Pet Shop Boys, Actually with Talk in Code at the Tree House

Having to unfortunately miss Devizesโ€™ blues extravaganza on Friday, I crossed the borderline on Saturday to get my prescribed dosage of Talk in Codeโ€ฆwith a Pet Shop Boys tribute thrown in for good measureโ€ฆ..

Two classic tracks into their set at Frome’s little sister venue to the Cheese & Grain, The Tree House, Pet Shop Boys, Actually from Shropshire hailed their support act as better than them. Self-deprecating isn’t unheard of, rare for music acts, but the bottom line is, I’ve heard far worse tributes than The Pet Shop Boys, Actually, actually.ย 

For Talk in Code, though, it was an accolade fully deserved, as they did what they do as fantastic as ever, and thrilled more than their fanbase at the modest venue. The other attendees, there for classic pop they cherish, found Talk in Code fitted like a glove, despite their songs being original, because they have a timeless universal appeal, and their uniqueย synth-pop spin on indie provides it with a defining eighties feel.

Itโ€™s an ideal opportunity to reopen the perpetual debate I have with myself over the worth of tribute acts, even cover bands too, against those producing original music. Like any tribute act, the value of their performance hinges predominantly on the individual and their association with the act theyโ€™re attributing. Whether a tribute act is good is far more subjective than an original act; based upon personal reflection. โ€œItโ€™s comfort music,โ€ Talk in Code guitarist Snedds expressed to me outside the venue; agreed, personally Iโ€™m impartial to The Pet Shop Boys, therefore passably comforted.

They broke through in the middle of electronica. I brought and loved my 7โ€ of West End Girls in 85, others did too as it hit number one, and the duo walked away with awards. Though the Pet Shop Boys created their own take on electronica, much like Madness did with Two-Tone, were hugely successful with it, and again like Madness, they continued the template way past the trend fizzling the competition out. Such a practice causes division, you attain a fan following, whereas mild observers tend to consider if the uniformed style gets repetitive, especially over decades. Iโ€™m of that mindset, hence my impartiality.

So here at this rather snazzy tree house, carpeted and significantly more congenial, hospitable than the big cheese, but smaller and rather more conventional than Fromeโ€™s hipster and counterculture reputation, being situated within a housing estate fashioned sports bar, The Vine Tree, a fair crowd of Pet Shop Boys diehards gathered amidst regulars and โ€œTalkersโ€ for a cracking night in a nice, welcoming and universal pub.

Often to miss the support act is unfortunate, for this gig it wouldโ€™ve been sacrilege. Talk in Code were on fire as ever, blasting out their cheerful tunes, frontman Chris wiggling moves in his Adidas uniform and rightfully boasting of their success at The Wiltshire Music Awards, outside our county! Itโ€™s a lively show I will never tire of, and if I have to witness tribute acts too, if by some miracle I make eighty, will someone please wheel me over to a tribute act show to Talk in Code?!

As for The Pet Shop Boys, Actually, prior I considered if The Pet Shop Boys is quite a simple act to make a tribute from, compared to other eighties acts; call up a proficient keyboardist, buy him a BOY cap, don a tuxedo and white scarf and play musical statues! Although they tended to lightheartedly play their accomplishment down, they made a brilliant job out of it. As those pop classics came through adept and nimble, I paused to consider if my opinion of the Pet Shop Boys isnโ€™t a smidgen harsh; through the splendour of this tribute I saw them in a refined light, and that is a true sign of a proficient tribute act, and their worth. 

Interestingly, they adopted a female singer too, to soften the vocals to match Neil Tennantโ€™s camp tones, and to play the incredibly tricky part of Dusty Springfield for What Have I Done to Deserve This? Likely the trickiest part of the show. To my approval, Pet Shop Boys, Actually covered a Beloved track too, a kind of raverโ€™s answer to The Pet Shop Boys, and they thumped out the newer, technologically progressed tunes after a workout of eighties classics, and returned to the hits for an outstanding finale; someone get me one of those jackets that looks like I got stuck in a carwash!

If you go to see a tribute act with expectations of precisely recreating the magnitude of the original act, youโ€™re an idiot and will be let down in most cases! If you go to see a tribute act open-mindedly, with your priority on having fun, nine times out of ten you will, especially if you hold a passion for the act being attributed. Use your noddle, donโ€™t see Pet Shop Boys Actually if you’re hoping for a tribute to Slipknot, but do if you like The Pet Shop Boys, and youโ€™ll find theyโ€™re really rather good!


Trending…..

Rooks; New Single From M3G

Chippenham folk singer-songwriter, M3G (because she likes a backward โ€œEโ€) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunesโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora

Ooo, a handclap uncomplicated chorus is the hook in Lady Ladeโ€™s latest offering of soulful pop. Itโ€™s timelessly cool and snappy, but holds a deeper narrativeโ€ฆ..

Released at the end of November, One of Us is an uplifting song of hope against the odds. Raised by her grandparents, Bristolโ€™s sublime songstress Lady Nade often references losing them in her songwriting. Speaking about after their passing, she explained, “at times these years felt more like survival trying to navigate chaos. โ€˜One Of Usโ€™ was written from that time when I didnโ€™t always feel safe. I was trying to make sense of grief, and find what it meant to belong.โ€

โ€œOne of Us is about trying to free myself from the toxic cycles and patterns that I now know only encouraged me to feel negative emotions and in turn held me back from trying to become a better version of myself,โ€ Lady Nade continued. But its beauty lies, not in the personal reflection, but the interpersonal effect, the value of others identifying with the words. โ€œThis is not just my anthem song,โ€ she said, โ€œit is for anyone who has ever had to rebuild themselves from the inside out, or is still on that journey of aiming to become the best version of themselves.โ€

I donโ€™t exaggerate nor flatter, even if she did give me a wonderful hug when she played at the Devizes Arts Festival! Lady Nade isnโ€™t comparable to other singers on the southwest circuit, her extraordinarily deep vocal range rather puts her on par with Nina Simone, of whom she often pays a respectable homage to. She takes this soulful new single around the UK, then is debuting it in Kansas and Canada; we wish her luck, but on the strength of this single, I think itโ€™s in the pocket!ย 

Streaming Options HERE


Trending…..

Something went wrong. Please refresh the page and/or try again.

Love is for Life (Not Only for Christmas Time) Says Hannah Collins

And so it begins, the build-up, the tension; come all ye faithful round yon virgins and three kings of orient are, spreading joy to the world while shepherds wash their socks and Batman smells. In which, in order to spread warm emotions of peace and unity for the one day, itโ€™s obligatory to rush around like headless chickens for two months, verbally abuse drivers in traffic jams, inevitably cause accidents because weโ€™re too consumed by what little Johnny wants this year to concentrate on our driving!

Or, how weโ€™re still hungover from the work-do where we accidentally got off with the agency temp in sales who puked down her blouse before half four, and Gary fancied her, and now heโ€™s going to be pissed with you. And ram B&M on black Friday, fight  to the death anyone who might grab the last Labubu doll, and Grannyโ€™s ditched us for some โ€œgentleman friend,โ€ whoโ€™s whisked her off to The Maldives, and well, if mum undercooks the pigs in blankets again Iโ€™m off down the pub, where did they put the batteries, and who lost the end to the bloody sellotape?!

A pastiche of the RSPCA slogan about puppies as pressies, Bristol-based vocalist, musician and producer, Hannah Collins has nailed it in her new Christmas song with a spin, Love is for Life (Not Only for Christmas Time.) The simple premise; if we can be nice to each other on Christmas Day, why canโ€™t we for the rest of the year? How smug, bar humbug, great song, though!!

For if it sounds like the basis of a bitter anti-Christmas punk song, itโ€™s subtle, ironically uplifting, and contains a simple piano riff with seasonal jingly bells.ย Released on the 28th of November, Hannah says, โ€œin a materialistic world, love is the greatest gift we can give.โ€

Produced and mixed by Tim Oliver (Sinead Oโ€™Connor/Robert Plant) at Peter Gabrielโ€™s Realworld Studios in Box, Wiltshire, featuring John Baggot (Massive Attack/Portishead/Robert Plant) on keys, and Eric Okafo on bass, it has a Motown lite sound and is reminiscent of a Mariah Carey singalongโ€ฆ..argh, Iโ€™m caught by the catchy hook, and Iโ€™m putting my decorations up now!!

It will be available to stream on all platforms from 28th November 2025. There will also be an original music video released on YouTube on 21st November, created by Olivia Kennedy from OK! Animations. 

Hannah is new to us, but tis said her, โ€œinquisitive mind, creative spirit and interest in philosophy are overarching themes in her work; a golden thread flowing through her art, which is particularly resonant with the message of peace and goodwill at Christmas.โ€ The press release asks, โ€œcan we keep the peace, love and charity going all year long, and not just at Christmas time?!โ€ Have they not heard of dry January, winters of discontent, and seasonal affective disorder, damn your spritely song, Hannah?!!

โ€œI will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach,โ€ Dickens wrote, โ€œfeel the magic in the atmosphere, I wonder why itโ€™s only this time of year,โ€ Hannah wrote similarly, and maybe her song has a lesson too, a seasonal catchy pop lesson I happen to love!


Trending…..

Something went wrong. Please refresh the page and/or try again.

A Positive Week After Wiltshire Music Awards

All Images By Helen Polarpix

Best part of a week since Stone Circle Music Eventsโ€™ Wiltshire Music Awards and Iโ€™m still at one thousand feet about what we achieved, and dealing with a cascade of feedback. While some of it has been appreciated constructive criticism, that crazy playground called social media is such that some comments have become unfair, misinformed or even blatantly untrue. I prefer to remain positive, thanks all the same! And here we are, beginning to see positive after effects of the whole grand shebangโ€ฆโ€ฆ

Iโ€™ve loved seeing winning and runner-up acts, if not just posting pictures and videos of themselves proudly grasping their trophies, but using their win as an accolade on gig posters and bios. If thatโ€™s not a positive outcome in a time when the whole hospitality industry is at its knees, I frankly don’t know what is. Try proving me wrong on this, I double-dare you and might even throw in a Twix for first prize!

There was also the whole โ€œconventionโ€ side to the event too, which saw networking between musicians and venues, radio stations and promoters, and the general get-together of folk usually individually dispatched to their respective gigs on a weekend. I have already seen gig posters with added support acts who didnโ€™t know each other before last Saturday, and radio plays for bands featured.

From my good friend Charlotte reuniting with Lifetime Achievement winner Peter Lamb, the producer who took her hopeful nineties girl band under his professional direction, to Fantasy Radio DJ, Mark Lister, who mentioned the awards on Scott Mills Radio 2 morning show, the attention the awards are seeing is phenomenal and the after effects are beginning to flourish.     

If Sunday’s piece was a reflection on the night as a whole and a statement of the issues we unfortunately faced. Let today be about our fantastic acts who performed, for that’s where sparks flew and obviously the nature of what we were celebrating.

Ruby Darbyshire

In order of appearance. Go on, admit it, you didn’t know the sublime Miss Ruby Darbyshire would be present, did you? I managed to not let the cat out of the bag about our opening special guest, despite my excitement!

At eighteen, Ruby is as her name suggests, a gemstone on our circuit. A multi-instrumentalist with bagpipes under her championship belt, a singer-songwriter with an exceptionally soulful voice which puts expression into her diligently crafted writing. Originally the plan was for Ruby to blow a tune of her own choice from her bagpipes and scoot off to another gig in Bradford-on-Avon, returning later in the evening. But we couldn’t let her go without at least another song, her magnum opus to date, Crowded Lightbringer, and then she played a second. It was the best opening ever, even if I was blindly operating the curtains like a bell ringer!


