rรฉsumรฉ, Lynval Golding continues with current group, Pama International, undoubtedly the UKโ€™s most celebrated contemporary ska outfit who we were the first new band in thirty years to sign to Trojan Records. Yet through this huge portfolio, Hugo Lobo proudly announces his presentation is Lynval Golding’s first solo material.

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Lynval with Jerry Dammers and Jools Holland

If thatโ€™s not enough to whet your appetite, Hugo also called upon the current bassist of The Skatalites, Val Douglas to add to the enthralling sound. Check the bass on Bob Marleyโ€™s โ€œWake Up and Liveโ€ if you want a shining example of Valโ€™s talent. Though Val is a multi-instrumentalist, arranger, composer and producer, working with just about any reggae legend you could name; Toots & The Maytals, Lee “Scratch” Perry, Ernest Ranglin, The Abyssinians, Delroy Wilson, Dennis Brown, Ken Boothe, Lloyd Charmers, as well as contemporary ska artists the New York Ska Jazz Ensemble.

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Val Douglas

All this considered, it could go one of two ways, overloaded with ego and fighting for centre stage as would many legends of other genres, or simply a sublime sound. Bear in mind this is SKA, collaborations are more frequent and common than rock and pop, and unlike the often-pugnacious insolence of ska bands, thereโ€™s never anything narcissistic about legendary collaborations. Glad to announce itโ€™s the latter of the two ways, this sound leads the way. It holds all the catchiness we expect from ska, it heralds tradition but sounds fresh and innovative; the hallmark of the scene I love.


ยฉ 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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Catch me Fridays at 10pm to Midnight for a west country humoured ska, reggae and anything goes show!

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Virtuous Violence of a Clock Radio

If the name Clock Radio suggests an irritating box by your bed you simply want to lunge at in the morning, the casual โ€œTalking Headsโ€ fashion of local purveyors of self-proclaimed โ€œdeluded jangle rock,โ€ entice no such violent action; theyโ€™re smooth and arty. Though, ironically describe themselves as โ€œeasily triggered, dishonest, cryptic yet flirty,โ€ and violence is likely the disingenuous subject of a new tune, virtuously. Talking Heads though, Psycho Killer, qu’est-ce que c’est?

Idiosyncratic irony and intellectual self-satire, isnโ€™t it? Regulars at Devizes Southgate, Clock Radio threw their retrospective namesake to the wind a year ago, and joined the download generation, as far as distributing their wares. โ€œThrow out your vinyl grandad,โ€ they call ageistly called to order, โ€œClock Radio just went digital!โ€

Their enigmatic sound though is much the same proficient โ€œnew waveโ€ formula youโ€™ll hear live; if it ainโ€™t broke. They brand themselves through posters using snippets from cringeworthy seventies catalogues or Gilliamโ€™s Python animation-styled images; all very pop art. Their sound reflects such an epoch, so such ageist jests can be nothing more than the elemental tongue-in-cheek bravura which will aptly see them billed alongside Calneโ€™s Real Cheesemakers.

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Out this week,โ€œVirtuous Violenceโ€ is their fifth virtual release, following two singles and two EPs. With a spooky clocktower chime introduction, a gothic guitar riff flows through this otherwise poetic and smooth tune. Itโ€™s melodic retrospective post-punk goodness, would be avant-garde if appropriated its era. Yet if that Brian-Eno-slipping-on-The-Pixies kind of causal and breezy ambience is the fashion Clock Radio seek through their previously releases, theyโ€™ve nailed it with this one.

For while Iโ€™ll flitter with the genre, a tune has to โ€œpop,โ€ for me to take hold of it, and Virtuous Violence transcends the boundaries of their previous releases for catchiness and in capturing the imagination. Donโ€™t run away with the notion they achieved this with the ease of synth-pop, for thatโ€™s an element of new wave they steer away from, keeping it traditionally analogue. No, this is just, well, nice on the ears. Another one for post-lockdown โ€œmust doโ€ hitlist.


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Mr B & The Wolf come out of The Mist

On our promise, via The Indie Network Facebook group, and generally a growing cognisant inside me, for Devizine to musically venture outside our local area, geographically, here we go with a starter for ten. Though itโ€™s no new thing, in the past weโ€™ve mentioned many, from Cosmic Rays in Shropshire, to Mayyadda from Minnesota; I invite this pandemic to officially crash our bordersโ€ฆ.

One request recently came from one Vince Henry, whoโ€™s digitally-adapted Facebook profile pic makes Doug Bradley in his Pinhead guise from the Hellraiser films look like a bedtime Care Bear, and led me to assume the band he manages, Mr B & The Wolf was about to unleash some thrash death metal or psychobilly peculiarity unwillingly into my aging eardrums. I prepped myself accordingly, one ear in the headphone, paracetamol within reach, but I was pleasantly surprised.

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As a function band based in my motherland, Essex, Mr B, and his wolf too, are lively, true, but present a flowing range from blues-based rock and Americana to โ€œthrowbackโ€ pop and soul, and do it with the finesse of a contemporary Fleetwood Mac. Itโ€™s a zephyr blowing your locks, the single Iโ€™ve been sent, Out of the Mist archetypal of the bandโ€™s bravura. I liked it and now have the album, LazyDay to give a fuller appraisal.

With echoes of driving rock Mr B and the Wolf keep a balance, thereโ€™s no tearing off metal as I preconceived, no angry underscores, rather a commercially viable equilibrium of uplifting rock radio stations cannot excuse for not spinning. Second tune, Rise Up, a great example of this breezy and enriching chic. Yet in the acceptance lies an aching sensation eighties power ballad bands, like Huey Lewis and the News shouldโ€™ve been striving for a sound more like Mr B & The Wolf.

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Three tunes in then, and Crazy Town strips the style back to a deeper blues riff, vocally gritty, vocalist Dean Baker handles it very well indeed. Out of the Mist combines the two and stands out, for both catchiness and composition. Chestnut subject matter, yeah, but it doesnโ€™t sway me when itโ€™s performed so well.

What we find here is a bonded, proficient band with stains of all rock has produced before but boy, do they know how to wear it well. They being, Ben Pellicci on lead and backing vocals, Jason Bird on bass and backing vocals, George Wallis on rhythm, and Jason Chown on Drums; unconfirmed which one is the wolf!

Phoenix ballads us to the finale, harmoniously and mellowly. I couldnโ€™t go as far to compare it with the way Morrison would direct the Doors through an audience-mesmerising voyage, but it does equate the great soft metal bands of yoreโ€™s more magically rousing moments. I nod to Heart and of course, Bon Jovi, but they’d be knocking on the doors of Floyd or Cream, see if they’re coming out to play.

The finale though, belts back the blues riff and takes us full circle. In conclusion then, Mr B & The Wolf certainly donโ€™t drift from blues-rock formulae, though itโ€™s a damn fine established blueprint anyway, and this Chelmsford band do it with style. LazyDay would refrain you from road rage in traffic and compel you to turn it up when you hit the open road, Mr B & The Wolf would be a gig youโ€™d return from with fond memories.


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Donโ€™t, Ryan!

Okay I confess, in my last article I did, didnโ€™t I, state there was a trend of indie music taming to mass appeal? And yeah, I suggested this is no bad thing. There will, however be exceptions to the rule, and rock will, and should always retain its hard edge; we have room for all here. Swindonโ€™s Ryan Webb, for instance, whoโ€™s just dropped a new single, โ€œDonโ€™t,โ€ takes no prisoners.

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This is militantly metal, with spikes. It rocks with edge, it doesnโ€™t hang around with an ambient intro, stop for a melodic break, the bridge is reached in seconds, the rolling guitar riff perpetually quivering your bones. A one-man red-hot chilli pepper, Ryan wrote, produced, sang, wailed his guitar, recorded and mixed the track in his studio. The only collaborator being Dave Collins, the mastering engineer for Metallicaโ€™s last album, who mastered this too.

It must be said, this not the template of Ryan Webb, who quotes influences ranging from Pink Floyd, Joe Satriani, and Zeppellin, to Coldplay, Muse, and Kings of Leon. He has the range encompassing any rock avenue, and projects all with comfort and competence.

โ€œDonโ€™tโ€ though, whoa there Ryan, Iโ€™m inclined to put my frayed denim jacket over my AC-DC t-shirt and head-bang my way to the highway from hell, and Iโ€™m not usually one for all that; havenโ€™t even got an army surplus bag with badly grafted pictures of Eddie the Head and Megadeath logos!

So yeah, if I like it, you iron maidens will love it! What is more, the track is โ€œa plea to anyone contemplating suicide to take a step back and see that they have a lot going on for them in the world. Even when times are really bad, itโ€™s important to talk to those around you.โ€

Ryan has chosen All Call Signs as the beneficiary for any sales from the single. All Call Signs is a UK organisation set up by two veteran soldiers, Dan Arnold and SJ James, in order to help other vets/serving military personnel who may be finding life difficult. They have also created an app which helps locate those reported missing and in need of urgent support.


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Indie Networking and Long Coats

If social media is the rearguard in musicโ€™s battle against the Coronavirus lockdown, thereโ€™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 Iโ€™ll connect with through social media, such as the Facebook group Iโ€™m here to mention, as is the groupโ€™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 itโ€™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, โ€œitโ€™s only a number.โ€ I knew then to keep my gob shtum, so I stated I was โ€œold enough to know better, too old to care.โ€ Least itโ€™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 weโ€™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 Iโ€™m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollieโ€™s recently formed band The Longcoats, and itโ€™s just the sort of thing which allows Kieran to win the genre argument! Itโ€™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 โ€œour,โ€ see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, Iโ€™m an indie kid! (kid used here in its most unlikely definition.)

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Anyway, I digress. Weโ€™ve reached the part of the show where the artist mumbles โ€œis this codger going to actually review my single?โ€ Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. Thereโ€™s no telling some, heโ€™s a bastard. However, weโ€™ll never get going if I branch into politics.

โ€œUsed to Being Usedโ€ is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, thereโ€™s a trudging guitar riff, a theme of dejected ardour, yet itโ€™s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude; 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 Sharpโ€™s lone act, which bridged the gap between band and solo artist. The final piece of the puzzle came upon recruiting permanent bassist Norton Robey. With the assistance of producer Jack Daffin, 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, Iโ€™ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Hereโ€™s one to watch, with their debut EP โ€˜Octoberโ€™ in the pipeline, hereโ€™s hoping itโ€™ll reach us before the month of its namesake.

But itโ€™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, itโ€™s a deceased stereotype, of which Iโ€™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, whatโ€™s not to like about it?

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Keep on Running with Joe Edwards

Joe Edwards has his debut solo album, Keep on Running released this week, here’s my tuppence on it…..

Under the โ€œwrite what you know,โ€ philosophy, if Iโ€™ve been critical in the past regarding local Country-fashioned artists using cultural references alien to their natural environment, i.e. a band from Wotton Bassett crooning about boxcars and wranglers, I have to waive the argument in the case of Keep on Running, the debut solo album by Joe Edwards, of Devizes. Not because Joe is well-travelled to apt locations and it was recorded and produced at Henhouse Studios in Nashville, though he is and it was, or itโ€™s so authentic itโ€™s more authentic than the authentic stuff, but because, in a word, itโ€™s so absolutely gorgeous.

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Iโ€™m going to be hard-pressed to find a different album of the year, as if this was a new Bob Dylan release the headline would be โ€œDylan Back on Form.โ€ But it isnโ€™t, and if one can rebuke Dylan as eaten by wealth and the machine he once repelled against, here, with freshness, is Highway 61 really revisited. The characters here can be akin to Dylanโ€™s, questioning romance, bittersweet with humanityโ€™s cruelty. Keep on Running never faulters nor diverts from its mellow method, if the tempo raises itโ€™s only slight, and if it slips a toe under the door of rock, shards of both folk and blues roots are methodically preserved with finesse.

“…if this was a new Bob Dylan release the headline would be โ€œDylan Back on Form.โ€

When preacher Casey picks up hitchhiking Tom Joad, recently paroled from the McAlester pen in the Grapes of Wrath, Steinbeck paints a picture with his words so immaculately precise youโ€™re in that pickup with them, sensing the raw sting of the dustbowl and the smell of the dying cornfields of Oklahoma. With every banjo riff, or twangy guitar, Joe paints a similarly genuine image of the Southern American states.

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The writing is sublime, acute blues. Characters are often despondent, impecunious and dejected. Yet this is not Springsteenโ€™s Nebraska, somewhere theyโ€™re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible. You may be riding their train of pessimism, yet itโ€™s not discouraging on the ear, rather selfless muse executed with such passion thereโ€™s an air uplifting, best compared with Tom Pettyโ€™s โ€œFree Falling.โ€

You sense a running theme; yes, life is shit but Iโ€™m dammed if Iโ€™m going to let it piss on my chips. A feeling Joe nurtures as the album continues, reaching an apex with a track called โ€œDonโ€™t Let the Bastards Get you Down,โ€ and continuing to the title track. Hereafter you understand the metaphor to โ€œKeep on Running.โ€ If not, the cover is a meek lino-cut akin to labelling of a Jack Daniels bottle, with a road heading off to the mountains, just to make sure.

“Yet this is not Springsteenโ€™s Nebraska, somewhere theyโ€™re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible.”

After the title track, thereโ€™s a road ballad in true Americana style, the venerable symbolism for changing your life, which is never a negative notion. If the finale then spells the most adroit blues tune, โ€œMine oh Mine,โ€ the beginnings, โ€œBethโ€™s Songโ€ and โ€œCross the Lineโ€ herald the better country-inspired ones, but between them, an insolvent blues tune, โ€œCapital Blues,โ€ as a beguiling teaser for whatโ€™s to come. In contrast the achingly poignant, โ€œGamblerโ€ is perhaps the most accomplished bluegrass, filled by a tormented soul pouring his heart out for want of an extra six dollars.

It flows so incredibly well, George Harrison well, though, like a concept album of the 1970s itโ€™s a single unit to be heard complete. This doesnโ€™t prove a problem; youโ€™re engaged throughout and wouldnโ€™t dare press pause.

Nothing is tentative about Keep on Running; you get the sense Joe is deliberate in where he wants to take you. Despite remaining faithful to the formulae set by Guthrie and continued by Dylan, Segar and Lynyrd Skynyrd, where nothing is experimental, nothing is clichรฉ either. One listen and youโ€™ve entered a grimy western saloon, biker citizens pause shooting pool to glare, and a cowgirl in daisy dukes and a red chequered shirt tied at the waist welcomes you, piercingly.

“It flows so incredibly well, George Harrison well.”

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There is no in-your-face blast of sound, it traipses mellowly, and Joe executes his vocals with a whisper, as though heโ€™s pouring a heartfelt secret to you alone, and for that youโ€™re honoured; you should be. This is sweltering Sunday morning music, preferably slouching in a rocking chair on the veranda of a log cabin, sipping whiskey and rye, plucking a banjo. Though the least I can do right now is watch Oh Brother Where Art Thou!

Keep on Running is available now, here, and on Joeโ€™s Bandcamp page, here.


ยฉ 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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Falling with Tone and Cutsmith

Since the jazz era, musical genres start covert and underground, and with popularity theyโ€™re refined to mainstream acceptability, packaged into a new pop wave, and eventually fall into a retrospective or cult hall of fame. I first stood aghast at the selling-off of our adolescent anthems when I heard Leftfieldโ€™s Release the Pressure in an advert for Cheese Strings. When this happens to you, youโ€™re officially past your sell by date!

When my daughter is in the car itโ€™s paramount, she controls the stereo, at least it is to her. Iโ€™m indifferent, the bulk of contemporary pop irritates my senior ears, but occasionally thereโ€™s a something interesting hidden. There was one, once, donโ€™t expect me to root through her playlist to tell you what one, pop, but with the backbeat undeniably inspired from drum n bass.

My attention was drawn to a tune this week, Falling, from Devizesโ€™ drum n bass outfit SubRat Records via Gail Foster, who shot the video for it. Listening took me to the aforementioned moment; how drum n bass was now part of the โ€œnormโ€ rather than primarily an underground genre. If it has come of age and entered the realm of acceptable pop, though, thereโ€™s still room for experimentation and the fusing of styles, which is no bad thing, and precisely what Falling is. Chris, hereafter known as Tone, has set up SubRat, and Pewseyโ€™s Cutsmith is the vocalist on this particular track.

Cutsmith is current, using hip hop to inspire his acoustic compositions, so it melds effectively. In the way David Grey produced Babylon, Suzanne Vega did with Tomโ€™s Diner or the entire catalogue of Portishead, fusing up-to-date dance styles with acoustically driven tunes is a winner, if done correctly. If not, itโ€™s a howler, but Iโ€™m glad to say, this one really works wonders. Falling has a sublime ambient texture and glides causally through a mass-acceptable drum n bass riff. Cutsmithโ€™s smooth vocals complements it perfectly, breathes mood into it and gifts it with meaning; the combination, a match made in heaven.

Though this may not be an entirely ground-breaking formula, Iโ€™d like to train spotter a nod towards a lesser-known tune on A Guy Called Geraldโ€™s revolutionary album Black Secret Technology, where through splinters of drum n bass, an unknown Finely Quaye covers Marleyโ€™s Sun is Shining. But if youโ€™d rather me example recognised tunes of singers who launched a career from featuring on a dance tune, from Seal to Sophie Ellis-Bextor, and renowned artists who regenerated theirs, like the day William Orbit got a call from the queen of pop, hereโ€™s two local artists collaborating for each otherโ€™s good, rather than one tossed a rope to the other.

I wanted to probe the mind of producer Tone, about this concept, as what heโ€™s got here is something very marketable, as opposed to something which would only appease the drum n bass fans. I asked him if this was the intention with this tune, yet I didnโ€™t want him getting the wrong idea; I meant this in the best possible way. Even if, Bohemian Rhapsody, for example, is timeworn and clichรฉ, itโ€™s popular because itโ€™s a bloody amazing song. Pop doesnโ€™t necessarily have to be a sell-out, cast yourself away from Stock, Aitken Waterman.

โ€œYou’re definitely right about this particular track sounding more marketable and commercial than your everyday underground D&B piece,โ€ he expressed. โ€œI had no intention of making it sound acceptable to the masses but I’m glad it is like that. I think more people should be able to enjoy drum and bass for all different backgrounds. I’m not really trying to make what everyone wants; I just make what I like the sound of, and quite often or not it’s easy on the ear for everyone.โ€

I wanted gage the story behind this belter. โ€œWhen we worked on this piece,โ€ Tone replied, โ€œI started out making the entire track without having any intention of putting vocals on to it. I sent it over to Josh (Cutsmith) and he said he’d love to do something over it, which is when we started recording. It turned out really well even though throughout the production I didn’t think I’d be making anything that sounds like this. My roots are actually firmly with the rave scene and I absolutely love sub-heavy underground vibes.โ€

Is this a debut single from Sub Rat, I asked him. โ€œThis is the first free release off of our label, SubRat Records, by myself, Tone. In a hope to bring people in and start a fan-base.โ€ So, does Tone consider himself a DJ and producer? โ€œIโ€™m based in Devizes and solely a producer right now. I haven’t DJ’d for a long while. I produce a lot of drum and bass, but often step into other genres like Hip-hop, dubstep, grime, modern rap and more commercial stuff etc.โ€

If our local music scene is blossoming, it can be limiting regarding genres, so I welcome this with open arms. To assume such genres are generally confined to a municipal environment youโ€™d be mistaken. Prior to our chat delving into rave memories, as the typecast urban raver always excluded the rural counterparts since day dot, I tried to keep current and ask Tone if future releases will follow a similar pattern, and where he saw SubRat heading.

โ€œAside from my solo journey I take pride being in the background for vocalists/rappers and providing the music/instrumentals for them,โ€ he explained, โ€œI want to see people succeed off of my tunes!โ€ I hope so, this is promising and like to see other local singers benefit from an electronic dance music makeover, and if so, judging by this excellent tune, through SubRat, drum n bass is the key component.


ยฉ 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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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. Iโ€™ve a backlog building at Devizine Tower; hereโ€™s the first this week, from Swindonโ€™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 โ€œwake-up call,โ€ as the press release defines, yet does so with all the hallmarks of another catchy anthem. This lockdown-themed leitmotif hails what youโ€™re probably questioning yourself, โ€œitโ€™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 thingsโ€ฆโ€

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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, thereโ€™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 theyโ€™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. โ€œFinding the strength to make a change and every bit relevant to these challenging times,โ€ as the blurb continues, is surely up to us, pop doesnโ€™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.


ยฉ 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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The New Local Blues

Had a nice chat with Sheer Musicโ€™s Kieran about acts, live streaming, future plans, and gardening this weekโ€ฆ what am I on about? Itโ€™s always nice to chat with Mr Mooreโ€ฆ.

If the beginnings of Devizine was a learning curve in which I realised Iโ€™d bitten off more than I could chew, one might be mistaken to think now we mustโ€™ve covered every musical talent in Devizes, if not Wiltshire. Not so, as a post from Kieran J Moore of Sheer Music incited me to shudder. Why have I not heard the name Joe Edwards before?

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Joe Edwards

Name does ring a bell, must have posted about the cancelled album launch at the Wharf which wouldโ€™ve happened this week. Well-travelled, Joe has been touring through Europe as a drummer for Australian band The Wishing Well, plus his debut solo album Keep on Running was mixed in Nashville and mastered in New Jersey with Grammy nominee Kim Rosen; might explain it, and if I have encountered the name I had no idea how renowned and awesome he is.

Hoisted in the help of Kieran for this then, to insure Iโ€™m bought up to date; there is a new cool in Devizes, and Iโ€™m going to prompt him about it. The initial message on any chat window these days is enquiring of wellbeing, understandably. Mr Moore is positively beaming, โ€œ[Iโ€™m] getting so much done and achieved,โ€ he explained.

I replied with a question, โ€œLike the gardening?!โ€

A boundless list of household chores followed which included, โ€œhow to programme moving head lights, learned how to live stream, learned how to record and edit videos.โ€ Bless, thatโ€™s our Kieran, dedicated to fetching us the best live music and promoting local artists, no matter what the era brings us; you have to tip your hat to the man. Seeking permissions to release sets Sheer recorded from 2012-14 and bootleg them onto Bandcamp being the latest venture.

What of the live stream though? My Virtual Festival started with good intentions, but there’s been so much of it it’s hard to keep up, some may not be appreciative my sharing of their stream; itโ€™s a close call. In these frustrating times, I asked Mr M if he felt โ€œpeople are going to get bored with the live stream.โ€ I often feel it doesnโ€™t make up for the real thing and enforces my sadness that weโ€™re missing out on live music. Yeah, I know, right; then I apologised for my despondent attitude.

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Itโ€™s a close call because artists earning from a live stream is problematic. Some have found methods of a pay-per-view stream, but many rely on a PayPal donation option. While I sympathise with the artists, also I ponder if charging for a live stream is justified when Wi-Fi can drop out, be overloaded, etc. โ€œSo,โ€ Kieran added, โ€œlive streams have become a necessary evil, in the sense that everyone is doing them, and it’s really difficult to earn from them. Let’s be clear, live streams will never replace the real thing. No need to go into detail, we all know why, it just wonโ€™t.โ€

He believes they have a place in the future, though, after lockdown has ended. โ€œYou’d be a dolt not to recognise it! Whilst it may be difficult and lacking for most of us, these streams have enabled many people who wouldn’t usually be present, be it social anxiety, disability, or a myriad of other reasons, be able to take part and fell part of something.โ€

I gave mention to a stream-festival by Swindon Shuffle, it doesnโ€™t have to be geographically grounded, organisers said people attended as far away as Mexico, and this increases the fandom of the performers to international levels.

In these few short weeks, weโ€™ve seen musicians getting more creative with the concept, nice to see Benji & Hibbs sitting around a fire rather than indoors,Jon Amor climbed onto his roof last night, and Phil Cooper is getting tech with green screens for a Lost Trades stream on 1st May. โ€œA lot of people have invested in the technology,โ€ Kieran expressed, โ€œso why would it stop after? It’s just daft, of course it wonโ€™t. Also, the reality is that venues won’t be back and open before 2021. The possibilities are currently being peddled by MVT,โ€ He continued, โ€œand itโ€™s being taken seriously.โ€

I felt the need to apologise for my grumpiness, it had been a long day at the diary. I would, however, like to see artists getting some releases out rather than live stream, but accept thatโ€™s not easy either, for a band, with social distancing. Talking blues though, surely some the most poignant music, particularly blues, comes from feelings of isolation, depression and disappointment; from teenage anguish or working on the chain gang! The lockdown should deliver some interesting content.

โ€œBe prepared for an avalanche of Coronavirus and lockdown blues songs,โ€ Kieran suggested, and yep, seen a few emerging myself and played the โ€œCorona Bluesโ€ by The Ragamuffin All-stars on my radio show last week.

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Little Geneva

Talking local blues, though, on top of Joe Edwards, who after a listen to Iโ€™m liking to a raw George Harrison or Clapton, what else has Kieran got for me? โ€œJon Amor likens Joe to JJ Cale, which is nice,โ€ he compliments. โ€œThen we have Little Geneva, who actually do covers, but theyโ€™re so obscure, people donโ€™t know them. I actually like that slant.โ€ Ticked that box some time ago, Little Geneva playing the Cellar Bar was knockout, and Iโ€™ve nothing but praise for their authentic blues sound.

This said, Little Geneva have since recruited female singer Mariam Maz to add to their already talented gang, and this I have to witness.

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Will Blake

โ€œThen we have Will Blake in Bromham, a honky-tonk 12-bar type of guy,โ€ but Iโ€™ve recently bookmarked Will too, sharing this soul cover multi-instrumentalistโ€™s Isolation Sessions, which see him on piano in the middle of a Bromham field giving us a marvellous rendition of Man in the Mirror et all.

And finally, Kieran aims one I donโ€™t know at me, a โ€œswampy and dirtyโ€ contemporary Trowbridge four-piece, Sober Son. This is hard-hitting rock and one to watch. Looking to the future, where I predict an aching aftermath for concerts and gigs, many might frivolously suggest we have the party of parties, but Kieran is a doer. Can I spill the beans on his โ€œoverall idea?โ€ โ€œSay it’s currently Sheer’s intention to host an event!โ€ he informs, yeah, will do.

Hosting a โ€œDevizes Music Festivalโ€ is said idea, when the lock down is over, and to do a multi-stage bill, across the whole venue. Kieranโ€™s dream team would consist of Jon Amor, Sober Son, Little Geneva, Joe Edwards, Will Blake and The Lost Trades, โ€œetc.โ€ Iโ€™m saying no more, not to get over-excited too soon, weโ€™ve a long way to go with the lockdown; I could be a pensioner by then and only wishing to listen to Pat Boone!

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Ah bugger, back to the now; do like the Sheer Music Facebook page, currently dedicated to bringing you the best local live streams, โ€œthe necessary evil.โ€ But most importantly is the notion Iโ€™ve said before and will no doubt say again, unless you want to pop the bubbles of musicianโ€™s aspirations and see them pushing supermarket trollies, itโ€™s vital you check out local artists and buy their music, be it from Bandcamp, streaming sites, their sites or send Vinyl Realm a message, as they stock a selection of local music too.


ยฉ 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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Sam Bishop is One of A Kind

With all the hallmarks of Samโ€™s current releases,One of a Kind slips perfectly into the direction heโ€™s heading; itโ€™s smooth, echoes of slight melancholy but uplifts just enough to wet the taste buds. Proving Sam Bishop is one of a kind, carving a distinctive style with every new track.

But this one has one significant difference, all profits from it are going straight to Trussell Trust. Sam explains โ€œa truly amazing charity that works to provide emergency food and help for those in need.โ€

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Thereโ€™s also a topical theme, reflecting the mood of the lockdown for young lovers, โ€œthis song is about missing loved ones whilst apart,โ€ he continues, โ€œand feels extremely poignant right now.โ€

He added how โ€œterrifiedโ€ he is as itโ€™s the first track heโ€™s produced solely, but it doesnโ€™t fail to impress. It also gives much anticipation for a better day when his newly formed band while at college in Winchester, Midnight Running will re-join and I hope he can bring them back to his hometown for a gig. Until then, check out the single we campaigned to get crowd-funded a month back, as every penny goes to a great cause.