The Britpop Boys

Hey, honestly, I was a raver in the nineties and viewed Britpop as regressive, but I now see its worth and respect the succeeding generation who see them as classics. Being such, we see a lot of cover bands performing Britpop anthems, with varying degrees of skill. The Britpop Boys have been on my must-see list for donkeys but our paths hadnโ€™t crossed before. Iโ€™m glad thatโ€™s sorted and sound, for they were off the scale brilliant and totally โ€˜avinโ€™ it are kid.

I was sitting on the stageโ€™s sideline in awe of The Britpop Boys, it couldโ€™ve been Madchester in 1996. The sound and appearance held me spellbound, and I felt I should write to The Oxford Dictionary to redefine the word โ€œcoolโ€ as โ€œsee Britpop Boys!โ€ Yeah, they did Wonderwall, of course they did, but if itโ€™s a cliche cover choice for most, itโ€™s because itโ€™s a beautiful crowdpleaser, and had to be done given only three songs. The ultimate thing about this was, they knocked it out of the Corn Exchange and into the stratosphere; Iโ€™ve never heard it done with such attention to detail and precision to honour the original.


Burn The Midnight Oil

If Iโ€™ve seen one new band begin wobbly and develop over time Iโ€™ve seen a hundred. But Burn the Midnight Oil is one of my most favourite newcomers to the Wiltshire music scene, for the simple reason that it feels like theyโ€™ve been here forever, as their ability to deliver crisp blues-rock originals and stamp covers with their own divinity is something to behold. Like mobile phones, you think, how did we ever survive without Burn the Midnight Oil?!

Itโ€™s as if they honed their skills over decades and perfected the harmony of a classic rock band in their eighties which toured since their twenties, even if they might have, they did so individually, but that seam never shows. Their perfect performance proved this, it was nothing short of brilliant, fresh and invigorating, showing us what theyโ€™ve been working on, a beguiling harder rock sound; they look the part, they sound it too, I have high hopes for them.


Matchbox Mutiny

Ben was great as a soloist, Pat was too, together itโ€™s a magical connection to charm the pants off a donkey. This cover act could easily work anywhere, from crusty cider festival to wedding reception, itโ€™s got universal appeal. Their set was amazing, Ben might have accidentally hit me on the head with his guitar but they were awesome, and Iโ€™ve had worse on my rock n roll journey!!

It mightโ€™ve knocked some sense into me, but I know what I liked anyway, and Matchbox Mutiny are high on that list.


George Wilding

George went next, and yeah, this is where we had technical sound issues. Professional till the end, George worked through it, and as a stalwart spirit on our circuit, George is modestly legendary, for his back catalogue of sublime originals and new songs flourishing to his entertaining interactive solo covers show. See our mention of the warm up gig from Friday at the Three Crowns, if you donโ€™t already understand why we love Mr Wilding!


Lucas Hardy

With various issues arising the evening was in need of a reset. I apologise, I announced an interval, thinking Lucas could prepare and we could hold a team talk. Just like George Wilding, Lucas is professional and motivated to the core. He came out like a boxer for a championship belt fight, psyched up for it and couldnโ€™t wait for the bell! Therefore I attempted to recall the interval idea as quickly as possible, because Lucas Hardy was like a greyhound out of the trap! And what an outstanding performance, rinsed with sheer brilliance, Lucas is no stranger to award winning, itโ€™s easy to see why.


Nothing Rhymes With Orange

As it was it was impossible to estimate how much time the award giving and other acts would take, I apologise if we wrongly assumed time was against us and lengthy speeches were deemed something unpredictable enough to encourage people to keep them short if at all. The original plan therefore was that our Devizes homegrown heroes, the teenage band which shook the rafters of this market town and deployed their exceptional talent to Bristol to further the phenomenon of Nothing Rhymes With Orange, were to play out until the end.

We finished earlier than expected, the barriers broke down, and there to help create a needed frenzy of excitement, ready and eager, was this successful Devizes export, for a hometown return like no other. Nothing Rhymes With Orange were mindblowingly fantastic before they left for Uni, now itโ€™s a monster.

I was ecstatic to see the guys again, and they threw everything into their solid performance, as they always do. They return to Devizes for the Arts Festival, something we wouldโ€™ve been singing from the highest tree about anyway, but after last Saturday, itโ€™s surely unmissable.

Iโ€™ve given my thanks already, Iโ€™d like to do it again, to all our performing acts, for you made the ceremony, you furnished it with your brilliance, and that was what the night was always supposed to be about; cheers!


Bonnie Weather: New Single From Swindon’s RnB Star, Weather

You might think it’s a laryngologist’s dream come true, this Lewis Capaldi-led decade’s penchant for the blue-eyed soul singersโ€™ melismatic strain to cause Mick Hucknall to issue a health and safety warning, but to Swindon’s Brandon Clarke, aka Weather, it appears to be a natural and phenomenal giftโ€ฆ..

This short and to the point new single from Weather, Bonnie, Be Mine, remains a prime example. Awash in contemporaneous RnB silkiness, Brandon’s vocal range is impressively evocative and weaponises a defence against any criticism of contemporary pop. If Alex Warren is the millennial solitary Bieber from across the pond, Weather is more the Solomon Burke of Swindon, which I believe is a deserved higher rewarding accolade by a country mile!

Yet, despite the sombre emotional outpouring of a hopeful romance, there’s a subtle carefree attitude in Weather’s tenet which awards his sound with a nonchalant sunny side of the street feel, and it’s positively contagious.

This was displayed with panache at Swindon Shuffle, where he blasted the Tuppenny with his prerecorded tracks and toasted merrily over them, enticing the crowd. If it might sound overtly conceited and is something I’d usually turn away from, to a generation where hip hop is an ancestral baseplate it’s acceptable, but with Weather’s delivery it was so confident and indulgently cheerful it affixes a compulsory smile and an irresistible urge to stay to watch.

Even the cover to Bonnie, Be Mine displays an irony of Weather, if his sound is refreshingly modern nu-soul slash indie, with AI it conveys the retrospection of a Donald McGill postcard. So, if you’re reaching that far back before I make a comparison, Brandon, rather than eighties blue-eyed soul boys like George Michael, or even Motown/Stax artists like Wilson Pickett, with this humorous element could we go as far as someone he’d probably have to Google, like Louis Jordan and his Tympany Five?!ย  You might think it’s audacious of me, but considering the whimsical merriment of rap trios like A Tribe Called Quest and De La Soul are forty years old, why not?!

Whatever the weather, it’s a great single and being Weather is prolifically pushing out professionally clasped greatness, we look forward to hearing more.


Trending……

You’re So Cruel; New Single From George Wilding

Nothing cruel about our George Wilding; with his perfect match and another local legend of local music, Jolyon Dixon, they’re knocking out great singles like it’s child’s play…..

You’re So Cruel is out today and is a prime example. It’s an upbeat two minute blast of feelgood indie-pop, seemingly unfazed by the cruelty of the subject in the song, just you know, pointing it out, getting it off his chest! In subject it’s more akin to George’s earlier songs than the previous recent ones. Yet George seems to have captured the rule of not overthinking and keeping it to a simple hook. Yeah, rocks!

Add it to your playlist, even if you’re the cruel person in the song!!

Yesterdayโ€™s Tomorrow; Debut Album From Ursa Way and its Launch at the Tuppenny

If the eonian motivation of youths picking up guitars and forming bands has hit Gen Z enough that they’re two to a penny, I’m in the right place to discover one new to us, The Tuppennyโ€ฆ.ย 

An adept drummer pinched from Bristol, with the remaining homegrown members formed aย  youthful and hopeful Swindon indie-rock four-piece called Ursa Way, and they’ve ploughed two years into their debut album Yesterdayโ€™s Tomorrow, launched on the night in question. Now was the time to show it off, and they did in an exceptionally accomplished and entertaining way.

If an early start to a Friday evening one weekend before the celebrated Swindon Shuffle was risky, especially being Thursdays are usually the favoured live music nights for The Tuppenny, seems the band are risk-takers, as diving straight in with a twelve track album is ambitious.

Generous to a loyal fanbase when the archetypal EP usually appears first, for the same fiver pricetag, but equally generous are the young punks and an assortment of others who’ve gathered to see them, as they applauded their efforts as if a new wave of hysteria was imminent, which it could well be. Though, this is Old Town, the epicentre of Swindon’s nightlife, where they’ve ingeniously adopted road closure blockades to create Swindon-fashioned alfresco dining areas!

Ursa Way played out their album, but unlike the shameless enterprise of a legend, I predict it was the bulk of their repertoire, and that’s acceptable for an upcoming band. More importantly they did it with bells on; the composition tight, the delivery confident. They seemed most comfortable with a melodic pace rather than thrashing it out, but at perkier tunes they still held it harmoniously.

In a roundabout way they confessed many of their songs were sporadic and spontaneous muses rather than poignantly planned thought processes, which was both amusing and honest, perhaps ironic too I figured after listening to the album. But not as amusing as complimenting Swindon, only to then ironically knock it in a song called Shit Town of Swindon!

While not the poetry of Keats, many of their co-written songs rise above the mocking of their hometown, which if only a standout track for its satirical title, others convey more concentrated narratives. Thereโ€™s a sense of irony throughout though, if Yesterdayโ€™s Tomorrow is surely today, the title track is the penultimate one, and depicts a hungover hope of new horizons of a romantic interlude, in a Britpop style.

The album kicks off with Southbound, an evenly-paced contemporary punk-pop attitude sourced from millennial indie bands like Busted and McFly. Though this album flows brilliantly, itโ€™s onto something decidedly more traditional punk two tracks in, then the aforementioned Shit Town of Swindon continues the style, Britpop influences gradually building. This one has to be anthemic in good time, particularly for their Swindonite fanbase.

Chasing the Sun four tunes in really picks up the pace, again with a comment on their hometown, but with optimism riding the narrative; thereโ€™s a clever and simple hook equal to the previous one here, proving these boys know how to construct a pop song with energy and enthusiasm.

A ballad, Just a Game follows, balancing the pace, and again proving something, that Ursa Way are no one trick pony. Noahโ€™s Nosey Neighbour takes an almost prog-rock style to Britpop, creativity abound here too, this rocks with surprising substance, and weโ€™re only halfway through this twelve-tracks-strong brilliant debut album.

With adroit contrasts in riffs, mainstream rock influences, perfectly placed hooks and intelligent lyrics, thereโ€™s promise in this album that Ursa Way are destined to create something much more memorable, but right now the potential signs are all encompassed in Yesterdayโ€™s Tomorrow. It ends with Another, a monstrously clever drifting Britpop tune seemingly about jealousy, dripping with edge and emotion.

They played this album out at The Tuppenny on Friday, reflecting the feeling weโ€™ll be hearing more of this young band in the future, and the gig felt like a groundbreaking moment for them, in respect of that notion.ย 

LinkTree to Ursa Way

I love the Tuppenny, a hospitable tavern with universal appeal. Thursdays are the live music nights usually, but as I said, itโ€™s Swindon Shuffle next weekend, see my recommendations here, Iโ€™m certain some were at the Tuppenny!


Trending…..

The Lost Trades Float on New Single

Iโ€™ve got some gorgeous vocal harmonies currently floating into my ears, as The Lost Trades release their first single since the replacement of Tamsin Quinโ€ฆ

Barrelhouse are Open for Business with New Album

Rolling out a Barrelhouse of fun, you can have blues on the run, tomorrow (7th November) when Marlborough’s finest groovy vintage blues virtuosos Barrelhouse releaseโ€ฆ

Something went wrong. Please refresh the page and/or try again.