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Cosmic Rays are Hard to Destroy

Introducing Shrewsburyโ€™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 eightiesโ€™ music quiz playlist, memories she will never know of blissfully return. โ€œIf I could be like Doc Emmett Brown and whizz you back to my era,โ€ I think aloud, but maybe not such a good idea, sheโ€™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 hasnโ€™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 Shrewsburyโ€™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 itโ€™s not my cuppa, itโ€™s produced lo-fi and agreeably subtle. So elusive indeed you donโ€™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. Iโ€™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 Slashโ€™s contribution to Jacksonโ€™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 Iโ€™m new to the band, I have to tip my hat to the guitar sections, but like I say, itโ€™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 Iโ€™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 youโ€™ve heard such a fusion tried before, youโ€™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 daughterโ€™s eighties pop quiz, I nail it every time!

Hard to Destroy by Cosmic Rays is available to sample and buy from BandCamp here.


ยฉ 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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Phil Cooper is Without a Sound

Surprising title, Phil Cooper is not usually without a sound. Trowbridge’s prolific singer-songwriter subtlety reflects, I believe, on the silence of the lockdown in a new single born today. Subtlety is the key to many of his works, there’s a wonder in this one in particular if there’s undertones of a political statement, or if it’s a simple love and togetherness theme. I like it when it’s open to interpretation.

Yet if there’s something unsurprisingly catchy about Phil’s Easter egg single Without a Sound, I’m uncertain if he’d be flattered with my Elvis Costello comparison, but that’s what I picked it out of it, and you might be surprised by this.

Though comparing isn’t necessary now, Phil have stamped his own unique mark onto music and this one retains that personal fashion.

However you choose to look at it, it’s a gradual step in the right direction for Phil. With the Lost Trades obviously on hold for the time being, it’s a welcomed surprise and while we look forward to the vocal harmonies with Tamsin and Jamie, ah, this single will fill the gap perfectly.

As with Tamsin’s first rate live stream last night for the Swindon Shuffle virtual festival, it’s still good to see this trio working apart as well as together.

But dont take it from me, give it a listen!

The Lost Trades; Debut at the Village Pump

By Helen Robertson

Images by Abbie Asadi

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On a rainy Friday night in Trowbridge, I followed the directions from the bar staff at the Lamb Inn- past the pool table and out the back โ€“ to the Village Pump, a quirky, intimate performance space that was already packed. And there was cake, lots of cake.

This was the first gig for The Lost Trades but most people seemed to know the Wiltshire-based singer songwriters, Jamie R Hawkins, Phil Cooper and Tamsin Quin, pretty well as they mingled in the breaks between support acts Vince Bell and newcomers Timid Deer.

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Tamsin confessed she was nervous, hoping the new three-part harmony adventure would start well. She neednโ€™t have worried. The sell-out crowd were on their side right from the start.

 
Swapping instruments and lead vocals throughout the night, The Lost Trades shared their stories and songs with the relaxed ease of seasoned performers. There are three distinct styles to the songs but an obvious pleasure in playing together binds the music into a cohesive set. Itโ€™s folky, funny and full on harmony.

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ย Iโ€™m glad Phil took the time to introduce his original, the Groom of the Stools โ€“ a little context went a long way to explaining this rollicking, foot stomping number where โ€œevery day I take a look at the Crown jewelsโ€. Google it, trust me itโ€™s that job that youโ€™ve never dreamed about.

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ย About halfway through the set Tamsin debuted Hope Cove, a very personal song for a friend about holidays in Devon. Loaded with emotion the absolute strength of the trio, the balance of harmonies, was on display. These three voices create a beautiful rich sound, layered and textured.

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ย My favourite song wasnโ€™t an original โ€“ sorry guys โ€“ but a traditional American spiritual, Down in the River to Pray. The harmonies, wow. Just wow. As it soared and rolled around me, Iโ€™m not ashamed to say I might have had something in my eyeโ€ฆ.

 
The Village Pump is a cracking venue, home to the local folk club and a regular open mic night. I was told a group of friends started the folk club there in 1973 in a barn at the back of the pub. Performances were staged from a wagon and there are nods to this on the walls with horse paraphernalia hanging with tubas, French horns, guitars and pipes from a church organ. Upstairs in the balcony thereโ€™s plush red tiered seating from a now-closed local movie theatre. Great acoustics, a welcoming vibe and drinks on tap from the Lamb Inn, itโ€™s just the place to showcase local talent.

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Shout out to Jamieโ€™s fiancรฉ Janey for the cakes โ€“ a vote saw the chocolate cake coming out the clear winner with the consolation prize going to Tamsinโ€™s flapjacks. I tried a few, for research purposes. Perhaps more than a few. Yum!

 
The encore was a swinging country version of Talking Headsโ€™ Road to Nowhere. Iโ€™m picking this is far from the truth for the trio. The Lost Trades are out on a Spring tour now with a handful of gigs around Wiltshire as well as trips to far flung places including London, Stratford on Avon and Exeter between now and the end of April. Details are on their website along with the chance to join the mailing list for early bird benefits.

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ยฉ 2017-2020 Devizine (Helen Robertson)
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Blues at the Sports Club got my Mojo Working

If I divide rock music into three favoured eras; its birth from rhythm and blues to form rock n roll, psychedelia moulding it back to wailing blues, and second gen mod or new wave from the eighties, and anything post these I donโ€™t care for so much, be it heavy, soft or Nu-metal, I paused for thought last night, observing these three pillars firmly personified at this most fantastic jam at the Devizes Sports Club. And what is more, itโ€™s fused, together in one great monster of a performance, which, in a word, was spellbinding.

Impelled to duck out the Cavy early, as while I figured our writer Andy would be in attendance, and be willing to put some words into action, I had to see this for myself. It was as I predicted in our preview, no musician singled out, no-one-on-one-off exhibition, rather a humongous blues jam amalgamating the exceptional talents of all present. Already underway on my arrival, our guitar heroes Ruzz Evans, representing the rock n roll in my three-pillar theory, with his classy suit and quiff, Innes Sibun on the psychedelia with that long hair and wailing guitar, and Jon Amor in his trademark drainpipes and sneakers. To boot, not only is Ruzzโ€™s backing band present on bass, drums and horns, thereโ€™s the legend who is Peter Gage causally making the keys look like Childโ€™s play.

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Afterwards I made a beeline for Ruzz, inquiring how one goes about creating this wonderful amalgamation and how rehearsed it needed to be. There was no rehearsal, he explained, itโ€™s based on specific templates in which the musicians observe each otherโ€™s changes and improv takes control. This takes a wealth of experience and talent, as Ruzz continued to get technical it showed both his obsession with his craft, and my incompetence in such matters. I shouldโ€™ve recorded his explanation for a quote, as the jargon pursued and Iโ€™d drunk far too much! (Note dodgy photographs as proof!)

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Again, the slight topic of conversation that was passed around the club related to the current virus situation. Naturally people are concerned, yet it didnโ€™t stop this venue filling sufficiently with our blues aficionados, matured or otherwise. I figured if times do go terribly wrong in the coming days, this could potentially be my last night out for a while, and if so, or even if not, Iโ€™m out to party. This event satisfied that ideal, but I knew it would, it said so on the tin.

It was good to bump into singer-songwriter Joe Hicks, where we expressed concern for the decline and postponing of events and its effect on organisers and musicians alike. He had, as I suggested, already an album up his sleeve. Perhaps the coming month will see musicians take to recording studios as the bread and butter of gigs phases out. Itโ€™s a sad thought, but absently unnecessary tonight, as the power of live music blessed the hall in a way which should make Devizes proud.

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Staggeringly as ever, Innes was on lead when I got there, taking the audience on one of his magical journeys, only for Ruzz to be frontman for one of my favourites of his tunes, Sweet as Honey. After a short break it was Jonโ€™s turn, picking Juggernaut to blast us with, ever so proficiently. Then, was it a Billy Price song which Peter Gage so skilfully but causally covered with the honky tonk of Howlinโ€™ Wolf, The Price I Paid for Loving You? I dunno, no expert, but Iโ€™d lost the will to keep track, allowing the blessed music to flow over me.

With a hypnotic guitar-off, if thatโ€™s the appropriate terminology, between Ruzz and Innes, sections provided for all musicians to show off, including the drum solo of drum solos and the most amazing bass guitar solo too, it was one heck of a brilliant blend of electric blues Iโ€™ve bared witness to.

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If my only criticism was pondering if the sound could contain this monster of supergroups, and that a semi-circle barrier between the musicians and audience had naturally formed, with the blues preservation society of Devizes merely wobbling on their feet, the sound system took the strain adequately, and after not too long the movers penetrated the semi-circle and all round dancing ensued. Otherwise, this gig was perfection on all levels, my blessings to all involved. If there is, gloomily, to be no Saddleback Festival this year, last night thoroughly made up for it and leaves me pondering what will be next from this fantastic venue.


ยฉ 2017-2020 Devizine (Darren Worrow)
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REVIEW โ€“ Lewis Clark & The Essentials @ The Southgate, Devizes โ€“Friday 13th March 2020

No Pigeon-Holes

Andy Fawthrop

Friday had been a not-so-great day, with lots of news about C**, pitched battles in the aisles of Morrisons over the last few toilet-rolls, and the cancellation of many sporting and other events. How to react to this desperate situation? Well it was obvious – go to the pub for a few beers and to listen to some live music.

It was The Southgateโ€™s landlady Debsโ€™ birthday week-end, so some great music (as always) was promised. And it all kicked off on Friday night with locals Lewis Clark & The Essentials. Although the band had played this venue before, Iโ€™d managed to miss them last time out, so wasnโ€™t quite sure what to expect. Iโ€™d been told that they were wonderfully hard to pigeon-hole, but that they were an acoustic based band, blending folk, soul, and blues.

Lewisโ€™ band on this occasion consisted of the man himself on vocals and guitar, accompanied by upright bass and keyboards, and they had just kicked off their first number when I got there. I was with friends and so started the evening by chatting to them, but the chat soon died away as we all relaxed and really began to listen to this very talented performer. This was no mere pub background music. None of us wanted to ignore what was clearly some very fine music.

The first thing that struck me was Lewisโ€™ incredible voice. His range, delivery and vocal style were completely arresting and mesmerising. Coupled with some wonderful jazz-like phrasing, his vocals absolutely carried the night. The effortless musicianship of the band supported Lewisโ€™ songs through a whole range of musical styles and influences โ€“ folk, jazz, blues, latin, roots, soul โ€“ sometimes within the same song. The result was a spell-binding fusion of melodies, haunting lyrics, and an eclectic and varied performance.

The trio produced two superb sets of original music, and still managed to work in a few covers, to which they lent their own fresh interpretation. Stand-outs among the latter were a mash-up of Led Zeppelinโ€™s โ€œWhole Lotta Loveโ€ with the Guess Whoโ€™s โ€œAmerican Womanโ€, and later on Freeโ€™s โ€œAll Right Nowโ€, which all received a damned good seeing-to.

In total, it was tour de force performance โ€“ lyrical, multi-influenced, impossible to pigeon-hole, and thoroughly entertaining.

And, yes, after self-medicating with beer, I did wash my wash hands at appropriate times during the evening.

Future gigs at The Southgate:

โ€ข Saturday 14th March Lightninโ€™ Hobos
โ€ข Saturday 21st March Eddie Witcomb
โ€ข Sunday 22nd March Vince Bell
โ€ข Saturday 28th March Mark Smallman Band
โ€ข Sunday 29th March Gary Hall


ยฉ 2017-2020 Devizine (Andy Fawthrop)
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Corona Virus and Devizine; Anyone got a Loo Roll?

Steve Marshโ€™s ball of masking tape has reached 60mm in diameter, some doughnut drove their car across the footpath of Marlboroughโ€™s green to avoid the pelican crossing; these Facebook posts are not about the corona virus, why are they appearing on my newsfeed?!

Iโ€™ve been in the โ€œkeep calm, carry on, and wave little flags at Europeansโ€ arena of this current outbreak, but media flimflam is twisting my melon; I might actually have to wash my hands now. The very fact I found myself agreeing with Boris Johnson and his mob of insensible sociopaths must surely mean my lax perspective on the issue is wrong and I should start worrying, about stockpiling bog roll at any rate.

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So, yeah, in order to keep up with the Jonesโ€™ of mass-media hullabaloos, Devizine has succumbed to the clickbait and decided to write an article about the Corona Virus. Not that Iโ€™m in any way informed, or have found a substantial or even relevant angle in which to write; dammit Jim, Iโ€™m a writer not a doctor. Expect content from Devizine if I need to self-isolate, but without any subject; otherwise the better half will have me doing the gardening. Actually, quite fancy the self-isolation bit, stick a crate of milk outside my house for customers to take, conceal myself under the duvet till May with a Sandra Bullock boxset and family-sized packet of Frazzles.

Yet, we are here to promote and acknowledge events and things to do locally, that is our mission statement, if we had one, which we donโ€™t, but if we did. Just broken my winter hibernation too, and what becomes of our calendar of events, and the one person who reads it? Fairly, many have ignored the advice of the government to ignore the advice the rest of the world is following, and self-regulate their events; all part of Cameronโ€™s โ€œbig society.โ€ Weโ€™ll be out in polypropylene suits fixing the multitude of Vredefort crater-sized potholes next. Wiltshire Council who now?

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I apologise that Iโ€™ve dragged you here, then, with the false notion youโ€™ll gain some worthy advise about this mild-by-comparison epidemic, all I know is what Iโ€™ve been told; wash your hands, buy more bog roll and itโ€™ll blow over in two weeks. All I will say in seriousness, which is rare, is take the precautions, take care, we really donโ€™t want to lose our friends and family, but we do want to get out and about too. The effect on local business will be devastating if we don’t, but something for the government to blame recession on. Most promoters are going ahead with events locally, but itโ€™s advised to check ahead as everyday the news gets worse; if Steve Marshโ€™s ball of masking tape gets any bigger it might still come under EU safety standards, for instance.

Both White Horse Opera and the Devizes Lions have sadly cancelled their Spring Concerts, hereโ€™s hoping for a mid-summer one. The Lions have also decided to cancel their sports coaching weekend scheduled for April, because of โ€œuncertainty surrounding the outbreak of coronavirus and to help mitigate the risk of it spreading.โ€ Karaoke will be off until further notice at the Cross Keys in Rowde as they explain, โ€œpassing microphones to person to person could pass on any bugs.โ€ Itโ€™s my personal opinion that banning karaoke is an upside from this virus, but impartially accept itโ€™s a popular amusement.