Recommendations for when Swindon gets Shuffling

Swindon’s annual colossal fundraising event The Shuffle is a testament to local live music, which raises funds for Prospect Hospice. If you’re ever going to spend a weekend in Swindon, believe me, the 11th-14th September is the oneโ€ฆ..

An entirely free stroller festival centred in Old Town; saunter the eight venues at your leisure and discover a wealth of talent, mostly ฤบocally sourced. Pop some cash in the buckets and help raise some funds as Old Town comes alive with the sound of music!

As usual I’m going to be the judge and jury for this piece, and recommend those who I personally know who will deliver great sets to amaze you. But in no way is it an exhaustive list, for there will be many others and sometimes you have to put your little toe into the waters and find acts unbeknown to you, for the surprise element; an event of exploration! Whatever you do discover you can rest assured, every act is cherrypicked by the Shuffle Team, of Ed Dyer, a promoter who knows his stuff, Jamie Hill of Swindon Link, Kelly Adams, Paul โ€˜Pajโ€™ Jellings, Avril Jellings, Linda Gulliford, and Paul Gemmill, all equally as aware of what makes Wiltshire rock.

Thereโ€™s a printed program, online too; I’m working off that. Given the fantasy scenario of having the whole weekend to attend and choose between the huge lineup, hereโ€™s how I would tackle the mammoth task of maximising my experience…….


Without further ado, then, Thursday 11th of September belongs to The Tuppenny on Devizes Road, and the Hop, literally a hop across the road. A clash already, 7:15 at the Hop, Bathโ€™s spacey indie outfit Aqaba kick off proceedings, while Swindon soul singer Chloe Hepburn is at the Tuppenny at half past; tricky disco to begin, but Chloe has been on my must-see list for a while!

8pm at the Hop, Sebastain and Me is a deffo, but youโ€™ve only a quarter of an hour to drink up and catch the amazing Joli Soul at the Tuppenny. Again, I would be wearing out the traffic lights or flipping a coin. Iโ€™m unaware of all the headliners from there at both fantastic venues, yet the Tuppeny seems more funky soul and jazz while the Hop is indie, so it would be whether I packed my jazz hat or not!


Friday 12th September again is at The Hop, The Vic aptly on Victoria Road, and the Castle on Prospect Hill. Easy picking to begin with, itโ€™s our favourite Marlboroughโ€™s goth duo Deadlight Dance, on at 7:15 at the Castle.

In fact, Iโ€™d feel inclined to stay at the Castle unless Iโ€™m feeling like Dora the Explorer (which is surprisingly common for me!) as after a new one on me, Loophole, the amazing mod/new wave/britop cover band, whoโ€™ve just begun recording originals, Static Moves is on at 8:45, followed by Black Hats, new to me but promising something skanking, and SN Dubstation, who as the name suggest is Swindonโ€™s premier contemporary reggae export. The Hop is mostly folk on Friday, the Vic is indie-punk-rock and the Castle is alternative and reggae. If I was to fancy venturing off to The Vic, it would be at 10pm for Viduals, an emerging indie rock band who play it hard!


Saturday 13th then, when reality checks in, for this is the only day Iโ€™m likely to be able to make it up to Swindon for realz! You can get a bus from Devizes, you know, they run late now!

All guns blazing, The Tuppenny and the Pulpit rule the daytime, from 2pm until dinnertime, and The Hop, The Castle and the Beehive on Prospect Hill take the evening shift.

The great Jim Blair starts at the Pulpit, a new venue to me, but hey, Chippenham singer-songwriter Harmony Asia plays at 3:15 and thatโ€™s simply unmissable in my honest opinion. Oh but oh, Iโ€™ve heard so much good stuff about Swindonโ€™s pop star Kate X, who is on at The Tuppenny at 3:30, and seriously recommend her too!

Shedric and David Corringan at the Pulpit are two Iโ€™d love to see, and Swindonโ€™s answer to Dylan, the incredible Jol Rose is a must-see at 5:30, but dammit, at the Tuppenny has Emma Doupe at 5pm, followed by the freshest indie-pop fellow I simply must touch base with, Weather at 5:45pm. Ed Dyer, what are you putting me through here, or has Swindon got free cloning booths on every street corner now? Weโ€™re a little behind the times in Devizes!!

Saturday evening, and right, and Iโ€™ve made my mind up about how to attack this, though itโ€™s always subject to change. Bit of cheese, sir? At the Castle from 7:15 with Calneโ€™s comedy rock band The Real Cheesemakers is tempting, Gromit, but thereโ€™s a young Melksham band called Between the Lines on at 7pm at The Hop. I cannot lie, these winners of Take the Stage I wanted to play the Music Awards, for while they weren’t nominated, they should have been and I wanted folk to know why. Iโ€™m heading that way and will report on my findings, hopefully bring them to Devizes by hook or by crook!

The Hop continues with lots worth exploring, Iโ€™ve heard particularly good electronica things about The Crystal Wolf Project, there at 9:15, and Iโ€™ve seen headliners Trunk who will ram the place with devoted fans. But look, The Beehive might be my final Saturday resting place. Dulcet Tones at 8pm, then Bristolโ€™s Hannah-Rose Platt; look, just read my album review HERE and youโ€™ll understand this is without doubt a must. And, double-whammy, she is preceded by one of my all time favourite Swindon bands ever, the dark twisted country of Concrete Prairie. Always a must, especially at the Beehive at 9:30pm; save me a quarter of an inch to squeeze into, somewhere near the Tardis.

After that Iโ€™m anyoneโ€™s cheap date! Maybe Iโ€™d check out the Castle, as itโ€™s downhill and looking like hard rock underfoot with Lucky Number Seven coming the most personally recommended, at 9:30pm and followed by Modern Evils.


Then thereโ€™s Sunday 14th September, doesnโ€™t Swindon Shuffle know when to stop?! Wowzers it gets better; The Pulpit, Tuppenny and Beehive are up for your attention. Daytime, 1pm at the Tuppeny for Plummie Racket, stay there for Sienna Wileman and youโ€™ll be glad you did. But pop across to the Pulpit for 2:15 where Devizes is represented by our most excellent blues crooner and kazoo blasting JP Oldfield. I love this guy; Devizes man-hug!

Itโ€™s a Chippenham takeover from then at The Pulpit, Mexican Dave Iโ€™d recommend at 3pm, but M3G is a must and one of my personal favourite singer-songwriters on the local scene right now. Just prior to M3G though, be very tempted to nip back to the Tuppenny at 3:15 when Richard Wileman and Amy Fry do their thing, and thatโ€™s worth its weight in gold. 

Across to the Beehive for the finale to what looks like another unforgettable Shuffle, 6pm, Canuteโ€™s Plastic Army is unmissable, and so too is Joe Kelly & the Royal Pharmacy at 7:30pm.

No forgoing the fringe events, a Shuffle quiz night at the Beehive on Wednesday 10th, the Shuffle Community Ceilidh with The Cowshed Ceilidh Collective Saturday night at Eastcott Community Centre from 7pm, and open vinyl DJ sessions at The Prospect Hospice Book & Music Shop on Victoria Road, each day midday till 4pm.

Then, youโ€™ve only got to wait until the end of January for the Shuffleโ€™s winter version Swinterfest! Swindon Shuffle is a whoโ€™s who of local music, a convention and an institution, a fundraiser like no other, and you wonโ€™t even have to navigate the Magic Roundabout, pinky promise!

Info about Swindon Shuffle and full line-up HERE


Trending……

Steatopygous go Septic

If you believe AI, TikTok and the rest of it all suppress Gen Zโ€™s outlets to convey anger and rage, resulting in a generation ofโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

Black Rat Monday at The British Lion; Not Just For Lions and Rats!

There was a geographical population imbalance this bank holiday Monday in Devizes which risked the entire town conically sloping into the back of Morrisons; no one seemed the slightest concerned! It’s Black Rat Monday at The British Lion, the stuff of Dorothy House fundraising burgers, potent beverages and contemporary folkloreโ€ฆ.

Recorded here for prosperity, as itโ€™s dubious that other accounts of the event would be recited with much precision when passed through the generations, that once upon a time in ye olde Devizes, natives satirically dubbed their annual street festival โ€˜Black Rat Monday.โ€™

The name derived from a scrumpy brand popular at a bar run by CAMRA award-winning and stalwart Devizes freehouse, The British Lion. Contractual matters one year caused a breakup between the carnival committee and the pub. Being โ€˜Black Rat Mondayโ€™ was a folk eponym, ergo in the public domain, and the committee likely never appreciated it anyway, The British Lion adopted the name for an occasion of their own making, and the rest is history.

It’s a fable of self-reliance, apolitical empowerment, and mass consumption of scrumpy, though other drink options are available! Leading to a meek event of anti-consumerism, save the Black Rat Monday t-shirt and drink, community-driven subversion, and a crowded beer garden full of merriment, whilst it would seem the elaborate original festival has fallen by the wayside due to arts funding cuts.

This particular year saw the event blossom to bursting point, attracting townsfolk en masse, under the simple premise, it’s now as much of a โ€œDevizes thingโ€ as raking barrels of contraband brandy out of the Crammer or annually lobbing confetti at each other in a peculiar frenzy.

Reasoning why roots to the pub itself, because while other taverns change according to trends, else end up as antique shops or housing estates, the simplest of systematics of The British Lion stand firm, equable and imperishable. And Devizions love โ€˜gurtโ€™ tradition. If it’s not brokenโ€ฆ..

But what helps, and always does, is acquiring the most suitable entertainment; usually locally sourced, not this time, but equally as welcomed. Long-standing and living legend landlord Mike Dearing revealed his heuristic thinking was to provide an act weโ€™ve likely not seen before on our circuit.

For the universal audience the conventional is best, therefore, primarily a function party band, Bristol’s The 789s made a perfect choice. They were lively, proficient, exceptionally accomplished and seemingly pleased to be there. With a vast repertoire spanning every corner of classic singalong pop, they joyfully delivered them all, for sweaty hours, and until Sweet Caroline finalised the cumulation, by which time the crowds were chanting it back to them and dancing on whatever small patch of sun-bleached grass they could suitably fit into.

A punk cover band planned to follow, which duty-bound as Dad’s taxi, I had to miss unfortunately. But The 789โ€™s had roused the audience to a conclusion that there was little doubt anyone could now falter this year’s Black Rat Monday; I’d go out on a limb to suggest it was the best one to date.

There was Parklife, there was Red, Red, Wine, The Proclaimersโ€™ marching song, I’m Gonna Be, and every crowd-pleaser sublimely covered by both male and female vocalists, but only one of them sporting butterfly sunglasses. I don’t want to get all decimal on you after such a strenuous scrumpy surfeit, but The 789’s truly turned it up to ten, at least. For which they were rewarded a gallant cheer of Devizes-fashioned appreciation as they sauntered through the crowds back to the pub, akin to newlywed couple they had undoubtedly performed for many times before!

This respectful display of gratitude, and the whole shebang in general genuinely makes me honoured to document what happens in our lovely, lovely town. For you can bicker on Facebook pages all you want, you can thrash out the rights or wrongdoings of graffiting flags on mini-roundabouts, or pin the blame on someone for a road closure, but Steve Dewar’s brilliant popup youth cafe had kids enjoying a climbing wall on the Green, the sun was shining, and humble folk in the British Lion were laughing and singing, for we all live under that same sun, and that captures the true Devizes spirit, right here in The British, surely?!


Trending……

Something went wrong. Please refresh the page and/or try again.