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Other than this, many events this coming month are still going ahead. We must respect all decisions made by organisers, and Iโ€™ll endeavour to inform you of them, if I spot them. Though, I still believe, mostly, and despite it being in line with Boris and cronies, that we shouldnโ€™t let it piss on our chips, for want of a cruder idiom, and provided we take care and abide by the cautions, hopefully, the coming months wonโ€™t be as dull as predicted. If you choose to stay in and post your twenty favourite album covers or movie scenes on Facebook thatโ€™s your prerogative. Me, Iโ€™m nipping out this weekend, making the most of it before it might be like the end scene of ET. If you see me horizontal, please put me back on the bar stool, phone home, and Iโ€™ll lob you a half-price bog roll as a thank you; just ยฃ8 to you, sir!


ยฉ 2017-2020 Devizine (Darren Worrow)
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Phil Jinder Dewhurst at the White Bear

You know youโ€™re stockpiling years when you decide staying in for your birthday is the choicest option. I did, finally, haul my birthday-cake belly off the sofa on Sunday, driven by lingering desire, or an essence of ritual, which put up a fierce battle against my indolence; Iโ€™m glad it won.

Though the anticipated birthday banter and celebratory sacraments were scarce, as the White Bear was held captive by an extraordinarily acute and enthralling sound. An artist I thought Andy had reviewed for a past Sunday session here at this snug tavern, but searching came up with no reference to it, Phil Dewhurst, known as Jinder was mysterious to me as either. Yet he weaves intricate and personal storytelling as an introduction to each song, so you leave feeling you know a little about the musician.

If itโ€™s a Springsteen-esque clichรฉ, Phil summarises well, each song illustrated with an explanation to his thoughts and inspiration while writing it. No matter if itโ€™s fashioned with poetic riddle, once youโ€™ve a background to it stimulus you comprehend. And his writing is well crafted, eloquent and precise.

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While the songs were melodic and mellowing, few with a melancholic theme, Phil conducts his prose against the cynical, and his songs breath an air of positivity over pessimism. There was a running leitmotif of keeping on the sunny side of the street against all odds, and for such, I compare him again to Springsteen, for his wild romantic style. Never was the subject quixotic, pragmatism showed his true colours as he poured his emotion fluently into his songs, attached to acoustic guitar so you couldnโ€™t see the join, through proficient use of the loop peddle he created a beautiful soundscape, like a one-man Pink Floyd.

And it was when to come back with the following verse which really impressed me, Jinder has professionalism in his timing and a natural flare, making this afternoon a notable and entertaining affair.

See, I observe the loop pedal operation with a certain fascination, particularly under the command of the multi-instrumentalist, previous referencing Chris James Marr from a Sheer gig, or when the Arts Festival introduced Devizes to She Robot last summer, but it never ceases to amaze me when a man like Jinder can weave such intense resonances with just an acoustic guitar. The instrumental sections penetrated the mind and drifted from person to person; he clearly knows what heโ€™s doing there, wincing an electric guitar sound or bashing a beat on the side of it.

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Big โ€œbutโ€ here though, it was the crux when he let off the pedal, the songs of simplicity; man, and guitar, ah, the acoustic really showed his true expertise. Iโ€™d recommend and welcome a Phil Jinder Dewhurst gig to all mature aficionados of rock. And marvellously prolific is he, a West Country based international touring musician, Jinder has released ten critically acclaimed albums for five different labels, including Sony BMG and Universal, had top 40 singles with ‘Overthinkers Anonymous’ and ‘Keep Me In Your Heart’, the latter of which has been successfully covered by many other artists and features in 2019’s international smash hit movie ‘Fishermen’s Friends’.

Through the delicacy of lo-fi folk-noir to the crank but pleasing blues tune he charmed the humble audience with personal anecdotes of woe, or uplifting inspirational moments, he expressed his passion for his art, that of friends in collaboration, and he pitched his landmark album The Silver Age with accounts of its orchestration. Iโ€™d like to hear that, yet as solo he has a force of his own, and was the perfect finale to a weekend.


ยฉ 2017-2020 Devizine (Darren Worrow)
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March On: Things to Do. Part 2

Everyone having a nice March so far, been alright, innit? I promised, when I featured the first fortnight of events, here, that I would return to complete the last two weeks. Iโ€™ve promised this before and totally spaced on it, for which I apologise; not enough hours in the day. Nothing to do with my goldfish memory. Here though, this month, Iโ€™ve actually only gone and done it, before the 31st March too! See below if you donโ€™t believe itโ€™s true, the last fortnight in March, stuff to do while waiting for the supermarkets to restock on bog roll, and all that. I know, it scares me sometimes too.

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Click on the hare here to see the first fortnight of March

Bear in mind, mind, our calendar is constantly updating, so do check in as more events and gigs are bound to magically appear like the shopkeeper in Mr Ben.

Week 3

Sunday 15th is where we were up to, and I got two fantablous gigs, Burbank are the White Bear in Devizes, while Jon Amor is at the Three Horseshoes in Bradford on Avon; nice.

Monday, I never know if the Devizes Folk Club is on down the Lamb or not, to be frank, but itโ€™s a place for a beer if Iโ€™m wrong and itโ€™s not!!

Tuesday 17th The Stonehenge lecture at the Wiltshire Museum is now sold out. Celebrated cartoonist and artist, Norman Thelwell is at The Merchantโ€™s House in Marlborough, for a fascinating hour illustrated talk, tracing his life, passions and artistic development. Thelwell produced 1,500 cartoons and 60 front covers for the famed Punch magazine alone and some 32 books translated into a dozen different languages. His works were full of beautifully observed detail and mainly of rural subjects, including country and leisure pursuits, sport, house sales and renovation, stately homes, gardening and sailing. Failing that, Cracknakeel provides live music at The Sun in Frome for their St Patrickโ€™s Day celebration.

Wednesday 18th is jam-packed, for a Wednesday! Acoustic jam down the Southgate, Devizes. Bromhamโ€™s Farm Cookery School has a Taste of Morocco class, where you could be learning how to make a Briouat which is like a Moroccan Samosa, make your own Khobz and Kefta Mkaouara. ยฃ40.00 per person. Over in Marlborough David Evans gives the second of three lectures in The Merchant’s House Study Series, focussing on Reformation in England and the Arts. The Roots Sessions continues at Fromeโ€™s Cheese & Grain with the fantastic Ruzz Guitarโ€™s Blues Revue.

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Thursday 19th and you could be back down The Farm Cookery School in Bromham for a Mozzarella & Halloumi Masterclass with Josie. She will teach how to make both cheese which is technical but fun! ยฃ35.00 per person. The fantastic Ed Byrne is at the Bath Forum and Moles has a punky/metal night with the Anarchistโ€™s Bookfair, Butter The Pavement and Out Of Reach.

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If itโ€™s a slow start to the week, Friday 20th March makes up for it. If, like me, all you know about Jesus Christ Superstar is that he came down from heaven on a Yamaha, and you have doubts with your conviction of that, itโ€™s the opening night for this amateur production by arrangement with The Really Useful Group Ltd at Devizesโ€™ Wharf Theatre. Tim Rice and Andrew Lloyd Webberโ€™s classic musical portrayal of the last seven days of the life of Christ as seen through the eyes of Judas Iscariot runs until Sat 28th March and while tickets are still available as I write this, do be as quick, as if you were on a Yamaha yourself; take care not to skid though!

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Meanwhile Devizes Town Hall is the place to head for opera fans, as The White Horse Opera presents their Spring Concert. Including Donizettiโ€™s L’Elisir d’amore, Ruddigore by Gilbert and Sullivan and Hadynโ€™s Creation, this would be the perfect introduction to opera for those, like me, who thought Donizetti was a type of pasta sauce!

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If you fancy music more pop, the local supergroup Iโ€™m always raving about, the Female Of The Species play Melkshamโ€™s Assembly Hall. Fusing all their respective bandโ€™s influences, expect the best of rock, soul and ska as the girlโ€™s combine forces for a fun-filled gig; Iโ€™ve been to see one of these shows and Iโ€™m not hyping it up because theyโ€™re all awesome chicks, I highly recommend it!

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Day one of two, at the inspiring Shoebox Theatre in Swindon of their FUSE Festival where six emerging artists test a new performance idea over three days. Fuse is about supporting the beginnings of new work before it’s fully developed. Watch, discuss, and be part of the creation of something brilliant. Two performances Kat Lyonsโ€™ Dry Season, interweaving music and movement with original spoken word poetry and extracts from medical literature. And the debut one-woman-show from Mighty Mammal Theatre, Swine of the Times, where you can meet the piggies at the troff; they sing songs, say prayers and even mime. Alice Wolff-Whitehouse employs her skills in physical comedy, dance and song to bring to life a series of flawed and quintessentially British characters, looking at the grotesque nature of privilege in the UK through a warped and colourful lens.

Staying in Swindon, Baila Coffee & Vinyl have some Disco Voodoo with DJ Amir, or try indie rock covers with Joli & the Souls at the Vic. Elsewhere, the Leathers play The Three Horseshoes in Bradford on Avon, Clannad are at Bath Forum, and Jack Deeโ€™s Off The Telly tour is at Salisbury City Hall.

Saturday 21st then. After the hugely successful free concert in the Market Place last summer, The Full Tone Orchestra have taken their show to Marlborough, and return to town to rave the night away at the Corn Exchange. Taking the most popular section of their show, the club anthems, expect this to be something innovative and all glowsticks, as conductor Anthony Brownโ€™s beloved orchestra reproduce the club classics which defined an era.

The Cavalier go country with the Stone Mountain Sinners, caught these guys before, theyโ€™ve a refreshing approach to country-rock which is a cut above the rest. And breezy, original songwriter Ed Witcomb makes a welcome return to The Southgate. For surf beats, odd time signatures, eccentric tunes and irony-fuelled free jazz, try The Barge at Honeystreet, where bonkers surf surrealists Mustard Allegro do their stuff.

Super Trooper Abba tribute, Sensations grace the Seend Community Centre, while Swindonโ€™s Meca has a Whitney Houston tribute. Donโ€™t forget though, itโ€™s day two of the Shoeboxโ€™s Fuse Festival too.

Mercy Lounge at The Three Horseshoes, Bradford on Avon. Recommended ska night at Warminsterโ€™s Prestbury Sports Bar with the Train To Skaville, and Paul Carrick is at Bath Forum.

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Week 4

Head to the Southgate for an afternoon pint or three, on Sunday 22nd, and our fantastic singer-songwriter Vince Bell will entertain you. Meanwhile, Groovelator play The Three Horseshoes in Bradford.

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Vince

Tuesday, Devizes Film Club at the Town Hall have the latest Ken Loach film, Sorry We Missed You, which you will be if you miss this one film fans. Full of drama, tension and heartbreak. Ricky and Debbie are the parents of teenage children. Ricky joins the โ€˜gigโ€™ economy with a franchise for a parcel delivery firm. The job is sold to him as one where he will become master of his own destiny. Providing, that is, he complies with the labyrinth of deadlines, rules and conditions imposed by the company, a near impossible task. Debbie is a care worker who wants to care for the old people as though they are her Mam. But her working conditions thwart her in doing the job as she thinks fit. This modern Dickensian story dramatises the conflict between work and family life in contemporary Britain.

Donโ€™t forget Wednesdayโ€™s acoustic Jam down the Southgate, and blues-folk singer Elles Bailey is with Phil King at the Chapel Arts, Bath. Thursday you can witness epic human-powered feats, life-affirming challenges and mind-blowing cinematography on the big screen at The Banff Mountain Film Festival world tour, coming to the Salisbury City Hall. Staying in Devizes on the last Thursday of every month though is no bore, as the regular and celebrated open mic night at the Cellar Bar is something to behold.

Seventies punk bands never had such a great name as Brightonโ€™s Peter & The Test Tube Babies. Still going strong forty years on, they play the Vic in Swindon on Friday 27th. Tenner on the door. Swindon also has an Improv Jam at The Shoebox, and homemade function band Locomotion at the Swiss Chalet.

Locomotion

While itโ€™ll sadly never be possible for the boys to be back in town, Prestonโ€™s tribute Twin Lizzy will. They make a welcomed return to the Cavalier, Devizes on Friday. Meanwhile, the Devizes & District Twinning Association take over the town hall to bring us some French Cafรฉ Music with Jac & Co, tickets are also a tenner for both these diverse evenings.

How much more diverse do you want? A dedicated club night for adults with Learning Disabilities? This Is Me at the wonderful charity youth centre, Young Melksham is precisely that, a night of great music and friendship. Thereโ€™s a series of these events, first one is Friday.

Another welcomed return to Marlborough Folk-Roots at the Town Hall on Friday, when Steve Knightley explores the themes and stories that inspire him and shows how music and words can become lyrics and chords and notes can meld to create songs that acquire a life of their own.

For want of an authentic tribute band, From The Jam play The Cheese & Grain in Frome, and Iโ€™ve heard all good stories about them. If originals are what you want though, The Queenโ€™s Head in Box has a double-booking Friday. Katy Hurt stretches the country music genre in exciting new directions; haunting blues vocals, towering country rock guitars, even a reggae vibe, and she is followed by psychedelic alternative rock band, The Bohemian Embassy.

Saturday night of the 28th March is alright, but no fighting, please. Time for the Devizes Lionsโ€™ Spring Concert at St Andrewโ€™s Church, where Ian Diddams comperes Bath Coleman, Bangers & Nash, and the Trowbridge & District Youth Band. Tickets are ยฃ10, proceeds to Wiltshire Young Carers.

The Corn Exchange has a Gin Festival. Tribute act, Motley Crude are The Cavalier and local heroes Rockhoppaz play The Black Swan. For high octane original and classic rock mixed with some tasteful Bluesy tracks, check the Mark Smallman Band at the Southgate.

Devizine is the unofficial Tamsin Quin fan club, if you wanna hear why, head to Bromhamโ€™s Owl on Saturday. Another Abba Tribute, Swede Dreams play Market Lavington Community Hall.

Tamsin Quin

Highly recommended for the mods, The Roughcut Rebels are at The Pheasant in Chippenham. Also, Blondie & Ska are great fun, theyโ€™re at the Wiltshire Yeoman in Trowbridge, checking ahead, they play in Devizes, at the Pelican in May. The Blue Rose Band at The Westbury Conservative Club and an Amy Winehouse tribute at Bathโ€™s Odd Down AFC & Social Club. Level III have a โ€œOne Step Beyond-ska and punk club-night.

Elsewhere in Swindon, homemade Damm at Coleview Community Centre and P!nk tribute, Beautiful Trauma play Brookhouse Farm, and a Pearl Jam tribute, Earl Jam at the Vic.

Sophie Matthews explores the links between the visual and the aural in a one-hour presentation at the Merchantโ€™s House, Marlborough. Drawing on the works of great painters including Brueghel, Hogarth and Rigaud, Sophie presents a feast of images featuring historical woodwind instruments in their original social context interspersed with live performances of historical music using authentic instruments.

Sunday 29th – Nearly there, and breathโ€ฆ. Yin Yoga & Gong Bath at Devizes Corn Exchange, The Sunday Sessions continue at The White Bear with Matt Cook and Gary Hall at The Southgate. Thereโ€™s a Comic-Con at Bath Pavilion, to be frank, itโ€™s a commercial affair rather than a genuine โ€œcomicโ€ con, with cosplay, gaming and meeting vague TV actors and ex-Gladiators, but might be fun for the kids.

Thatโ€™s it, folks, March done, save Bradford on Avon Folk Club have Geoff Lakeman on Tuesday 31st. Letโ€™s regroup in April, but feedback on these articles are needed. Do they work for you? Long-winded I know, but in order to fit it in. Devizine is a work in progress, I enjoy and need to know whatโ€™s working and whatโ€™s not. So, if youโ€™ve read this far, I salute you! Tell me about it!


ยฉ 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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Mad March: Things to Do. Part 1…

Huzzah, hurrah, hurray, whoop, bravo, hoot, shout, shriek, hosanna, alleluia and other synonyms for expressions of delight which Iโ€™ve shamelessly purloined from Wordโ€™s dictionary. Do I care? Itโ€™s March, time of the Mad March Hare, spring springing, birds a-singing in the blossoming treetops; after such a damp winter itโ€™s refreshing to look forward to the April showers season!

Why do we even call them April showers when they tend to carry through from March to June?! Nevertheless, itโ€™s warmer rain, with momentary lapses of sunshine, those little teasers of spring; donโ€™t blink you might miss them. Still, just like a bear, Iโ€™m awakening from my hibernation, and heading downstream for a salmon supper!

In celebration of the feast, hereโ€™s some choosiest stuff to do over the coming month, as fished from our event calendar. The list is by no means comprehensive, you know the score by now, itโ€™s updated (nearly) every day, so do try to keep up. Facebook is a good idea, if you do that, our page pumps posts out like Dwayne Johnson on a promise. Also, consider signing up for a weekly email, I donโ€™t spam you, just once a week bulletin of what weโ€™ve done and whatโ€™s to come.

First fortnight in March then, here it comes; the second half will followโ€ฆ… I say that, then like a goldfish itโ€™s a notion thatโ€™s gone in three seconds! Also, I canโ€™t provide the links, but itโ€™s all listed on our home page with links; itโ€™ll take till April to do that, computer running at the speed of snail and all!

Devizes: First of the month is Sunday, nice way to ease into it. Georgina, Landlady of the White Bear, is running the London Marathon for Dorothy House, so thereโ€™s a pub quiz at 6:30pm to fundraise; ยฃ2.50 per person, max. 6 people on a team. Great Scott! St James Church hosts the monthly Devizes Silver Screen Film Club; Back to the Future showing this month. A great social meeting for our elders, and Driving Miss Daisy can provide transport.

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If youโ€™re looking for something wilder, The Three Horseshoes in Bradford on Avon is the place to head, where those Back-Wood Redeemers will be twisting those dark country and blues riffs into their splendid frenzy. Highly recommended from Devizine, tell them we sent you!

PSG has their regular Monday โ€œDevizes session of Pop Soul & Gospel Choir,โ€ at the Parish Rooms on Long Street, from 8pm until 9:30pm. Incredibly welcoming, PSG currently expect between 25 and 30 members on a Monday, and inform us โ€œit’s a fantastic sound!โ€ Join them for a fantastic start to your week!

Tuesday 3rd then, and itโ€™s Devizes Film Club at the Town Hall. The Farewell (PG) from China, 2019. Director: Lulu Wang. To western eyes, this film has a curious plot but it becomes understandable in the telling. Billi has left China aged six, to be brought up in New York. Twenty-four years later, she is called back to attend a wedding that has been arranged purely to conceal from her grandmother that she is dying of lung cancer. Such kindly subterfuge is apparently common practice but Billi finds it hard to accept. She sees again many family members and it is her gradual reacquaintance with her Chinese heritage that provides this compelling, spiky exploration of family duty. A heartfelt, funny, emotional and rewarding film. The screenplay and production are wonderful, prompting The Irish Critic to call it the Best Film of the Year.

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Edgelarks

Wednesday is the regular acoustic jam at the Southgate. Marlboroughโ€™s folk-roots club has Edgelarks at the Town Hall; duo Phillip Henry and Hannah Martin combine exquisite folk with influences as diverse as the blues and Indian classical slide guitar, to create a sound that is โ€œsubtle, atmospheric and bravely originalโ€ (The Guardian.) Alternatively, one of the most romantic operas ever written, La Bohรจme is showing at Bath Forum.

Even if not for the weather, Thursday 5th should get heated. Extinction Rebellion Devizes and Marlborough debate with MP Danny Kruger at St Maryโ€™s Devizes.

Friday night in Devizes looks loud; hard-edged vintage blues with Barrelhouse at the Southgate will yowl like the Howlinโ€™ Wolf. To contend, AC/DC tribute, Hellโ€™s Bells play the Exchange, but want for a local, loud, classic rock cover-band, the awesome Homer play The Crown at Bishopโ€™s Canningโ€™s, and youโ€™ll probably hear them from the Market Place!

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Buddy Holly and The Cricketers

Lighter rock n roll tributes come from Melkshamโ€™s Assembly Hall, where youโ€™ll find Buddy Holly and The Cricketers. Or Bath Forum has Elvis show, The King is Back, and Johnny Walker presents Sounds Of The 70s at Swindonโ€™s Wyvern Theatre.

The 7th, first Saturday of the month then, here it is: A songwriter genuinely literate, sometimes almost literary, Ian Parker is an original craftsman. Expressed through a distinctive bitter-sweet vocal delivery, Ian’s songs hold nothing back. His ability and willingness to share with his audience, naked honesty and genuine emotion, is what sets him apart, and The Long Street Blues Club welcomes him and his band back. Meanwhile, a little more light-hearted, Teachers Pet Rock Show comes to The Cavalier Community Hall. If youโ€™ve seen School of Rock, expect an East/West Midlands styled tribute, promising to be a โ€œgut busting, face melting glorious rock show that’s suitable for all ages!โ€

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Thereโ€™s acoustic fingerpicking, electric guitar thumping rhythms, harmonica and a loop pedal at the Southgate with Jon Pollard, while Marlboroughโ€™s Lamb has the high-energy classic rock covers band, The Electric Troubadours. Down tโ€™other end of that enlarged High Street, The Wellington has its Welly-Fest; check their Facebook page as thereโ€™s stuff going on the whole month long. Comes to ahead for reggae fans though, on Saturdayย  when our friends Razah and Knati P bring their sound system; oh yes.

Tributes in Trow-Vegas with Abbamania at The Civic. Whereas itโ€™s a Britpop tribute double-header at the Melksham Assembly Hall with Oasis Maybe and Ultimate Stone Roses, and always worth catching, The Blue Rose Band play The Talbot Inn, Calne.

Would you Adam & Eve it, Sunday March 8th is my birthday? Thank you, itโ€™s just a number. Not spoiled for choice as Iโ€™ve only one gig listed at the moment, but I do love the White Bear, where Phil Jinder Dewhurst continues their regular Sunday Sessions. Talking Sunday sessions, Swindon promoters Songs of Praise do similar at The Tuppenny, find the Richard Wileman & the Amy Fry Experience there this Sunday 8th.

Week 2

Second week of March then, then weโ€™re done and you go vacuum the hallway, or whatever else is outstanding; never ends, does it? Extinction Rebellion Devizes and Marlborough holds workshop โ€œRoots of a Regenerative Culture,โ€ Monday 7pm at The Barge on Honey Street. This training demystifies how to make everything we do regenerative and, as such, it is the key to understanding how to build resilience within ourselves and our communities.

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Tuesday 10th there be a Quiz Night at The Vaults, Devizes in aid of Opendoors. And the Devizes Film Club has a Mexican movie, The Chambermaid (15) at the Town Hall. Director Lila Avilรฉsโ€™ first film quietly pulses with life in a multi-storey luxury hotel in Mexico. We see the engrossing work of a young, single mother trying her best to be promoted by thorough work, and to study in what spare time she is allowed. There is no life-saving Hollywood romance, just the drudgery of her daily work, problems with her fellow workers and managers and her efforts to improve her life. Cartol acts with sublime understanding of her role. With persistence and wry humour, she rearranges her tasks for variety, wickedly teases the window-cleaners, goes to evening classes and reads Jonathan Livingston Seagull. A subtle gem of a film, beautifully shot against the boring and colourless back-rooms, lush guest-rooms and the stunning city views.

Wednesday 11th at Marlboroughโ€™s Merchants House Michael Hart presents โ€œProtestantism and the English Character.โ€ While one of the most intriguing and exciting collaborations on todayโ€™s folk scene, Peter Knight, legendary violinist and ex-Bellowhead member John Spiers brings an evening of improvisation and invention of mysterious tunes to Pound Arts in Corsham. In Devizes, itโ€™s time again for the acoustic jam at the trusty Southgate.

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Blossoms

Blossoms play the Bath Forum on Thursday 12th, revealing their new album, Foolish Loving Spaces. They explain, โ€œThe album is a pure celebration of love in all of its splendid and baffling guises, toying with the so-called sins of lust and forbidden infatuation. Itโ€™s inspired by a summer spent listening to โ€˜Stop Making Senseโ€™, โ€˜The Joshua Treeโ€™ & โ€˜Screamadelicaโ€™.โ€ If youโ€™re in Swindon though, head for The Tuppenny, where the awesome Jake Martin and Jess Silk perform acoustic. Acoustic, made for Thursday, eh? If you disagree, check out the Winchester Gate, Salisbury where top Ramones tribute, The Ramonas are guaranteed to liven it up.

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The Lost Trades

Friday is the night when the county finally gets ready for the debut gig of super-group The Lost Trades. Highly anticipated amalgamation of our good friends, Phil Cooper, Jamie R Hawkins and Tamsin Quin. We wish you the very best of luck, guys. Theyโ€™ll be supported by Timid Deer and Vince Bell at Trowbridgeโ€™s Village Pump.

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Meanwhile, keeping Kalm โ€˜nโ€™ Kind in Devizes, thereโ€™s a Restorative Yoga class with Kim Pierpoint, a Fundraising Quiz Evening for Opendoors at 7.30. Philippa and Declan Morgan are running the quiz at Wiltshire Museum. Tickets ยฃ10, including nibbles and a glass of wine. Reserve your ticket online and pay on the door! https://devizesopendoors.yapsody.com/event/index/533176/quiz-evening

On my never-ending list to do is get to โ€œPelly,โ€ kudos for putting on live music gigs, guys, just got work early in the mornings! Drew Bryant is live at The Pelican Inn on Friday, Lewis Clark & The Essentials with folk, soul, and blues at The Southgate, and thereโ€™s a Queen tribute called The Bohemians at the Corn Exchange. Comedy Night at Bradfordโ€™s Boat House with Jake Lambert, and the amazing Frank Turner plays Bath Forum.

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Lewis Clark & The Essentials

Tuesday is St Patrickโ€™s Day, but Devizesโ€™ Cavalier canโ€™t wait, and present a St Patrickโ€™s theme weekend with those brilliant Day Breakers in the Community Hall on Saturday 14th. On the other side, three-piece rock originals, the Lightninโ€™ Hobos play The Southgate, and if youโ€™re not spoiled for choice this Saturday, I donโ€™t know when you will be, as the one and only Pete Gage plays with Innes Sibun and Jon Amor, all backed by Ruzz Guitar Revue at the Sports Club, corrrrr, thatโ€™ll be awesome.

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Extinction Rebellion Devizes and Marlborough are back at the The Barge, Honeystreet for a gathering, where the evening presents a stripped back, 3-piece version of Troyka Bristol, Troyka Mala. They play a stormy mixture of traditional and original songs and rhythms from the former Yugoslavia and the Balkans with brushes of Klezmer and the Middle East; intrigued? I am.

Powerhouse Gospel Choir play Melksham Assembly Hall while Jon Hopkins is at Bath Forum. For something more off planet, stoner rock and electro art-punk are promised at the Three Horseshoes, Bradford on Avon, with Head Noise, Conspiracy of Chaplains and The Forgetting Curve.

TLT artwork

Thatโ€™s about all, we will follow this up with the final fortnight of March, when I get around to it. I do, though wish Iโ€™d stop promising these things! One thing you can depend on, Saturday in Swindon will rock with Splat The Rat at The Merlin on Drove Road, unfortunately, I cannot recommend Talk In Codeโ€™s new single Talk Like That enough, see our review. Note, the launch party is at the Castle on this particular Saturday, the 14th, and I canโ€™t think of a better way to finish this lengthy roundup off!


ยฉ 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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Hold Tight, March Brings Rโ€™nโ€™B Showcase at the Sports Club

Ah, hold tight, two preview pieces from me tonight; Iโ€™m an unstoppable steam train of broadcasts, choo-choo! Yet, Iโ€™m not sure this needs an introduction, not because weโ€™ve been running the poster for it a while now, but if youโ€™re in the know regarding Devizes links to blues then the line up at the Rโ€™nโ€™B Bar at The Sports Club on Saturday 14th March will appeal no end, and youโ€™ve probably snapped the tenner tickets already. If youโ€™re new to said scene, then this gig would act as the ideal taster; digest thisโ€ฆโ€ฆ

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Legendary bluesman Peter Gage, former frontman of The Jet Harris Band, member of Dr Feelgood who blew the roof off Long Street with Dave Raeburn, Paul Hartshorn and Pete Lowrey as The Pink Tornados in December, will headline. But come here, thereโ€™s more. The guitar maestro Iโ€™ve been raving about, Mr Ruzz Guitar and his Blues Revue will also be there, his trio backing, or blessing these otherwise solo performances. I swear his guitar is like a phaser in Star Trek, set to stun, and Iโ€™m still speechless after his performance at the Gate a number of moons ago.