Tidy: Talk in Code at The Vic with Riviera Arcade and Flora Flora

It was only ever supposed to be a single launch gig but it could’ve been for a gold-crested gatefold triple LP, because Talk in Code were larging it last night at their hometown premier venue, Swindon’s Victoria. The crowd was ecstatic and the atmosphere was highly flammableโ€ฆ..strike a light!

If witnessing a great band on their own turf adds a communal elevation to the thrill of seeing them at all, Talk in Code certainly pulled out all the stops, even if the je-ne-sais quoi of these masters of indie-pop perform with sublime quality anywhere they happen to appear.

If this crossing the friend barrier themed quintessential grower, More Than Friends sits perfectly into their eighties vibe discography, we were leaked forthcoming singles might venture somewhere slightly different, but right here, now, at The Vic, Talk in Code was rewarded equal rapturous praise in throwing it out there as they were marching triumphantly through their beloved anthems.

Tunes which, like the best memorable pop, have universal and timeless appeal. At a Talk in Code gig you could mute the sound and still comprehend that the individual takes what they want from their style by observing the diversity of the demographic present. Here, this tight group of musicians evoke memories of everything gorgeous about eighties pop from Ah-Ha to Simple Minds, for me. One generation younger, especially when they backtracked to Oxygen, might wallow in nineties indie, and likewise youth will recognise their own contemporary influences.

If homeliness provides confidence to experiment, we were treated to something I’ve never seen Talk in Code do before; as the band Twix breaked, dynamic Adidas- sponsored frontman Chris Stevens proved he was no one trick pony, and blessed the Vic with an immaculate acoustic number, an original he called We Remain.

If appreciation was a pair of knickers, Talk in Code would have a visible panty line, as devotee โ€œTalkersโ€ in blue sunglasses and merch amassed between Vic regulars, equally relishing their vibrant, danceable and electric hoedown! And all took home a CD embossed goodie bag akin to a toddler’s birthday party, save a slice of squashed sponge cake!

Yet if there’s an honourable family-fashioned ambience surrounding this band, where Talkers would follow them to the four corners of the globe, else create Lego fan-videos or shower them with deserved fondness, the mood for a quality evening was pre-set by two awesome support acts TiC cherrypicked.

Gloucestershire soloist, songwriter and model Flora Flora opened the gig with acoustic splendour. New to me, I’m now keenly following her socials. Not because she took control of my phone from my intoxicated sausage fingers to ensure I did, though she did, but because I’ve since come to realise there’s subsequent levels to her talent than the perfection of her rocking performance last night!

An inspiring Gen Z Swifty wordsmith, crafting evocative songs praised and played by our hero James Threlfall on BBC Introducing. A new one drops on streaming platforms on 29th August but is available now on Bandcamp, Need to Say; it’s far more ethereal than Flora Flora’s edgier performance, and you’ll be foolish not to bookmark it as a favourite; fill your ankle-length boots.

Penultimate act, Bristol-Swindon longstanding five-piece rockers Riviera Arcade, I must confess, I preconceived to be a fair, hard rock band; they certainly came out like one. It only took near to the completion of the first song for me to come to complex reasoning why they’re punching well above that weight. Multi-layered precision with captivating guitar riffs set me contemplating subtle nods to eighties mod or punk, sometimes skanking, but still, it heralded heavier rock. They’ve a 2022 album Gone By Ten on stream, so you can hear what I’m waffling about.

An interesting and certainly unique style which, while I was thinking The Police or Costello, they finalised their set of beguiling originals with an apt and superbly delivered cover of The Stonesโ€™ Paint it Black, a perfect summary to their ethos. I returned home as a newfound fan, a bit wobbly on my feet and Notra-Dame bells ringing in my ears fan, but deffo a fan!

Talk in Code was officially on the best form I’ve ever had the pleasure to witness, but it was the combination of acts, venue and atmosphere which famed this fantastic night too; The Vic is renowned for doing so, historically. Owner Darren Simons assured me, though the venue is up for grabs, it’s only going to someone prepared to continue in his shoes, so this flagship to Wiltshire live music should thankfully continue to reign; dodge magic roundabouts and onwards to The Shuffle!


Trending…..

CrownFest is Back!

Yay! You read it right. After a two year break, CrownFest is back at the Crown in Bishop’s Cannings. So put a big tick ontoโ€ฆ

Keep reading

Talk in Code Announces New Single; More Than Friends

Atmospherically anthemic and reinforced with that infectious rhythmic groove weโ€™ve come to love Talk in Code for, More Than Friends is chockfull of it, and itโ€™s their latest single, to be released on Friday 22nd August 2025 via Regent Street Recordsโ€ฆ.

Even if youโ€™re accounted for now, happily married and matured like a fine wine, the recollections of a blossoming relationship and the eagerness versus apprehension it provokes will never be pushed down a dark alley of your memory lane; successful or epic fail, they live inside the mind forever, Iโ€™m afraid! Frontman, Chris Stevens said of the single, โ€œweโ€™ve all been there, in a situation waiting for the other to make the first move, to validate our feelings, or save face!โ€

I could tell you a few stories, but will save you the agony! Especially as the earliest would be set in the eighties, about getting hot under the collar over girls in rah-rah skirts, leg warmers and dippy-boppers! But thatโ€™s the beauty of this songโ€™s simple premise; if youโ€™re older the irresistible eighties feel to the sound assists you in extracting the emotions needed to savour a memory or two, and youโ€™ll stare back up at your Morten Harket or Kim Wilde poster, should the blu-tac not have dried out, praying theyโ€™ll bless you with a cure to your longing!! Billy Joel, you charlatan, it isnโ€™t that easy to tell her about it!

Whereas if youโ€™re younger and, as gen z generally are, far more practical to be praying to Smash Hits pullout posters, you might relate the songโ€™s narrative to a newfound emotion, sharable on TikTok. But the eighties vibe still functions as a mechanism, because, letโ€™s face it, musical innovators of the eighties are the catalysts to contemporary pop. I was careful here not to suggest eighties music was better, though with my rose-tinted specs on, the thought was! 

And thatโ€™s what makes Talk in Code so universally engaging; it bridges a needed gap between eighties new wave electronica and nineties indie pop. In goes the synths, guitars riffs, the immortal choruses and rousing hooks, and what it exhausts is fresh and pumping, modern yet as timeless as Chris’s Adidas jackets, like someone slipped a rocket between the bum cheeks of Tony Hadley, and whip, zoom heโ€™s top of the download chart faster than you could cry Oasis.

For the reflective mood to the bandโ€™s artistry, which this track seems to strengthen, More Than Friends might be considered typical for the bandโ€™s direction, but as ever, they are growers, and after a listen or three youโ€™ll find the quintessential is challenged with each new release, because this band are tight, theyโ€™re professional, and bounded by great PR, management, and a truly loyal fanbase. A base which will be singing this back to them, in blue sunglasses, at their numerous live performances within the next month!

The single’s launch party is at the Vic, Swindon, on Friday 22nd August. Tickets HERE

Another cracker, Talk in Code. For everyone else, pre-save it HERE!


Trending….

Female of the Species Return for the Last Time

โ€œMore deadlier than the maleโ€ is my usual corny pun for this, but if supergroup Female of the Species returns to Melksham this September, it looks like the last time Iโ€™ll be able to use itโ€ฆ.

September 2017, when Devizine had merely eight articles published, I previewed a charity fundraising event in Melksham, The Female of the Species, and Iโ€™ve loved it and supported it since. A supergroup composed of the frontwomen of various local bands, they were already in their second year, but after ten years they announced this one will be their lastโ€ฆ.

Julie Moreton from Trowbridgeโ€™s ska and reggae covers band Train to Skaville, formed the supergroup Female of the Species with Nicky Davis from Warminster-based The Reason, Glastonburyโ€™s Julia Greenland from Soulville Express, Fromeโ€™s Claire Perry from Big Mammaโ€™s Banned, and solo artist Charmaigne Andrews, for an annual fundraiser at the Melksham Assembly Rooms; it became a much-loved institution and has raised over an estimated ยฃ25-30K for various local charities chosen annually.

Itโ€™s an incredible amount, but Julie revealed she wasnโ€™t sure of the grand total over the combined years. โ€œWe’ve never really kept a total of what we’ve raised,โ€ she modestly told me, โ€œwe sang a few songs, and someone’s life got a little better is how we think about it.โ€

Their tenth and final time performing the fundraiser as The Female of the Species will be at The Melksham Assembly Hall on Saturday 13th September 2025, and will be raising for Voices, a Bath-based charity supporting survivors and overcomers of domestic abuse and violence to recover and thrive. Tickets usually sell out quickly, you can grab yours HERE.

And youโ€™ll be glad you did, the accumulation of five talented singers from different bands, coming together for a sizzling melting pot of all popโ€™s subgenres, from rock, soul and reggae, blended with some filthy banter is something to behold, a whole lot of fun and dancing. Thereโ€™s always a quality support act too, the likes of Plan of Action, Becky Lawrence and Dylan Smith have all warmed up the audience in previous years, but the girls have called inย Laura Jayne, their first ever support act, who has carved out her own career as a vocalist.

With only months to raise hundreds of thousands of pounds or face potential closure due to the building it leased being beyond economical repair, in 2024 Female of the Species raised funds for Trowbridge preschool Rainbow Early Years. 2013 was for Alzheimerโ€™s Support, and previous years theyโ€™ve supported Mind, Young Melksham, Wiltshire Air Ambulance, and one very close to our hearts here at Devizine, Carmelaโ€™s Stand Up to Muscular Dystrophy.

They received a Civic Award in 2019, a letter from the Queen Consort, and thanks from the Chartered Institute of Fundraising. For a couple of years, with a misinformed council, they made the move to Seend Community Hall, but in 2024 they headlined Melkshamโ€™s Christmas light switch on and are now back at the Assembly Hall. Although, where and why did it all begin?

โ€œI started The Female of the Species because I didn’t like the way women were perceived on the local music scene,โ€ Julie Moreton told us. โ€œOut with Train to Skaville, at a couple of local festivals I noticed I was the only female on the stage, so I went into the green room and asked โ€˜anyone got any girls in the band?โ€™ The reply was, โ€˜we don’t have girls in our band because theyโ€™re unreliable, always gotta find a babysitter!โ€™ At another  festival I asked the same question, this time the reply was, ‘we get a few girlie’s in when we want some backing lyrics done!โ€™ It bugged me for about a year, then I decided to do something about it, spoke to my co-founder Julia Greenland, we booked the Civic Hall, without really knowing what we were doing!โ€

They only ever planned the gig as a one-off in 2014, but went on for ten years. Julie concluded, โ€œthe rest is history,โ€ until hilarious force of nature Claire โ€œBig Mammaโ€ Perry had to butt in with her welcomed thoughts too!

โ€œI joined this crazy bunch after their first year of performing,โ€ Claire  informed me, โ€œwith, I have to admit, some apprehension!!โ€ and continued to explain her reasoning; being โ€œbadly burntโ€ by another woman in a band; I didnโ€™t dare delve deeper! 