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While Ruzz is Bristol based, and Peter resides in the west country too, both Devizes links to the contemporary blues scene also show up to do their thing. Innes Sibun, who we featured partnered with Marcus Malone as the Malone Sibun Band on the night they allowed me to roam free at the Long Street Blues Club, and be astounded by the quality of goings-on there. And of course, Jon Amor who is regularly featured here as, well, heโ€™s regularly here, but more-so, because his talent is unsurpassed. Though Iโ€™m sure, as when such heroes meet, there will be a communal feeling and weโ€™ll be treated to some improv and guitar-showdowns, rather than a balanced one-off-next-one-on scenario; least Iโ€™m hoping.

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All in all, this event is like pulling four bells in a row on the fruity; need I say more? See you there. Oh, nearly forgot, slow down, man; tickets on door or in advance from Sports Club.

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ยฉ 2017-2020 Devizine (Darren Worrow)
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The Grated Hits of the Real Cheesemakers

There it goes again, that blasted TV Anchor butter advert. Why, oh why have they used the theme from the classic sitcom Desmondโ€™s? I swear, every time I hear it, I swish around with excitement that rather than the clichรฉ reruns theyโ€™ve decided to air Desmondโ€™s again, but it is not to be, just a butter advert. Far from Anchorโ€™s bane of my life, considering they made me redundant when the Swindon plant closed in 2000, where I worked in the cheese hall for five interminable years. People thought I was some kind of expert of cheese production working there, firing all kinds of technicalities at me such as the separation of curd and whey, when all I did was prep and pack the stuff!

I could ask Calneโ€™s Real Cheesemakers the same annoying question, if I wanted to, but I suspect the name derives from cheeseโ€™s informal definition; the eminence of being too apparently mawkish. Their debut album, Grated Hits edges this with West Country hilarity. If my hope for a chance rerun of Desmondโ€™s doesnโ€™t qualify me for interest its unsubtle and cringeworthy eighties cultural references, perhaps only the sound of a ZX Spectrum loading would.

Late on the off with this, the album released in November last year, itโ€™s been a monumental twenty-seven years in the making. Twenty-seven years wasted; theyโ€™d have got less for murdering a politician. For our local music scene though, itโ€™s a tongue-in-cheek awakening and worthy of your attention. It does to heavy metal-ish banality what The Bonzo Dog Doo-Dah Band did to jazzy psychedelic sixties pop.

Apt that the band cite the Bonzo Dog Band in their bio, as they โ€œformed in 1992 as a duo following the discovery of said bandโ€™s records in founding member, Eggโ€™s mumโ€™s record collection.โ€ They continue to explain, โ€œThe Real Cheesemakers spent years creating top-quality nonsense and walloping the finest of cods.โ€ They finally played to โ€œan actual audience for the first time,โ€ in 2011, โ€œto some acclaim, and have since performed across the south of England, and added two new members who actually know how to play musical instruments.โ€

Cover

Nonsensically avant-garde from the start, said eighties cultural references from John Craven to Rick Moranis and Marathonโ€™s name change to Margaret Thatcherโ€™s milk snatching, get slammed in โ€œUnicorns of the 1980s.โ€ The blurb explains it as โ€œthe now infamous rejected Eurovision Song Contest entry, United by Cheese, and the collaboration with the Godfather of chap-hop and steampunk legend, Professor Elemental.โ€ From here itโ€™s a good guess this album isnโ€™t going to take itself too seriously, and for that, itโ€™s bloody brilliant.

Through a cascade of local refences too, from Cheddar George to the Roundabouts of Swindon, they bash out seventeen songs of confessed love for He-Man and dinosaurs, a dedication to eggs, bacon, chips and beans, pre-assumed affection for cheese, fear of psychopathic tortoises and annoyance of supermarket queuing, with a Pink Floyd-esque ballad to the weasel and a plodding brass explanation for airborne trousers. Like a snail on a lettuce leaf, Iโ€™m only teetering the edge of this odd iceberg here, Iโ€™d suggest, if you love your nonsense humour and surrealism you steam headlong into it like a Titanic crew comprising of Spike Milligan and the Monty Python team.

Because of its decades-spanning production period, the band explain Grated Hits gives โ€œeach song a slightly different feel, but offers high-end production value without overly contaminating the groupโ€™s purity and no-fi roots.โ€

The release topped off a huge year for the โ€œCheesers,โ€ playing to a sold out Neeld Hall crowd with Professor Elemental and support slots with fellow Chap-Hop pioneer, Mr B Gentleman Rhymer. Most recently, they played with Creed Bratton from the US version of Ricky Gervaisโ€™ sitcom, The Office on a few dates of his UK tour to huge acclaim, before supporting Goldie Lookin Chain at their Xmas bash in Bristol. Iโ€™ve noted listing them at our trusty Southgate, after hearing this Iโ€™m making a beeline for their next local gig, you would too, if youโ€™re the kind of chap who wears a kipper tie and wellington boot on your head, or not, or just when driven to on occasional weekdays.

out now

The album is available to purchase on CD and digital download from Therealcheesemakers.bandcamp.com. The physical copy features and exclusive track, Cheesemaker Blues (live recording), that is not available on the digital version.


ยฉ 2017-2020 Devizine (Darren Worrow)
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REVIEW โ€“ Jon Walsh @ The White Bear, Devizes โ€“ Sunday 27th January 2020

Mr Versatility

Andy Fawthrop

Having got a couple of hours to spare before the eveningโ€™s Rockfiles gig at Long Street Blues Club (see elsewhere), I thought Iโ€™d pop into the White Bear for a couple of looseners, and to see Jon Walsh, a performer new to me.

Using both acoustic and resonator guitars, Jon clearly had an extensive repertoire of songs. His material varied from old 1920s and 1930s blues standards such as โ€œCrossroadsโ€ and โ€œWalking Bluesโ€ through to fairly contemporary pop songs e.g. โ€œWalking In Memphisโ€. In each of his two sets he was joined on vocals by his partner Terie, who lent some bluesy and jazzy phrasing to several classics such as โ€œCrazyโ€, โ€œIโ€™d Rather Go Blindโ€ and โ€œValerieโ€. There was clearly some musical chemistry between these two, and they obviously enjoyed working together.

Jon put in an extremely versatile performance, including a nice smattering of his own original songs. Nice crowd, and nice atmosphere.

Canโ€™t think why Iโ€™ve not come across Jon before, but shall certainly be happy to listen to him again.

Future Sunday Sessions at The White Bear:

โ€ข 16th February George Wilding

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ยฉ 2017-2019 Devizine (Andy Fawthrop)
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REVIEW; Long Street Blues Club Weekender

January Blues Banished!

Andy Fawthrop

Two days up at the Con Club this week for Long Street Blues Clubโ€™s โ€œBeat The January Bluesโ€ Week-ender.

On Saturday night we had a packed room to listen to Liam Ward & Malcolm Thorne (support) and the Kirk Fletcher band.

Ward & Thorne, who are new names to me, were a delight. Their set was clean, fresh, quirky and entertaining. Featuring guitar, vocals and some deft touches on harmonica, these two produced a wonderful set of originals which were laid-back and nicely bluesy. I particularly liked their song โ€œYou Are My Medicineโ€. Iโ€™d be happy to go and see these guys again.

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Then a single extended set from the main star Kirk Fletcher and his band. Kirk hails from California and is ex-lead guitarist with the Fabulous Thunderbirds. Heโ€™s had some great reviews on this tour so far. Ian Hopkins reports that Innes Sibun said he was amazing when he shared a bill with him last year, and Joe Bonamassa rates him as one of the worldโ€™s best guitarists. Well, I didnโ€™t know anything about all that, so I could only judge on what I saw and heard.

Kirk himself was obviously up at the front with some snarling guitar work, but there was plenty of featured keyboards too. It took a few numbers to really get the room warmed up, but once the trio hit their stride, the band were really cooking and in their groove. We had guitar solos aplenty, the band providing a solid platform of driving rhythms. There was minimal chat from the stage, and the guys delivered number after number, hardly pausing for breath. The playing was always technically superb, and at times inspired, and the crowd lapped it up, but (for me at least) it didnโ€™t carry that magic spark of real excitement. Donโ€™t get me wrong โ€“ I really enjoyed the gig, but it didnโ€™t quite hit my hot-spot.

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Then just 24 hours later, on Sunday night we had Thompson Smurthwaite (support) and Billy Bremnerโ€™s Rockfiles. A slightly smaller crowd this time, but still a great atmosphere.

Thompson Smurthwaite is starting to become a regular in these here parts. Having played support here at the Club a few months ago, Thompson has also recently played slots at The White Bear and The Southgate. It was good to see him back with a large audience again. He was relaxed and confident, joking with the audience, whacking out some great tunes from guitar, harmonica (his โ€œMississippi saxophoneโ€) and stomp-box. The guy put such heart and soul into his performance. Great entertainment.

Then on to the second main act of the week-end. Billy Bremner was one of the founding members of Dave Edmundsโ€™ Rockpile along with Nick Lowe, and produced some great music during the seventies. Prior to this particular outfit he has had a long track record in session work and a member of Lulu’s backing band the Bruvers. Then a season as guitarist with The Pretenders during the recording of On The Chain Gang – he has always been the guitarist to go to. Billy now resides in Sweden and his touring is carefully rationed so the Club were delighted to be one of a few carefully selected club dates on this UK tour.

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Rockfiles are probably the polar musical opposite to Kirk Fletcher. Whilst the latter was focussed on originality, improvisation and exploration, Rockfiles were just as firmly set on reproducing classic hits of the seventies and eighties. The songs were short, snappy, catchy pop/rock classics. The four-piece hit the stage running, sharing the vocals between them, and never let up for the whole of their 75-minute set. This was Old Skool retro and nostalgia at its very best. And the hits just kept on coming, including โ€œI Knew The Bride When She Used to Rock & Rollโ€, โ€œThree-time Loserโ€, โ€œCruel To Be Kindโ€, โ€œI Hear You Knockingโ€ and many, many more. The inter-song chat was absolutely minimal, so they could pack more in. The music wasnโ€™t complex, but it was solid, thumping good stuff, and difficult not to enjoy. Absolutely no blues were involved in the making of their performance.

Overall a great weekend of music โ€“ four great acts, four different styles, but all enjoyable and great value for money. There was something there for everybody. Devizes is so lucky to have access to so much great live music.

Future 2020 gigs at Long Street Blues Club:

โ€ข Saturday 7th March Ian Parker Band
โ€ข Saturday 4th April Mike Zito Band
โ€ข Saturday 18th April Mark Flanagan Band
โ€ข Saturday 30th May Antonio Forcione Quartet


ยฉ 2017-2019 Devizine (Andy Fawthrop)
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Sam Bishop in a Cold Kingdom

Streaming killed the download star; you have to be of a certain age to get that joke. Feeling my age today, I remembered standing in a record shop in awe at this heavyweight 10โ€ silver disc and being told itโ€™s read by a laser rather than a needle. Laser, beyond cool, like Star Wars.

Yet where this futuristic โ€œlaser-discโ€ failed, the compact disc was literally a year away. I think our Dad tried to work out what was the A-side and what was the B with our first CD! Spurring this memory was when I had to pop upstairs and launch my phone at my daughter, as I know weโ€™ve got her this spotty-fly app, or whatchamacallit, and within moments confusion was over, I was lent her phone to take a listen to this new EP I was sent. Now all I have to work out is how to Bluetooth it to my speaker!

Notwithstanding, leaving a near teenager without a phone in the house for over ten minutes is a highly dangerous risk, you can blame local singer/songwriter Sam Bishop for my senior moment. If Iโ€™ve told him to send me a simplified method of listening to his tracks once, Iโ€™ve told him a thousand times (thereโ€™s a pun to follow there.) Still he sends me this baffling set of streaming website links, and I feel like my perplexed father staring muddled at his own reflection in a CD.

Four tunes in length, Cold Kingdom presents Samโ€™s latest material. The first tune, A Thousand Times (thereโ€™s the pun, see what I did?)I reviewed as a single back in June. Likewise, with the third tune, Cry For Help, which was in September. In June Sam explained, โ€œThis song is hopefully the first song of many under my own name. I already have another two completely finished, which hopefully will be released as a double over summer. There may be an EP before the end of the year, but weโ€™ll have to wait and see.โ€ So, Cold Kingdom comes in the nick of time to conform.

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I said of A Thousand Times, at the time, โ€œa breezy indie-pop affair it is, dour and atmospheric with that theme of heartbroken youth so apt for Samโ€™s hauntingly distinctive vocals. With slice of maturity, this is nice work, but akin to his work with Finley Trusler as Larkin, almost a natural progression.โ€ And I stand by that, a great opening.

Although I was slightly more critical of Cry For Help. Sam claimed it to be โ€œthe most heartfelt and vulnerable song Iโ€™ve ever penned.โ€ And I commended and concurred, it was lyrically one of Samโ€™s best to date. Yet I had to say, compositionally it wasnโ€™t my cup of tea, when compared to A Thousand Times. While through the atmospheric temperament it reigns more pop ballad than perhaps indie. Hence why I mention the age thing, as Iโ€™d contemplate this single isnโ€™t aimed at me; my daughter saved it on her playlist. I only teeter on that, it has scope to grow on me.

The EP has a balance. Eternity, with its modest up-tempo guitar riff is both clever and catchy, more my thing. Yet if it only reaffirmed my admiration for Samโ€™s voice and songs, the finale, Broken Mirror, I think knocks it out the park. Hereโ€™s a direction I can identify with, encapsulating all which has gone before; a four-year journey from Devizes Sixth-Form boyband 98 Reasons to the divide, a duo with Finley Trusler as Larkin, to hopes for a solo career through his current music studies. Broken Mirror spurts it back at you with a progressively defining track which in my opinion, could be the magnum opus weโ€™ve been waiting for from Sam, at least to date.

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Sam & Finley back in the Larkin days

Fans of Sam and/or Larkin will not be disappointed, indie-pop admirers should take heed; Cold Kingdom is melancholic yet enriching, and it reaches to a place in the soul, particularly the youthful abyss of yearning, misunderstanding and a quest for passion. A grand effort, Sam. Do check it out here.


ยฉ 2017-2019 Devizine (Darren Worrow)
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Urban Lions Champion the Sound

Back at the Lionheart Studios, our local reggae forerunners Urban Lions have rinsed an alternative style for the single from their forthcoming debut LP,ย  itโ€™s out today, and a sound system killer.

Some tunes launch themselves at me, instant like, Champion Sound is a grower, creeps up on me after a couple of listens. This doesnโ€™t make them any worse, just sometimes thereโ€™s an innovative modification in style which takes ears some adapting to. Unlike Urban Lionsโ€™ steppa dub tunes weโ€™ve reviewed in the past, ‘See Me Rise’ and ‘Forward to The Sound’, this one partially retains the fashion, but the riddim nods heavily to dancehall.

Rather akin to when Dreadzone released Once Upon a Time in 2005 and I confessed Iโ€™d lost track of their progress somewhat. Upon first listen and expecting the loops of nineties charged techno-dub crossed with creative sampling, I was like, oh, itโ€™s got a dancehall edge. Yet I think Champion Soundโ€™s direction is justified, particularly around these waters where what little reggae we receive is archetypical, what weโ€™d consider โ€œtraditional one-drop reggae,โ€ as when Bob Marley and the Wailers ruled the day. Elsewhere reggae has moved on, dramatically. Full points to those Urban Lions for pushing us up to date!

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Publicity shot by Siobhan Boyle Photography

Unacquainted, the sparse beats of raw dancehall can feel alien to us aging country bumpkins, vocally lending closer from Jamaicaโ€™s folk music, mento, than the ska sound which belched this preconceived model at us through the punk and skinhead cultures. Yet contemporary pop wouldnโ€™t be the same without it. Splicing brief toasting solos into a pop tune, like Little Mix featuring Sean Paul; such a clichรฉ since The Soup Dragons gave Junior Reid an indie platform in 1990. With that thought in mind, isnโ€™t it overdue to give dancehall its fuller affirmation, to start to mould an independent inspiration from? You donโ€™t need answer that; yes, it is!

Yet Urban Lions donโ€™t overkill the angle, retaining their style, and not considering hiring a dancehall rapper to guest or some such puerile concept, gives it a unique edge and something which feels more like home than attending a Top Cat V Capleton soundclash in Rae Town, Kingston. Yeah, itโ€™s exceptional and affable; love it and can vision it lifting a festival marque or ten this summer. For the more outdated crusty-heads, thereโ€™s a melodica dub cut on the flip akin to Augustus Pablo, which rocks, rockers style.

Champion Sound will be up on all the online stores today and limited edition dubplates can be cut to order.

Bandcamp Link Here, just a couple of quid digital


ยฉ 2017-2019 Devizine (Darren Worrow)
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REVIEW โ€“ Thompson Smurthwaite @ The Southgate and Ian Oโ€™Regan @ The White Bear, Devizes โ€“ Sunday 17th November

The Afternoon After The Night Before

Andy Fawthrop

After the utter chaos, madness and mayhem of the previous night at The Southgate featuring the totally bonkers 7-piece Back Wood Redeemers (see the review by esteemed colleague Mr Worrow), I thought Iโ€™d start my musical Sunday afternoon back at the same venue to see if there was anything left standing. Surprisingly all previous traces had been removed, and occupying the red carpet of musical fame was the small, lonesome figure of Mr Thompson Smurthwaite.

Iโ€™d last seen Thompson play a few weeks back at Long Street Blues Club, supporting local legend Jon Amor. On that occasion heโ€™d played a wonderful set, if anything slightly over-awed by the size of the crowd and the great warmth of the reception to his playing. But Iโ€™d been impressed by what Iโ€™d heard, and was looking forward to hearing him in slightly more intimate surroundings.

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And I was not disappointed. Thompson has a lovely laid-back, casual, self-deprecating style of talking to his audience, as if chatting to just a few friends. And indeed he was among friends this afternoon. Guitar, voice and harmonica were all employed to great effect to deliver a wonderful set of self-penned smoky-sounding blues. His material is often personal, and reflects his experience of life, both on the canals and elsewhere. His playing style is relaxed, unfussy and genuine. Most songs are slow, rolling, rambling numbers โ€“ and all delivered with a thin, reedy, drawling vocal. And the crowd received his sets with warmth and genuine appreciation.

Itโ€™s a great tribute to the Southgate that Dave & Deb continue to provide such a diverse range of free musical entertainment every weekend. You really couldnโ€™t get a greater contrast between last nightโ€™s rollicking 7-piece band and this afternoonโ€™s laid-back solo blues artist. And yet both worked so well in the pub, and provided superb entertainment.

Then back down into town to The White Bear for their latest Sunday Session. Big shout-out to Georgie & Marc too, whoโ€™ve just celebrated their first year of being in Devizes, and who have already made a difference in terms of pub dining, craft beer and musical entertainment.

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This afternoonโ€™s offering was the return of the very versatile, and very talented, Ian Oโ€™Regan. Ian had impressed so much on his first visit a couple of months ago that they got him back again. This time, although Iโ€™ve heard Ian many times, was probably one of his very best performances. Newly-refreshed (or tired) from his recent trip to Nashville, Ian was on top of his game. As usual, he reeled out number after number from across the musical spectrum, hardly pausing for breath. Ian is a chatty, friendly soul, but once he picks up his guitar, heโ€™s off and running. Again we got two sets of perfectly-crafted, superbly-delivered music. Great versions of John Martynโ€™s โ€œMay You Neverโ€, Fleetwood Macโ€™s โ€œOh Wellโ€, Joe Jacksonโ€™s โ€œIs She Really Going Out With Himโ€ and even Deep Purpleโ€™s โ€œSoldier of Fortuneโ€ were interspersed with the occasional Oโ€™Regan original. His playing, and his vocals, as ever, were absolutely spot-on. The crowd loved it, and dispersed into the late-afternoon murk of Devizes, with smiles on their faces. Great gig.

Future gigs at The Southgate:

โ€ข Friday 22nd Nov The Idle Silence, The Leathers, Mighty Magic Animals
โ€ข Sat 23rd Nov Jamie R Hawkins
โ€ข Friday 29th Nov Duskers
โ€ข Sat 30th Nov Ruzz Guitarโ€™s Blues Review

Future Sunday Sessions at The White Bear:

โ€ข 15th December Phil Jinder Dewhirst
โ€ข 22nd December Vince Bell


ยฉ 2017-2019 Devizine (Andy Fawthrop)
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Live Album at the Louisiana with Ruzz Guitar’s Blues Revue

A cheetah can achieve motorway speeds, but not long enough to get off the slip road; worthless trivia, unless youโ€™re an antelope. I like to think cheetahs listen to rock n roll; no, hear me out. Akin to this feline fact, those RnB and rock n roll classics are one short burst of energy. Fortunately for the artists the 78rpm record lasted a maximum of five minutes, and for radio play theyโ€™d cut it to little over three, any longer they surely risk congestive heart failure.

As the era passed to late sixties, psychedelia stretched recorded music to live and extended dimensions Little Richard could never maintain. Mellowing tendency matured rock, but arguably robbed its dynamism. Ah, come the eighties twelve inch single and the mega-mix, prompting the question; why didnโ€™t Glenn Close choose the Jive Bunny to boil?

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Image byย 
Jerry Tremaine Photography

Rare then it is, to hear a frenzied traditional rock n roll sound encompass ten minutes; welcome to Ruzz Evansโ€™ world. Embodiment of Johnny B Goode, Ruzz can pick guitar like heโ€™s ringing a bell, for an astounding period too. Due for release on 10th February, but available for pre-order from December 1st, Iโ€™ve been adoring this album recorded live at the Louisiana in Ruzzโ€™s hometown of Bristol.

Forgive me for sustaining the rock n roll pigeonhole, for Ruzz has the quiff and is photographed in a teddy boy drape jacket. With backing from an incredible band including drummer Mike Hoddinott and upright bassist Joe Allen, the panache of Ruzz Guitar’s Blues Revue straddles rock and its namesake blues. Since 2016, when they added an awesome horn trio to the roster, we can add big band jazz to their style. Thatโ€™s my thoughts while absorbed in this, of what Miles Davis did to jazz, or Pink Floyd to prog rock, Ruzz does to traditional rhythm and blues come rock n roll; the result is breath-taking.

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Bearing in mind his voice isnโ€™t growling Tennessean, yet neither was Gene Vincentโ€™s, rather quirky Bristolian, the vocals are sporadic, instruments reign. Thereโ€™s an amusing conclusion to โ€œUnder Your Spell,โ€ where 10 minutes of detonating electric blues is broken by a genuinely surprised thank you from Ruzz in said accent. This often amuses me, pondering, no, thank you, mate, I just clapped, youโ€™ve just held me spellbound for ten minutes, the pleasure is all mine!

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In this instance Iโ€™m not even there, merely listening on my headphones, but still entranced. While theyโ€™re Bristol based Ruzz and his Guitar’s Blues Revue are no strangers here, and you can catch them at the Southgate (Nov 30th), White Swan Trowbridge (tonight 9th Nov) at the R&B bar in March at Devizes Sports Club. Iโ€™m quivering, ashamed after hearing this that Iโ€™ve not caught them live yet; an offence I will rectify, you would too if you hear this.

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Live at the Louisiana explodes from the off; the two, Hold It and Baby Please Come Home, for starters envelope all Iโ€™ve said, lively jump blues come big band rock n roll. Catchy, youโ€™ll be lindy hopping before your first sip. Yet if Movin On groovily notches to allegro moderato, Back Home to Stay boogie-woogies again, and Sleepwalk is as dreamy as it suggests. The last two tunes, Sweet as Honey and the aforementioned Under You Spell embrace all weโ€™ve so far said, making this release, I reckon, a treasure; fantastic!

With two self-released studios albums already under their big rockabilly buckles, and opening for Dr Feelgood, The BlockHeads, Kirk Fletcher and Bill Kirchen and Darrel Higham, theyโ€™re stamping an authority of quality worldwide. Ruzz has been honoured by being officially endorsed by Gretsch Guitars, and thatโ€™s what I perceive of him, the kind of obsessive guy who will turn any conversation to his labour of love, but when itโ€™s this proficient, you cannot help but take heed. Iโ€™m off to find out what they can do in the studio, but with such a formula I think this live album captures the spirit perfectly.


ยฉ 2017-2019 Devizine (Darren Worrow)
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REVIEW โ€“ Big Dez Blues Band @ Long Street Blues Club, Devizes โ€“ Saturday 2nd November 2019

Nearly Got My Mojo Working

Andy Fawthrop

Your intrepid reporter had been on the sick/ injured list for most of the past week, and only received his clearance to enter the field of play at the 11th hour after a very late fitness check. Having felt ill, and having suffered the misery of watching England fail to win the RU World Cup, I was feeling pretty low. So what sort of music did I need to fit my mood? Of course there was only one place to head for, and that was Long Street Blues Club.

Not as large an audience as some gigs, but still a very respectable showing. Playing support were acoustic blues guitar duo Mojo Hand, who entertained with a whole string of classic blues covers, including Crossroads, Smokestack Lightninโ€™, Letโ€™s Work Together, Little Red Rooster, Walkinโ€™ Blues and the eponymous Got My Mojo Working. This was all classic blues stuff from across the spectrum from Chicago right down to the Delta, played straight-up, undiluted and with little fuss and not much chat. Good set from a great pair of musicians.

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The main act were Paris-based Big Dez Blues Band, an extremely tight, competent blues outfit. Of course it was a big notch up on the volume front from the support act, but all the better for that. A great four-piece of drums, bass and twin guitars, this was full-fat, leaded R&B. Both vocals and lead-guitar parts were shared, adding more depth and dimension to the set, which consisted of both originals and covers, again delivered with minimal inter-song chat. The accent was on letting the music do all the talking, and it spoke well. The sound was clean and uncluttered, and the audience certainly warmed to it. The joint was certainly jumping.

Unfortunately, lack of match fitness (and alcohol) on my part led to major fatigue and I didnโ€™t quite make it to the end of the gig, and I had to retire from the field of play. However I certainly felt Iโ€™d had my moneyโ€™s-worth, and wandered off happily to my bed.

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Upcoming gigs at Long Street Blues Club are:

โ€ข Friday 8th Nov Ian Siegal Unplugged
โ€ข Saturday 30th Nov Gerry Jablonski Band
โ€ข Saturday 21st December John Coughlanโ€™s Quo (support from George Wilding)
โ€ข Saturday 28th December Pink Torpedoes


ยฉ 2017-2019 Devizine (Andy Fawthrop)
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The Queen of Alabaster and a Princess

Double-whammy night as I flipped between Alabaster Queen at the Southgate and Lottie J at the Crown, in search of the perfect eveningโ€™s entertainment.

Southgate, ah Southgate; hasnโ€™t failed me yet. While the always excellent Long Street Blues Club will understandably ease the quantity of pedestrians hunting live music on a Saturday night in the Vizes, weโ€™re seated seasonally between mid-autumn and the big C, and weather none too clement, it was a quiet start at the Southgate.

Gave me opportunity to become acquainted with an Alabaster Queen from Manchester, prior to her performance. Enthusiastic about her second visit to our gypsy canal favourite watering hole, claiming she thought she was eccentric until she turned up here. I asked her whatโ€™s in a tag, and she described her pale complexion attributed to this translucent form of gypsum namesake. The informative explanation which followed delved into marble imitation, statues being immersed in a bath and gradually heated is a process demanding great care; if the temperature is not measured, the stone acquires a dead-white, chalky presence. Yet the patterns created are diverse, relating back to a previous question when I asked what genre we were to expect, and she replied โ€œa little bit of this, and a little bit of that.โ€

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Solo, the unique Alabaster Queen treated us to a series of elated covers, acoustic cabaret style with an air of positivity, confidence and tambourine. Off the starting block with Sympathy for the Devil and marching into Jolene, this queen delivered distinctively and fervently. Unsure if a song she called Jasper was her own writing, but this one wowed with passion. After a trip to bar, I heard a melody of Sweet Dreams and You Spin me Round (like a Record) flowing interesting into Bob Marleyโ€™s Pimperโ€™s Paradise, an interesting choice noted when she surprisingly sang the toasted Damien Marley version, and made a stunning job of it.

With an abrasive voice characteristically resolute, Alabaster Queen is not about to whisk through an X-Factor final, yet made great work of Born to be Wild, and appeared to love every minute of her performance. The Floorshow was confident, the songs flourishing and therefore, this Queen deserves her crown.