โ€œBut after Jules and Julia convinced me,โ€ she continued, โ€œI thought Iโ€™d be mad not to, โ€˜cos it’ll be fun!  I have to say….I’ve never looked back, well, maybe once or twice, to tell the drummer he’s too frigginโ€™ loud, or asleep, or pissed!โ€

โ€œIt’s been hard work every year, to get the time needed to rehearse, as all the band have their own commitments be it musically, or with their own families and lives, but what a privilege itโ€™s been every year to raise not only awareness of our chosen charities, but of course the money  that has helped them all, in whatever way they chose to put it to use.โ€ 

โ€œI think, if I may speak on behalf of all of us, what being in the Female of the Species has done for us, is to firmly secure the respect, admiration, and amazing friendships we have made amongst us all. Every year, we come out, smiling, (teeth & tits!!) to our trusty, and loyal audiences, professional to a fault, to put on, what we hope- will be a great show…but often hiding, or certainly masking, our own sometimes sad or heartbreaking dilemmas!โ€

Claire described how every year one of the members had issues in their personal lives, โ€œwhether that be, broken hearts, broken limbs!โ€ and here I recollected the year Nicky Davis hobbled out with a broken leg, and stunned the audience standing for her solo, but Claire reflected back three years past, when she lost her mum the night before the show.

โ€œTen years at the top of our game, we hope we can raise the rafters on this, our big celebration of music, friendship, and helping decent people, working to help others in chronically under funded charities, and get the place bouncing!! For me, itโ€™s been a blast, boosted my confidence and morale, and it’s made me proud of what a bunch of musos from the West can do, when we put our collective skills in the pot. Over the last ten years we have been The Female of the Species band, we have raised somewhere in the region of 30K for some very deserving people. It’s been a slog, it’s been a grin, but most of all…it’s been a pleasure!โ€

The pleasure has been ours, as we turn the final page, The Female of the Species will become an historical landmark on Wiltshireโ€™s music scene, and I still didnโ€™t get any of their phone numbers. For one last time youโ€™re invited to help them raise the roof of the Melksham Assembly Hall on Saturday 13th September 2025, but you need a ticket from HERE.


Trending…..

Oh Danny Boy!

Oh Danny Boy, oh, Danny Boy, they loved your boyish Eton looks so, but when ye was voted in, an all democracy wasnโ€™t quite dying,โ€ฆ

Keep reading

A Quick Shuffle to Swindon

Milkman hours with grandkids visiting it was inevitable a five hour day shift was all I was physically able to put into this year’s Swindonโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

Just a Mirrorball; Auralcandy New Single With Sienna Wileman

If weโ€™ve had a keen eye on Swindonโ€™s Sienna Wilemanโ€™s natural progression as an upcoming singer-songwriter since being introduced to her self-penned songs via her father Richard Wileman some years ago, her songs have always reflected her dadโ€™s penchant for combining curious and experimental soundscapes with acoustic vibes. Working with the more rhythm-driven Auralcandy this single is a change of directionโ€ฆ.

Just a Mirrorball released yesterday, with a pop sound of nineties nu-cool, as if Sophie Ellis Bextor was on the Madchester scene with Deee-Lite. It’s an instant love from me, and couldn’t go any other way really. Itโ€™s sassy, Maroon 5, danceable, but Auralcandy requests no one ask them for the โ€œboringโ€ backstory on this interesting collaboration, and to stop them if they ever try to tell it! Weโ€™ll just have to see it for what it is, a working combination made in heaven.

Sienna shows her versatility as a recording artist here, from acoustic folk to musical theatre, now this is decidedly pop, the timeless variety.

โ€œSienna is an absolute joy to work with, an obvious talent but with a complete nonchalance that comes with being one of those pesky kids Scooby Doo warned me about,โ€ they said, โ€œthe middle vocal is all Sienna’s invention. And, to me, reeks of 1960s pop Franรงoise Hardy, Brigitte Bardot et al; effortlessly cool.โ€

And it is so! So much so, it needs wider attention, it deserves to chart, and put them both on the map, but they’re both modest with their talent, so allow me to plug it!


No Alarms No Devizes, Aptly in Devizes!

If I’ve been galavanting recently, gorging on other local townโ€™s live music scenes, what better way to return to Devizes than a visit to the liveliest watering hole, The Three Crowns, to see a band with our town’s name all over it, No Alarms And No Devizes? How apt!

Iโ€™ll confess, while I know most of the members of this five-piece as individual musicians in their own rights or as members of various other groups, I was yet to see them in this setup, despite them forming the best part of a year ago. Naughty of me, I accept, but Iโ€™m overly glad to finally tick them off my must-see list, and on the strength of last nightโ€™s performance, it wonโ€™t be the last.

Aware of their talents as individuals my only pre-gig apprehension being it can sometimes be a case whereby groups formed of members whoโ€™ve met at open mics sadly donโ€™t equate to the sum of their counterparts. This minor angst I quashed before arriving; I could hear them from the carpark as they rang out Steve Harley & the Cockney Rebelโ€™s Make Me Smile with gusto. โ€œCome up and see me,โ€ the song suggests, yeah, Iโ€™m nearly there, and already glad I did. Again, how apt!

But itโ€™s not just in the word-playing a Radiohead songโ€™s band name to give it a local spin, nor the coincidental meaning of the song they were covering when I arrived which makes me happy to report that they know exactly what buttons to press, rather on the tightness of the band and their comradeship too. Frontman Tom Harris, known for also fronting extreme-metal band Kinasis and a stalwart locally as a blues solo artist, is a force to be reckoned with. His lively vocal range knows no bounds, and thereโ€™s joyful connotations within his energy and often amusing facial expressions which rub off on the audience.     

If, as it suggests, โ€˜extreme-metalโ€™ is too extreme for me, itโ€™s in his lighter fashions which makes me smile, and during lockdown the few funky tunes he created really brought Tomโ€™s natural talent to entertain to my attention. With No Alarms No Devizesโ€™ varied range of cover choices in their arsenal, Tom is free to explore his funky side or whatever fancies his tickle, and I loved this about the No Alarms And No Devizes show the most.

Tom is backed by proficient guitarist Pat Ward, once modest about his abilities, today moving through the audience whilst strumming, like a pro! Bassist Jonny Jam, whoโ€™ll you see blessing his skills in many local bands. A new drummer, Nick Wood, who sure found his feet and sticks last night. And with the additional Matt Pryor on keys, the lineup gives them the scope to nail a vast range of pop songs into their repertoire, and they do them all with impressive confidence and showmanship.

Keyed in to precisely what the varied crowd at the Three Crowns want, they ventured through anything and everything from Nina Simone and the Beatles to the obligatory Radiohead, the Proclaimersโ€™ crowd-pleaser, and eighties pop such as my personally most welcomed Men at Workโ€™s Down Under, with a gradual fade from melodic to a frenzy. They slipped in a few great originals too, but whatever direction they took themselves into they did so with flow, precision and enthusiasm, making for a universally highly entertaining night I cannot fault. Even their break was no longer than a wee-stop!

I do ponder if the bandโ€™s name implies itโ€™s just a bunch of guys from Devizes when they arrive at other townโ€™s venues. They played Swindonโ€™s Rolleston recently, they played HoneyFest at the Barge and Salisburyโ€™s Coach & Horses, among others, but Matt assured me theyโ€™re welcomed wherever they play, leaving me only to assure venues outside Devizes, they may be announcing theyโ€™re guys from Devizes within their very name, and banter between towns might be a thing, but once No Alarms And No Devizes are in full swing, youโ€™d be glad you booked them!

Another wonderful night at the Three Crowns, then. It never fails to please. With the Brewery Shop opening next door, seeing visitors stopping into the pub, the live music and gourmet burgers, The Three Crowns is surely a testament to what a pub can achieve if they put their heads into what punters want, particularly in these uncertain times. It was as busy as ever in there, hospitable and lively, with a varied age demographic out to party and nothing baleful.

We clashed events with the wonderful Facebook page dedicated to promoting local live music, Bird is the Word, which had to happen at some point! Go give them a like if you do Facebook, theyโ€™re doing good things over there, with higher quality photos and video streams than my tiddly tries of getting into focus while dancing and balancing a cider!


Trending…..

Talk in Code Down The Gate!

What, again?! Another article about Talk in Code?! Haven’t they had enough Devizine-styled publicity?! Are their heads swelling?!ย  Didn’t that crazy toothless editor catch themโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

Hannah Rose Plattโ€™s Fragile Creatures

If Whitney Houston set a benchmark for female vocalists many did before her too, but while others were influenced by them, they never felt obliged to attain a sound precisely mimicking them, as, it seems to me, many modern female singers striving for pop success do with Whitneyโ€™s. And when they do, it sounds, well, manufactured and impassive. A Liverpudlian now residing in Bristol, Hannah Rose Platt releases a concept album tomorrow, Fragile Creatures, of which Iโ€™d compare more to like of Kate Bush, whereby Hannah can weave beautiful tapestries, adapting her voice to reflect the sentiment of her narrative, mood and style of the track; and thereโ€™s a lot going on in Fragile Creaturesโ€ฆ.

It is undoubtedly a concept album, anatomising the complex relationship between women and medicine throughout history. It explores how antiquated myths and misconceptions in the pursuit of science have impacted female health, while creating countless injustices and inequalities. If this comes across sounding more akin to a poignant lecture, Hannah Rose Platt shifts between a collection of musical influences to imprint her wisdom, causing Fragile Creatures to be an altering and compelling journey of prowess and refinement.

It opens introductorily with a spoken word sample of Helen Andelinโ€™s Fascinating Womanhood, a controversial sixties manual encouraging women to uphold their conventional marital role. Ataraxia is as calming as the meaning of its Greek philosophical title, ambiently floating over an acoustic guitar riff and drumbeat, musically reflecting on Diazepam-flavoured tranquillity, as if conformity to the sample will land us all in a world to make Aldous Huxley quiver. In this, Hannahโ€™s voice is bitter, eerie, to convey the point.

But by the second tune, Curious Mixture, a drifting acoustic vibe, Hannahโ€™s voice is as silky and smooth as Kylie, which shifts to a sharper more indie-punk feel as the songs progress. Thereโ€™s a definite Bristol trip hop scene there too, causing me to consider Portishead as an influence. By the fourth tune weโ€™re blessed with the most gorgeous ballad to Mary Magdalene, reminding me of Daisy Chapmanโ€™s folk angle. Itโ€™s at this conjunction I realise Hannah is reciting her deepest thoughts and observations on the theme, historically, and theyโ€™re gender ecumenical rather than bitter stabs of feminist vendetta. I didnโ€™t feel under attack as a guy listening to this, provided I ponder the meanings Hannah so poignantly expresses.

This is eleven tracks strong, melding myths of pseudoscience, superstition and patriarchy with medicine and chronicles of the resilient and defiant women who unyieldingly fought for equality and autonomy. At times itโ€™s Kate Bush vocalising for Massive Attack, as is the tune The Yellow Wallpaper, at others, such as La Grande Hysterie, itโ€™s a contemporary Alanis Morissetteโ€™s Jagged Little Pill covered by Siouxsie and the Banshees. It ends playfully like musical theatre, but penultimately is horrific and beautiful in equal measure.

The album is a themed anthology. Each song has its own narrative, weaving into each other. From the tale of Anne Greene, accused of infanticide under the Concealment of Birth of Bastards Act, and pardoned after being revived from hanging to reflections on the health gap that lingers to this day. Thereโ€™s so much more I still need to discover exploring its sheer brilliance as a concept and how the music compliments it.