I confess though, I sneaked out at this point, double-booked and on a mission to see Lottie J at The Crown. I passed a few groups either heading home early, or more than likely, heading in the direction of the Southgate, so I hope the audience picked up in the second half. Conflicting performance here, where at just 15 years old, Lottieโ€™s voice is as smooth and silky as, well, smooth silk. The only similar aspect being her desire and passion. Chosen to take the keyboard out of the equation, Lottie used her laptop to provide the backbeat and concentrated on her vocals.

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I cannot fault her voice; itโ€™s perfected at such a young age itโ€™s the envy of all others. My issue is with the surroundings, convinced the Crown had upped its previous rep as a rowdy cattle market of twenty-somethings, was quashed. I felt like a pensioner on a Club 18-30, my stubble too grey to be trendy here, amidst these trimmed beard perfectionists.

Iโ€™m not attempting to gripe grumpy old man style, The Crown is lively as always, we need this in Devizes, every town does. But I couldnโ€™t help ponder if a plain olโ€™ disco wouldโ€™ve been more apt, being Lottie sang so beautifully, profligate over a crowd hardly noticing her presence through chatter and noise. Likewise, Lottie needs to be pitched into an establishment where punters are appreciative and listen. There then is my dilemma, Lottie, in my opinion needs a session band who will take heed of this intelligent and imminent talent, who can cater for her sound and style, then she would be off the scale amazing. Yet, youth is on her side, and I wait in anticipation of her progress.

Outside my reservations were confirmed, as a young fellow angered at his unsolicited elimination and friends demanded he be allowed to return, despite the accusation he puked over the seats. There was an amicable conclusion without kerfuffle, and the chap wobbled away. I felt need of a scratch of the foresaid stubble, fine and dandy for the adolescent, unfortunately not my cuppa. If it wasn’t for Lottie, I’d rushed back to the Southgate, even if the pub Terrier attacked my shoelace!

Such a shame, with a tired Lottie J after a flight from her holiday, she performed immaculately, comparable with the Alabaster Queen, who in all honesty while sheโ€™s a well above average pub circuit act, Lottie Iโ€™m convinced is worthy of stardom, and time will tell, but really, The Crown is not the venue she should play.

For want of a grand Saturday, I received a mish-mash, to be honest. A great live music pub with a fairly great act, and a raucous glitzy bar with an extreme talent. To combine the two elements, one heck of a night wouldโ€™ve been possible, cโ€™est la vie.


ยฉ 2017-2019 Devizine (Darren Worrow)
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Our Sunday Live Music Stroll Around Devizes, Relay!

Andyโ€™s usual Sunday stroll around Devizes, hunting live music, took a different turn this weekend, as I interfered! In order to save time, treat this article as a roundup of all that happened to us both; a kind of music relay race!

Andy spent the early afternoon down our trusty Southgate, I met up with him on my maiden voyage to the White Bear. There is no apparent reason for my never having been to the White Bear, and now I realise neither was there an excuse. I immediately got my feet under the table; proper gorgeous pub, and what is more, George Wilding, sat in the alcove, doing his thing. But before that, hereโ€™s Andyโ€™s start, before he handed the baton to me. Double-whammy, you lucky, lucky people!


REVIEW โ€“ Paul Cowley @ The Southgate, and George Wilding @ The White Bear, Devizes โ€“ Sunday 27th October 2019

Fantastic Afternoonโ€™s Entertainment

Andy Fawthrop

Sunday afternoons have been a happy hunting ground recently, and this week was no exception.

First up to the Southgate to see bluesman Paul Cowley. Originally from Birmingham, Paul now resides in France. He was paying the UK a visit with a few dates, so would have been a shame to miss him. What we got was a singer, a songwriter and a guitarist playing acoustic fingerstyle and slide guitar. Playing a mixture of his own compositions from his recent album โ€œJust What I Knowโ€ and a number of Delta blues covers (from such luminaries as Lightnin Hopkins, Mississippi John Hurt, Robert Johnson, Big Bill Broonzy, Son House and the Memphis Jug Band), Paul served up the perfect afternoon of laid-back, moody and melodic blues. There was always a nice driving rhythm from the stomp-box and guitar, accompanied by a gravel-voiced lyric. And there was a good crowd to appreciate some fine entertainment.

Nice vibe, nice atmosphere, nice way to spend a Sunday afternoon.

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But there was still more to come. Next on to The White Bear to listen to the incomparable George Wilding. George will probably be familiar to Devizes audiences, but I personally never tire of listening to the guy. Every show is completely different, since George tends to feed on the atmosphere in the room and requests from the audience for his next song, rather than relying on anything as mundane and organised as a written set-list. And I think heโ€™s getting better as he goes along. Heโ€™ll have a go at just about any song (whether or not he knows all the words), and thereโ€™s no style he wonโ€™t cover โ€“ pop, rock, blues, easy listening. His rapport with the audience is genuine, and would be a great lesson to many other performers. His wry, sardonic and self-deprecating humour goes an awfully long way towards winning people over.

On this occasion it was also great to hear him singing a few of his own songs, mostly in response to requests from the audience, which he often puts in the background in favour of covers. Personally, I think he should be more confident in his own material, and serve up more of it.

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Suffice to say, long before the end of his set, he had the whole pub singing along, and the calls for an encore were fully deserved.

Another great atmosphere and superb, great-value entertainment.


Future Gigs at The Southgate:

โ€ข Friday 1st November John E. Vistic
โ€ข Saturday 2nd November Alabaster Queen
โ€ข Sunday 3rd November Kent Duchaine
โ€ข Friday 8th November Triple JD Rock Band
โ€ข Saturday 9th November Jamie Willians & The Roots Collective
โ€ข Sunday 10th November Phil Cooper & The Slight Band

Future Sunday Sessions at The White Bear:

โ€ข 10th November Wade Merritt
โ€ข 17th November Ian Oโ€™Regan
โ€ข 15th December Phil Jinder Dewhirst
โ€ข 22nd December Vince Bell


Yep, agree with Andyโ€™s words, yet I expect no less from George Wilding. His charisma and charm, coupled with passion and natural ability will satisfy an audience no end. I feel the confidence point is part of Georgeโ€™s appeal, almost a hallmark. George plays on this bashfulness, always with an excuse why this particular performance may not be up to his usual, then knocks it out of the park! While he nods appreciation to otherโ€™s songs, he wished he written, many anticipate the moment heโ€™ll perform his originals.

 
Audience participation, isnโ€™t it? He never shies to a request, even if he doesnโ€™t know it. A question was fired at him, whatโ€™s his guilty pleasure? He confessed a liking for the song-writing of Abba, even if he deplored the production, expanding he never dared play one, as it was uncool. Dancing Queen fell forth, he owned it as well as other spoofy adaptations heโ€™ll willing crowd please with. No other so apt this specific Sunday than Swing Low Sweet Chariot; the audience yelled along.


Devizes in the Round @ The Cavalier Community Hall

I thought Iโ€™d complete the evening with a journey to the Cavy, where Dean held a โ€œDevizes in the Round;โ€ a country music play-off between a selection of his favourites, all in aid of Lupus UK. The event only come to my attention hours beforehand. Melon twister as to how I missed it, gave Dean the usual spill about ensuring weโ€™re alerted, he told me he had; shucks, many apologies to him.

 
Never an easy task, a niche, country, a Sunday night in Devizes too. Sadly, turnout was not great. Something crossed off my perpetually increasing to-do-list, to see how Dean had transformed the just adequate pub function room, into a club; but he has, and itโ€™s impressive. Thereโ€™s a secondary bar in the hall, and the stage is ample.

 
Hereโ€™s a Devizes gem you mayโ€™ve missed, and if country music is not your thing, although itโ€™s Dean favourite, itโ€™s still only a small section of all that goes on here. The Family Club ethos is that of the Northern working clubs, where variety is blessed by a pragmatic atmosphere. Tribute acts abound, Dean informs me the UB40 one, Johnny 2 Bad went down particularly well.

 
Do yourself a favour and keep an eye for future events at the Cavy, itโ€™s a community-fuelled pub, as it ever was, and striving to provide diversity, and very often for a worthy cause.

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All said and done, our heroine Tamsin Quin appeared. Playing to a slight crowd in her hometown, now sheโ€™s booked throughout the southwest and beyond, is a little shameful, Devizes. Nevertheless, Tamsin gave a stunning performance, as ever. I also welcomed a chat about her progress, and how a trip to Nashville inspired her.

 

This Nashville subject arose again when shuffling my chair across to meet another two acts, Josh Beddis and Danny McMahon, they told me of their customary pilgrimages and how well theyโ€™re received there. Both tremendously gifted fledgling acoustic performers in this field, blasts the erroneous stereotype country is for an older crowd. These guys treated us to a spectacularly sentimental set of originals, as country music will, alternating songs between them. Such, I was informed, was the nature of this โ€œroundโ€ idea!

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In the same light, Tamsin stepped forth after the break with another of Deanโ€™s favourites, Zenne. Zenneโ€™s talent knows no bounds, a matured confidence saw a worthy corporation with Tamsin. Country music may not be my favourite, but I was satisfied, and held spellbound by the music and lyrics of all these acts.

 

If weโ€™re spoiled for choice on a Friday and Saturday in town for live music, I think weโ€™ve proved it continues till Sunday too. Sometimes it needs a little support though, understandably being Monday looms, Iโ€™m guilty too, but hats off to the Southgate, White Bear and Cavalier for extending the weekend; bit less drizzly on Sunday too, wasn’t it?!


ยฉ 2017-2019 Devizine (Darren Worrow and Andy Fawthrop)
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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 Lineโ€ฆโ€ฆ

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 Realmโ€™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, โ€œwho are they?โ€ 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 Itโ€™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 Swindonโ€™s Honda plant looms over its employers. I donโ€™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, itโ€™s not going to help those losing their livelihood. Such is the passionate subject of Closing the Line, the Daydreamerโ€™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 Springsteenโ€™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 youโ€™ve ever tried with all youโ€™ve got, and youโ€™ve given up with ardent prose, continuing the leitmotif of pending gloom. Itโ€™s all very U2, but this street has a name, itโ€™s the Highworth Road out of Swindon.

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If itโ€™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, itโ€™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, theyโ€™ve just found a niche. I hope this could encourage an album which would be as characteristic as Tom Pettyโ€™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!


ยฉ 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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Minions, and Mr Teaโ€™s Mutiny

Put the kettle on; Balkan gypsy ska here in Bristol, Mutiny, the new album from Mr Tea & The Minions is a favourite for my best album of the year, with a top hat on.

Impressionable, I creaked the door on a near-expired student party, where a cocktail of Cinzano and shrooms polished off the amateur bassist, and he hung unconscious half off the edge of a sofa in his own puke. I witnessed scholar deprivation; comatose youth, crusty dreadlocks matted into a teetering Christmas tree, and a random arm draped over a guitar amp, howling feedback. I gulped, no partygoer standing, but an erratic noise of a โ€œRed Roses For Meโ€ cassette whirling. Sounds blessing such a character-building eye-opener makes you reconsider your loathing for a particular genre of music.

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Until then, my presumption of folk music was pruned from an overwhelming desire to hold primary school sweetheart, Trudiโ€™s hand, and the only foreseeable method to achieve it; to opt for country dancing. Ever frustrated to find myself partnered with dowdy Emma instead, I guess it rubbed a revulsion for frumpy folk music, with its delicate romances of falling autumn leaves and daisies dancing in a spring zephyr. It can be nauseating, symbolic of my failure to caress Trudiโ€™s nail-bitten digits.

The epiphany dusted, I bought the Pouges long-player, shaking my preconception solo until crusties like The Levellers came onto the scene, boiling the realisation folk doesnโ€™t have to be frumpy, in fact, itโ€™s an epoch, a peopleโ€™s music, and the roots of all that followed owe it. But if that era of recklessly launching yourself around, knocking down parentโ€™s ornaments and calling it dancing has come of age, and if the Pouges are now acceptable, seasonally, (they stole the best Christmas song slot from a band in tartan trozzers and platform shoes after all,) I say unto thee, Mr Tea & the Minions; itโ€™s my new favourite thing.

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Itโ€™s not an awkward mesh of Despicable Me and the A-Team, rather a contemporary Bristol based, female-fronted six-piece ska-post-punk-folk Balkan-inspired riot, and their new album, Mutiny is beyond blooming gorgeous. Constructed out of lead vocalist and controller of โ€œshaky things,โ€ Elle Ashwell, drummer Fabian Huss, guitarists James Pemberton, James Tomlinson and James (Fold) Talbot on bass, with manager Lucy Razz on violin, they formed six years ago through Jamesโ€™ love of Balkan music. With the edges polished by collaborating with DJ Howla, and Jamesโ€™ professed love of tea, Mr Tea & The Minions was born, a name which they say was โ€œa joke that was never meant to go so far.โ€

As Balkan, itโ€™s fresh, electrifying and wonderfully danceable. Elleโ€™s gritty shrill is apt and uplifting, the theme is often invitingly saucy, awakeningly tangible, sometimes metaphorically current affairs, but it hardly wanes in energy, and if it does you know itโ€™s building to something. Mutiny is ten songs of splendour, drizzly evening enriching with a gypsy spin. Itโ€™s a warm musky pub of yore, where a furtive crusty band jams and you spill your cider on a scraggy dog. It also riffs like ska, boils like The Levellers and rinses fresher than Shane MacGowan on his best hair day.

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The Eye of the Storm, like the title track, and Pandemonium are the Fruit Pastels, breezier tempo tunes like the beautifully crafted The Spider and The Fly stun you in anticipation of the melody, but no single tune stands alone, thereโ€™s a flow of prog-rock, and if it starts and ends with a little โ€œmeow,โ€ itโ€™s never completely nonsensical. Lyrics are sublimely executed, mostly evocative, but dashed with fun. Thereโ€™s really nought bad I could say about this unique album, Iโ€™ll be dancing to it for the foreseeable future, maybe even look up Trudi on Facebook, she canโ€™t still bite her nails.

Somebody local book these, pl-weaseeee; the Southgate or Barge would suit to a, pardon the pun, tea. Yet times are looking good for this madcap band, on the verge of another spectacular festival season and numerous gigs on tour, our closest to date is the Prince Albert Stroud Nov 22nd, Bocabar in Glastonbury on the 9th, or recommended homecoming at the Old Market Assembly, Bristol on 30th Nov. Failing this, try the Mutiny for size.

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ยฉ 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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