Hannah explains the concept, โ€œThis record is both an offering and a tribute to female pioneers in medicine; and an endeavour to honour, and give voice to, the unsung heroines in the history of our health. What struck me most during the research and creation of this album was the deeply ingrained, sinister nature of myth and misconception surrounding womenโ€™s health, and the harmful, cyclical dismissal of experiences; decade after decade, century after century, often reinforced by outdated and dangerous practices. My hope is that listeners will not only be intrigued by these stories but also inspired to dig deeper and empowered to challenge the systems that have long ignored or misrepresented womenโ€™s voices, as this dismissal remains so prevalent today.โ€

At this I could agreeably sigh, like any poignant art which usually preaches to the converted those who really need to take heed of its message will likely overlook it. Nevertheless, if others cite Fragile Creatures as the work of an upcoming artist, Iโ€™d favour to compare the depth and production of this fantastic album to Dark Side of the Moon. And with that the right audience might spare its lesson a thought. A high but deserved accolade, in considering it took Pink Floyd seven albums to accomplish this magnum opus, when this is Hannah Rose Plattโ€™s second; what comes next will be astounding because Fragile Creatures is a sublime keeper.

The advance single Curious Mixture is out now. Full album is released tomorrow (April 25th) via Xtra Mile Recordings and mastered at Abbey Road, with production and playing from Ed Harcourt. Launch party is Friday 25th at Rough Trade, Bristol.


Trending…..

Something went wrong. Please refresh the page and/or try again.

Whereโ€™s the Music on Sunday in Swindon? Fran Daisy at The Plough

Sometimes I believe we donโ€™t know how lucky we are in Devizes. Sunday afternoon live music is a thing here, and weโ€™re often spoiled for choice. This Sunday Phil Cooper played the White Bear, and it was the celebrated Jon Amor Trio monthly residency at the Southgate. But the meter was running on Dadโ€™s taxi and I was left with a few hours to kill in Swindon; at least this means I might find something new to me, which I did, and was pleasantly surprisedโ€ฆ.

More sporadically the trend seems to be in Old Town. The usual circuit pubs like the Vic, Beehive and Castle were mostly having quiz nights (which my general knowledge level doesnโ€™t permit me to engage in,) or nought; the place was relatively void of entertainment; shocking! I scanned social media, assuming there had to be something going on in a town this size on such a sunny afternoon. I guess itโ€™s a case of knowledge of the scene, of which I thought I had some, but being I could only find one happening, it had to be this.

On a pastel-pink cloud poster, Fran Daisy was advertised to be singing at the Plough on Devizes Road. As I know neither, and she looked like one of these singers who karaoke with a PA and phone, which isnโ€™t usually my cuppa, but I shrugged at the notion it was this or nothing, and took a chance.

The surprise element is far stronger than knowing the venue and the act, and was certainly true last Sunday. Starter for ten, The Plough is a humbling pub, simple L-shape plan with a low rising stage area, friendly staff and regulars, and comfy too; I felt quite at home there. Though itโ€™s slightly off Old Townโ€™s main drag, there are three pubs on that corner of Devizes Road and Newport Street, The Wheatsheaf and Royal Oak, and The Steam Railway is a lively sports bar a stone’s throw away. The Plough holds its own against this competition, hosting regular music nights on Saturdays with a variety of local acts on the circuit; I must add them to our event calendar.

But the biggest surprise was Fran herself, while, yeah I was right, she was singing pop covers over a karaoke app from her phone, she delivered them with crystal clear precision, gusto and were vocally powerful and confident. An era-spanning repertoire of sing-a-long classics, I arrived an hour into her set, where I recognised the contemporary tune but after a trio of Abba songs forgot what it was! Because Fran Daisy has the skill to adapt her voice to suit the cover, and she nailed Abba, in fact, she nailed them all. She asked for requests, gave the audience options, and joyfully put in the overtime. 

An encore involved a song from Greace, in which she explained she performed it with a theatre group some years ago, to the hail of her entourage who obviously appeared in it too. It was clear through the diversity of her song choices and her lively, amusing audience banter alone, although Fran told me she had only been doing this on the local circuit for a year, that she had musical theatre experience.

It never ceases to amaze me when I discover a DIY singer on the circuit, seemingly content to do the rounds, promote and cart their own kit around, that is as an amazing performer as Fran is, that which should be fronting a popular function band, at the very least. But Fran explained she was a full-time nurse when I put this to her, so as a sideline perhaps this is a big enough bite for the additional workload, and dammit, we donโ€™t need to be convincing nurses to follow the star! All said and done, though, Fran has the proficiency and potential to go much further, should she wish to, and the gorgeous voice to mimic divas and legends.

There are a few Iโ€™ve found in a similar position, our Kate Mills for one, who also works in the acoustic duo Sour Apple, and has stolen the voice of Alison Moyet! For the customary pubs without a reputation for hosting regular progressive or risque bands, who want their punters entertained, the karaoke-style singer is an affordable option. But when youโ€™ve got the skills of someone like Kate or Fran, this is a guaranteed chicken dinner. Therefore Iโ€™m warming to the option, and judge accordingly on if it does what it says on the tin, and Fran goes above and beyond to create that engrossing entertainment. 

A landlord would need to know the tried and tested, or take a leap of faith, but if you want your whole pub up singing along, Fran Daisy is a perfect option.

Follow her Facebook page, or deliberately injure yourself, cross your fingers and hope Fran Daisy is your appointed nurse!!


Wither; Debut Single From Butane Skies

Whilst dispersing highly flammable hydrocarbon gases into the atmosphere is not advisory,  Butane Skies is a name increasingly exploding on local circuits. The young andโ€ฆ

Bits of Elation; Chatting with The Belladonna Treatment

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

Bits of Elation is fifteen seconds under a three-minute-hero which doesnโ€™t come up for air, compensates for those missing seconds with a dynamic and retrospective Ramones-fashioned riff and the feelgood vibe of pop-punk this side of the millennium.

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

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

Understanding thereโ€™s a number of local grassroots venues where The Belladonna Treatment would fit like a glove, I was surprised to note they hadnโ€™t yet ventured to Trowbridgeโ€™s Pump, Bradford-on-Avonโ€™s Three Horseshoes or even Chippenhamโ€™s Old Road Tavern. I pondered on bands which seem to get stuck in certain fanbase circuits, despite being fully deserved to be showcased across the county and beyond. โ€œIt all depends on what everyone wants to do,โ€ Ian began, โ€œthings like this pop up and itโ€™s nice to do them, but we do want to expand and do other gigs.โ€

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

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

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

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

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

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


Trending….

FullTone Festival 2026: A New Home

It’s been a wonderful summer’s weekend, in which I endeavoured to at least poke my nose into the fabulous FullTone Festival, despite being invited toโ€ฆ

Something went wrong. Please refresh the page and/or try again.

Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, this is the definite RnB sound of now, with nods to nineties RnB like Macy Gray and Mary J. Bligeโ€ฆ.

Though this is fresh, I believe itโ€™s fair to compare Chloe to such RnB queens, for the elements are composed accordingly; the poignant relationship prose of passionate writing, and the sensual tone expressed simply both rinse out those sombre amatory vibes commonly associated with the genre, especially with female vocalists.

Chloe Iโ€™ve just discovered, but itโ€™s an immediate like from me. Soul is not the typical style we find much of here, therefore when it does youโ€™ve got to take it on the hip and make the most of it! Itโ€™s been six months since her last single On The Run, which takes a slightly more ballard approach, and followed by a five track EP called 7 Months, tending towards a pop sound, and that RnB style reliant on and spliced with dancehall, and even house. But, when youโ€™ve finished listening to the moreish Situationships, youโ€™re duty bound by your ears to delve deeper into Chloeโ€™s back catalogue.

But more importantly, now we know of Chloe Hepburn we look forward to hearing what she will do next, as I believe this emerging soul artist has not yet reached her peak, and we need to be there when she does. Situationships filled me with the confidence Chloe is destined for greater things. Itโ€™s a gorgeous single, oozing with potential and only trickling with the necessities to produce something groundbreaking.

Linktree Here


Favourite Waste of Time: Chatting with Owen Paul Ahead a Devizes 80s Gig

July 1986, Madonna was asking her papa not to preach, Chris De Burgh was fantasising about a lady in red, and they were the only two things preventing a feelgood summer cover called My Favourite Waste of Time reaching the top of the charts. It was recorded by Owen Paul, who arrives in Devizes for a โ€œtribute to the eightiesโ€ gig at the Corn Exchange on Friday 21st March. I caught up with him ahead of this, and we chatted merrily about the hit, his origins and influences, mullets and all things eighties, oh and what to expect from the showโ€ฆ.

After clearing up uncertainty over his two forenames, Owen is his, Paul derived from a younger brotherโ€™s name, we moved onto the way I envisioned this meeting. I imagined weโ€™d be dancing on some tropical beach in white sleeveless t-shirts and sporting mullets, as was the video to his pop smash.

โ€œYeah,โ€ he laughed, explaining about a gig last Saturday in Exeter with Radio 1 DJ Pat Sharp, โ€œit was the battle of the guy that used to be the world champion of the mullet people!โ€

A tropical theme was so eighties too, I said, from Wham to Blacklace, we all wanted to go on holiday, we all wanted to be on that beach in the My Favourite Waste of Time video. โ€œYou’re absolutely right,โ€ Owen responded, pointing out the gig last weekend was in a theatre called Tropicana. โ€œIt was one of the strangest shows I’ve ever done. Club Tropicana, just for the event, right? ย The show started at 2pm and run โ€˜till 8pm. I said to my manager, โ€˜weโ€™re gonna play in the afternoon?โ€™ She was like, โ€˜yeah. You do the thing in the afternoon, people come dressed in eighties clothes and they forget their lives for five minutes.โ€™ Apparently, itโ€™s a thing; adults like to go to a show between 2 and 6pm, so they can get back to watch Casualty!โ€

I assured Owen I must be the exception to that rule, but Owen was still giggling, โ€œor Strictly!โ€

But were the contents of the show like what we can expect to see in Devizes on the 21st, I had to ask. For the record, while tagged with the idiom โ€œone-hit-wonder,โ€ Owen is a prolific recording artist who is still releasing new original material; will he be playing these? โ€œEven though I still do songs, when it’s an eighties show like in Devizes, it’ll be full on eighties-tastic, girl singers, dancers, and weโ€™ll sing Bowie, U2, Deacon Blue, Crowded House and more.โ€

Time to drop my million-dollar question which had been floating around my excuse for a brain since knowing I was to chat with Owen. That the term one-hit-wonder, which Owen was bequeathed at the time, must be quite disparaging for an artist with a wealth of other works. I asked him how he felt about it at the time, and how he feels about the label now.

Not to blow my own trumpet, he replied, โ€œif I think of all the interviews I’ve done in recent times, that is the best question I’ve ever had! No one has ever asked that of me because they’re always scared. And youโ€™ve asked, so thatโ€™s fine. Iโ€™ve got to tell you the truthful answer, right? And I mean this with all my heart. I know a million acts whoโ€™ve never had a hit. And I have. That ahead gave me the doorway to be here forty years later, playing festivals all over the world. So I don’t think it’s disparaging at all. I think it’s a complete opposite. I think I’ve had a hit, when I know people more talented than me,โ€ Owen exampled a mildly successful Scottish band called The Blue Nile, โ€œthey had โ€˜Tinseltown in the Rain,โ€™ the closest thing to them having a hit, (reached No. 87 on the singles chart in 1984) Theyโ€™re an incredible act, but I had a smash that went global. They never had. So I don’t think of it as disparaging at all.โ€

In this I think Owen misunderstood my question, that it wasnโ€™t the having a one-hit-wonder which I thought might be disparaging, rather being labelled a one-hit-wonder which could be, but hey, it was a calculated and flattering response anyway!

Being Iโ€™m walking Owen down memory lane, I wanted to take him further back, being aside My Favourite Waste of Time being an acoustic guitar-led feelgood anthem delineating eighties pop, Wikipedia claims it was the Sex Pistols which first inspired him.

โ€œThe basic story is this, and this is completely true,โ€ Owen elucidated, โ€œwe had a basement, which makes us sound posh, but it was a council flat. My brother and his mates from school used to come back to our house, and they used to rehearse and make an absolute racket of a noise! And this is like 1975-76ish. I was too young; I wasn’t allowed to go downstairs. I used to sit upstairs and listen to what they were doing, and they would play singles of whatever was going on, and they played the Damned, The Clash, The Strangers, and then played the Sex Pistolโ€™s Anarchy in the UK, and I’m upstairs going, what, the, hell, is, that?!โ€

โ€œAnd I’m going off the back of the seventies when it was prog rock and all the stuff where you had to be a virtuoso and play for ten hours. And it really changed me, and the guys who’s downstairs in our basement, turns out to be Simple Minds; you wanna write that down?!!โ€

Noted in awe, Owen, thank you. His brother Brian was the Simple Minds drummer, and guitarist Charlie Burchill, he informed me, โ€œwould come upstairs to my room, ’cause I was not allowed down there, and I had a guitar. My dad was publican, and when people couldnโ€™t pay their bill, you make them get on and perform.โ€ Owen told how Charlie showed him an E chord, an A chord and a D chord, โ€œand he said that’s all you need, and I said โ€˜thanks!โ€™โ€

We talked of the 3-chord simplicity of eighties pop, Owen extended this by getting technical on learning structures from the likes of The Velevt Underground. โ€œAnd then,โ€ he explained, โ€œoff the back of that, I started to make my own noise.โ€

On his first band, Venigmas, Owen explained how at just sixteen they left Glasgow for London, and he told his mum, โ€œI don’t think we’ll be back.โ€ Owen spoke of the changing scene, the new romantics, but was adamant he was a โ€œrock guy.โ€

โ€œBecause everyone thinks you’re an overnight sensation. I was eight years or more in the industry before I got signed to Sony. They signed me as a rock act, and then I stupidly made a pop record! And that became my real problem. Because I saw myself as a Bowie guy, I thought you could do anything. I thought you could do funk, you could do rock, soul, and pop; that’s what I thought. How naive was I?!โ€

Owen recorded two songs for Sony, the one we all know was nominated for a Brit award. He spoke fondly of recording it and how they immediately knew it was a hit, then suggested โ€œbut at the same time, in my heart I went oh-no. I’m in trouble here.โ€

I speculated aloud, asking him if it was because the music industry will typecast him as pop, and he replied, โ€œyou’re absolutely right; that’s what happened. So the record comes out, it’s a worldwide smash. It got me on Smash Hit’s cover, on Saturday morning, telly; I’m shiny, bubble-gum pop guy. That’s where I am, right? Now, the record label wants ten more tracks which sounds like thatโ€ฆ. but Iโ€™m a rock guy!! You can see the problem?!โ€

If all sounds weighty, I must point out Owen finished this sentence with a giggle, recalling his moment in the spotlight playfully. But we compared it to his freedom now to write, and his new song Fly With Me, which I observed reminded me of Cat Stevens or George Harrison. Again, he found my question about it, โ€œinteresting. I don’t get it asked much. I think ultimately, I’m a Celt, Scottish and folk music is everything to us. I’ve always been like that, every song I hear in my head, when I’m doing new tracks sounds like a folk song. But when you’re in the eighties and you’ve got a record deal, they donโ€™t want that, you turn that into a pop song.โ€

Owen continued to explain how, with his guitarist Howard, decided to produce a folk album after an acoustic gig, but clarified, โ€œfolk is the fifth of it all.โ€ This seemed like a convenient time to move away from the roots and back to idea he was coming to Devizes to do an eighties show, and people will lap that up. โ€œI love that about eighties shows,โ€ he revealed, โ€œI didn’t do them for a long time, nearly twenty years. I pretended that I wasn’t Owen Paul or sang that song. And then, I did a thing on telly called Watchdog, Rouge Traders. They were investigating this company with security cameras and asked me to walk in at the end and sing (and he did sing it for me!) youโ€™re mineโ€ฆ!โ€

โ€œI thought, hang on a minute. Is this because I didn’t pay my tax bill?!  Are they actually chasing me?! I double checked, and it turned out that it was the BBC, and it was fantastic and really funny! The next day, my phone was exploding. My website was exploding with pictures going โ€˜oh my God, Owen Paul isn’t dead,โ€™ can you do this show?!โ€

Owen recalled with joy, how it felt to now do retro festivals where, โ€œthe most amazing thing occurred to me. After me not wanting to be Owen Paul, that guy, that song. I get to the beginning of the song, and obviously it’s not like there’s an intro, it just goes bang, you know? And then suddenly, I’ve got 20,000 people singing that back at me.โ€

Regardless of how you might feel about the commercialisation of it, I try to imagine that and offer to Owen that it is truly is the testament to his work. โ€œYeah,โ€ he responded so positively, โ€œI think I grew up as well. You know, I’ve been doing this for a while now and I’ve realised if you’re the wrong side of forty-five, so youโ€™re an eighties kid and you’ve got two kids, a mortgage, bills and you’ve got all your rubbish; you want five minutes away from it all.โ€

Which is, in turn, the best advert for the upcoming show! We continued for some considerable time, I was enthralled he spoke about Howard Jones on first name terms, being asked to do a number of celebrity shows, like Strictly. We talked about dance music, Britpop, and the changes these brought, and even from the effect of streaming services on the industry, to the youth of today identifying with the songs of the eighties. It was becoming clear one of us needed to break the chat through fear of day becoming night, and maybe back again.

It was a wonderful conversation which knew no natural end, because though I was honoured and slightly in awe of Owen Paul, we chatted like old school friends at a reunion. If the nineties saw me shun the commercialisation of the pop of my youth, Owen caused me to rethink it again, and it was a pleasure.

Owen Paul brings his eighties show to the Corn Exchange on Friday 21st March. Tickets are aptly ยฃ19.80, because itโ€™s promised youโ€™ll be transported back to the 1980s! Have I got time to grow a mullet?


Trending….

Just a Little New Single From Sam Bishopย 

โ€œThis song speaks to anyone who’s ever felt like they weren’t quite enough for someone, yet still held out hope for just a hint of validation,โ€ Sam Bishop explained to me about his latest release, Just a Little which is out today, 7th Februaryโ€ฆ.

The immediate hook to this song is in the simplicity of the riff, it glides with a summer breeze echoing in feelgood ambience. Refreshingly vehement and not overworked, Just a Little caused me to think of Natasha Bedingfieldโ€™s Unwritten, and further back to how Madonna secured her queen of pop title with the Latino hook in La Isla Bonita, or am I going too far back for you now?! Noah Kahan brought back fervency, this goes along similar lines, though Sam likened it to Coldplay and Bastille, stating, โ€œI hope people can connect to it.โ€ย 

Itโ€™s certainly miles beyond his beginnings in Devizes School boy band 98 Reasons and the duo Larkin with fellow member Finley Trusler, in commercial viability. It shows a maturity, but if weโ€™ve followed this natural progression I could argue his previous songs were growers, whereas this was an instant like, and swift appeal is whatโ€™s needed in the fast-paced industry.

Sam scribed this beauty whilst travelling the States over summer and produced it once home. โ€œThis song is for everyone whoโ€™s ever felt like they were giving their all but still wondering if itโ€™s enough,โ€ he expressed, โ€œI wanted to create something that felt vulnerable, yet comforting, that also feels personal.โ€ Yeah, Sam, I think youโ€™ve captured that!

Just a Little is out across streaming platforms from 7th February. Check it out HERE; it’s already top ten on UK iTunes – deservedly.

Harder to Breathe; New Single from Talk in Code

Itโ€™s been a fantastic summer for Wiltshireโ€™s indie-pop favourites Talk in Code. I think Iโ€™ve caught them live at least four times, and only once blagged a lift home from guitarist Snedds, of which is customary to drunkenly chew his ears off on as many random subjects the journey time will allow; I guess that officially makes me a โ€œtalker?!โ€

But hey, nights drawing in, back to recorded sound, and Talk in Code have a new single, Harder to Breathe, out this Friday, 4th October 2024; it is still 2024, right?!

Again this one follows the irresistible building template of the band, bridging the gap between 80โ€™s new wave electronica and 90โ€™s indie pop. This one, I believe, really harnesses the bandโ€™s objectives of creating timeless pop with dynamic eighties synth and guitar combos. The effect is akin to iconic producers like Peter F Wolf or Narada Walden; Harder to Breathe evokes blissful recollections of songs from the peak of the era, from Go West to Madonna, and weโ€™ll never stop dancing to them; try to stop me, I double-dare you!

Harder to Breathe is another universally exemplary precedent of this original timeless anthem ethos Talk In Code are achieving. The sound reaches that blinkered emotion of ones infatuation suffocating the object of their desires, at least in a pop-tastic fashion, as is the theme. At least I think it does, it’s been a long time since anyone was infatuated with me, but once upon a long time ago, believe it or not, some did; funny old world, isn’t it?! No one was even paying them!!

Frontman Chris Stevens said of the single, โ€œwe want to evoke the feelings you have when you meet people that have a huge impact on your life; being overwhelmed, lust, falling in loveโ€ฆthe song addresses if it is simply instinctual to gamble with matters of the heart.โ€

A versatile force live, able to suit a variety of festivals and venues, itโ€™s been a great summer, but the fun doesnโ€™t stop, this tune matches the gusto of their performances, in the comfort of your own home; give it a listen, just don’t try to stop me from dancing!

Pre-Save this beauty HERE. Return Friday in diddy-boppers and rah-rah skirt, I know I will!


Trending…..

Park Farm; Mantonfest Came to Devizes!

The first Park Farm Festival happened Saturday, it was fabulouso, and in some way Mantonfest came to Devizes; conveniently for me as I had toโ€ฆ

Ann Liu Cannon’s Clever Rabbits

Ann Liu Cannon is the Marlborough success story I hadn’t heard of until yesterday; thanks to local promoter and frontman of the Vooz, Lee Mathewsโ€ฆ

Live in Pewsey, at the First Oak-Fest

Amidst another packed summer weekend’s schedule laid that lovable large village Pewseyโ€™s turn to shine; always a law unto itself, things went off; if itโ€™sโ€ฆ

Jazz Orchestras and Senegalese Kora to Musical Bingo; New Autumn-Winter Program at Wiltshire Music Centre

Seems like an age since I last visited Bradford-on-Avonโ€™s wonderful Wiltshire Music Centre, though Iโ€™ve been listing their vast range of events on our calendar. Maybe itโ€™s a good time for you to check out whatโ€™s going on there as theyโ€™ve just released their autumn-winter programโ€ฆ.

From contemporary and folk to jazz and classical, thereโ€™s a massive variety. I’d go out on a limb to suggest you’ll not find such diversity in any local music venue. The season begins with some Northumbrian pipe folk with Kathryn Tickell & The Darkening on Wednesday 2nd October. Pupils of The Yehudi Menuhin School, a global leader in music education, present a varied showcase of talent and skill from their young musicians on Sunday 6th.

While Friday 11th gets choral with innovative and creative vocal ensemble The Marian Consort, telling the story of Renaissance art through sound, renowned Pink Floyd tribute All Floyd recreates the Division Bell album on the Saturday at St Margaret’s Hall, while Syrian โ€œQueen of the Qananโ€ Maya Youssef returns to the centre.

BBC Folk Musicians of the Year Andy Cutting and Sam Sweeney group with Rob Harbron on Wednesday 16th for some freeform folk under the guise Leveret. Food critic and MasterChef judge Jay Rayner arrives Saturday 19th as a pianist with a penchant for jazzy โ€˜80s pop; who knew?!

Catherine at the Music Centre really wanted me to highlight the Charity Musical Bingo night on Wednesday 23rd October. โ€œItโ€™s very new for us,โ€ she told us, but if, like me, youโ€™re thinking โ€˜bingo, really?โ€™ note, she explained the spin on it, โ€œweโ€™re planning it to be glitzy and fun, with an added fancy dress competition, live music from quirky covers band FLQ, plus food from Feast Brothers. Itโ€™s a fundraiser for the Centre; instead of numbers on a bingo card, we play snippets of pop songs from the 50s onwards and if they are on your card, you mark them off until you win.โ€ย  That’s my kinda bingo!

Bringing together an electrifying seven-piece band of influential Senegalese musicians and vocalists, master kora player and singer Seckou Keita could have you swaying to the beat of his latest album, Homeland, on Friday 25th October, while The Urban Folk Quartet mix Celtic tune forms, traditional song and cross-genre influences like Afrobeat, Bluegrass, funk and rock, on Saturday 26th.

Kasai Masai at Wiltshire Music Centre, December 2023

October ends with the classical, a lunchtime concert from Italian string musicians Trio Chagall, and weโ€™ve only mentioned the first month. November sees Sir Stephen Hough, The Bristol Ensemble, both Trowbridge and Bath Symphony Orchestras, and Bachโ€™s Brandenburg Concertos with Orchestra of the Age of Enlightenment. For folk thereโ€™s Calan and Manran, thereโ€™s a homage to Simon & Garfunkel, and a big weekend of jazz.

And weโ€™ve not yet covered all the family events like Voices for Life where 200 children from local primary schools sing with BBC Young Chorister of the Year, Belinda Gifford-Guy, or youth projects like Wiltshire England Youth Orchestra and Wiltshire Youth Jazz Orchestra.

Weโ€™ve not touched upon the sterling work of the Zone Club at the centre, offering Monthly creative sessions for learning disabled young adults. Thereโ€™s probably more amazing work going on at Wiltshire Music Centre I donโ€™t even know about, but you cannot deny, itโ€™s a fantastic place with a heart of gold. And you need no other reason to pick up some tickets and support their fundraisers, safe in the knowledge youโ€™re supporting a rather special organisation pushing boundaries in local arts and music.

For full program details, and to book tickets, see HERE.


Trending…..

IDLES’ at Block Party

With their only UK shows of the year quickly approaching, the 1st and 2nd August will see IDLESโ€™ and music festival Block Party take overโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

Fulltone Confirmed For 2025 in Devizes

The Fulltone Orchestra has confirmed today that their annual festival will take place on The Green in Devizes from 25th โ€“ 27th July 2025โ€ฆ.

โ€œItโ€™s hard to believe that exactly one month ago, we were on The Green setting up for what we thought might be the last Fulltone Festival,โ€ they said today.

โ€œFulltone is run by a small group of volunteers and is funded solely by ticket sales plus a few generous local sponsors. Ticket sales hadnโ€™t been great leading up to this yearโ€™s festival, and we really thought that it might have run its course.โ€

Image Gail Foster

A last minute rush on ticket sales for the festival this July, the smooth running of the event, and overwhelmingly positive feedback have been the benefactors which caused the organisers to make a u-turn on not holding a Fulltone Festival next year.

I reasoned based on rumours about camping possibilities it may be relocated outside the central town, but organiser Jemma Brown confirmed it will remain on the Green due to popular demand, and the Rowdy Cow site could become a camping area with a shuttle bus operating to and fro.

Jemma also explained they’ve dropped the word โ€œfestivalโ€ from the title of the event, and from next summer it will be known more simply as Fulltone โ€˜25. I like this, it’s a unique event and on the reputation it has amassed over the years it needs no more explanation than this.

Image: Gail Foster

Acts are already being considered and booked, and Jemma also mentioned the possibility of fringe events happening in town venues. All exciting developments, and we wish them all the best with these early planning stages for what has become a jewel in the Devizes event calendar.

Fulltone โ€™25 will take place on The Green from 25th โ€“ 27th July 2025. Early bird tickets will go on sale at 9 am Saturday 24th August 2024.


Get ‘Lifted’ by Chandra

Chandra, Hindu God of the Moon, with his own NASA X-ray observatory named after him, and also frontman of a self-named friendly Bristol-based four-piece pop-punk band Iโ€™ve recently been introduced to; busy guy, I have to tell you about themโ€ฆ..

This band has been together since April and knocked out five singles already. The latest, Lifted is as the same suggests. Itโ€™s feel-good factors and amusing hooks immediately warm to you, but at the same time itโ€™s an intelligently crafted grower, simply infectious! Chandra has put six tracks into an EP, titled Lifted too.

Chandra explained, โ€œI spent a while trying to figure out my sound and what I wanted to write about. So the first few songs are very much me finding my way. Lighters To The Sky was a eureka moment and the song where things suddenly clicked.โ€ You can hear this as this track is on the EP, alongside Pretty, Smile and I’ll Be There, perhaps rawer by nature, prototypes, but this upbeat sound with hints to carefree merriment has been perfected sublimely. Lifted is so commercially viable Iโ€™m going tingly, an elevating and uplifting anthem.

โ€œI spent 2023 releasing singles in order to put a band together because literally nobody was interested in being in an originals band when I first started looking for people,โ€ Chandra told us, so band members are from Bristol, Patchway, Trowbridge and Chandra himself is from Berkeley. โ€œWe’re a bit all over the place but Bristol is our common ground and where we play the most.โ€

Only geographically all over the place, I might add, Chandra sounds polished. We chatted about the desire of local circuit venues wanting cover bands, a frustrating reality for bands trying to produce original material. โ€œBristol is basically a hive of musicians who mostly play for two or three different covers bands,โ€ he expressed, โ€œand that’s fine of course, but playing covers just doesn’t give me that buzz. Originals is a tough slog but I get so much satisfaction  from the reactions. It means a thousand times more to me.โ€

This led me to name-drop Trowbridgeโ€™s Pump as a venue dedicated to original music and also promoting upcoming artists too. As I suspected theyโ€™re on this, and play there on Friday 4th October with Ben Waller & The Tell Tale Signs. Closer by date, they support Laissez Faire at the Thunderbolt this Thursday.ย 

The elevation to the latest single Lifted is bursting with potential, Smile (No Fox Gibbon) marks a milestone, thereโ€™s contemporary pop-punk goodness of Blink 182 or Green Day, yet melded subtly with English charm, whereas Lifted is defined, idiosyncratically melodious and my new favourite thing. Iโ€™m unsure where the final song Overload fits chronologically, but it is a moralistic acoustic chicken nugget, a gorgeous committed sound, displaying a more mellifluous side to Chandra.

The scope here is encouraging, but the compelling steadfast template theyโ€™ve created is simply irresistible already. If Chandra isn’t headlining by autumn I call for a national inquiry into why not!


What else is happening?!

Something went wrong. Please refresh the page and/or try again.

Sing Another Love Song with Rosie Jay

Second impressive single from young Salisbury singer-songwriter Rosie Jay is released today. Sing Another Love Song; a sound of the summerโ€ฆ..

Her debut breakup track I Don’t Give a Damn, had an interesting hook, this has too, but is far more optimistic, and eternally beguiling. It is, technically, the better of the two, revealing a potential for eminence in its confident and outstanding delivery.ย 

If it hints of connotations the infatuation of the theme is one-sided on the part of the author, itโ€™s open-ended for interpretation; maybe the love interest simply doesnโ€™t share their passion for a good love song?! Thatโ€™s their issue! 

For thatโ€™s what this is, breezy and cool, acoustic and pop-folky, with the perfect flowery scent of Kirsty MacColl in both theme, musically and vocally. Such is the magic of local producer Jolyon Dixon, to filter the inner superlative of an upcoming artist and nurture it to the forefront. And in such youโ€™ll hear a similarity with Rosie to his duo Illingworth with John Smith, should youโ€™ve caught them on our live music circuit. Then again, the whole gypsy-esque vibe, there’s hints of Irish, and I’m awarding the Corrs as another comparison; as with MacColl, these are high accolades indeed!

Here this now, itโ€™ll brighten up your day. Yet, gorgeous as this song is, with the blossoming potential it displays, I believe itโ€™ll be rudimentary in a short period of time, and the best of Rosie Jay is yet to come. You need to be here to hear it when it does. 


what else is occurring?!

Clock Radio Turf Out The Maniacs

The first full album by Wiltshireโ€™s finest purveyors of psychedelic indie shenanigans, Clock Radio, was knocked out to an unsuspecting world last week. Itโ€™s calledโ€ฆ

Keep reading

Something went wrong. Please refresh the page and/or try again.

Talk in Code & Laissez Faire at The Southgate, Devizes

Gallivanting through festival season omits crucial visits to my local watering hole; I’ve missed it sooo much, and now feel thoroughly refreshedโ€ฆ with a hint of hangover!

With Ian dispatched on the 49 to My Dadโ€™s Festival in Swindon, and a double-whammy of FullTone and Scooter Rally pending next weekend, leaves me a free Saturday to enjoy a cider or five down my favourestmost tavern The Southgate.

They’ve ciders leftover from Beer Festival for three quid a pint, my favourite poison, and being my favourestmost indie popsters Talk In Code are doing their thang there, it’s a no-brainer; favourites all round.

Hardly been an age since giving Chris, Snedds, Titch, and Jambo some deserved attention on Devizine, being Minety was only a fortnight ago, but they’re a band I never tire of seeing. Plus I was interested to see how this would play out, being while the Gate is renowned for hosting original acts such as Talk in Code will insist on doing, there’s a common epoch to appease the blues aficionados of Devizes, else provide quirky alternatives like folk or jazz. Talk in Code is decidedly matured pop with indie roots, using subtle backing tracks to create ambience, so I worried the unusual fit might fail to create a sensation. I stand corrected and should never have doubted.

Such is their ability and universal appeal, to slot as neatly into something like FullTone and another such different shape like The Southgate. With two forty-five minute sets, a longer shift than usual, Talk in Code decided to warm the crowd by dipping into their more indie-rock back catalogue, and deliver the newer songs of a more eighties pop rock vibe towards the finale. Arguably, this could’ve been reversed as an audience younger than the Southgate regulars attended to begin with,ย  to even out later. On the other hand the later songs infuses the party and rouses the crowd better, so by the beginning of the second half any concerns I might have had were quashed, and Talk in Code brought the house down with a jumping frenzy from a more diverse demographic than usual in the pub.

Such humbling merriment is, after all, what the Southgate vibe has always been about, and achieves as a standard; one damn fine reason among others why it’s my favourite pub.

It’s a world apart from standing on a stage with the audience at some distance away, to cram yourself into the Gate’s legendary alcove and literally have an audience so close to kiss you! It can be daunting, it might expose tricks you can hide on stage, but when played right, it’s the communal relationship creating an atmosphere you cannot attain with an audience standing twenty feet away from the stage. Talk in Code are utterly flexible on this. They need not adapt to suit the surrounding, but rather, what they deliver guarantees to work on any level of location and set.

And the sum of it all did produce another memorable gig at the trusty Southgate. Kicked off with an impressive support set by Bristol indie-rock trio Laissez Faire, a new one to me who could’ve easily taken a headline slot, and regularly does elsewhere. With a harder rock edge than Talk in Code, they had an acute sense of balance in bringing frenzied bridges and even-paced melodies. Their original compositions taking a hint of grunge, were confidently delivered and adroit, with attention to wider appeal than simply thrashing something out, I detected equally proportioned nods to the punker side of eighties mod rock as well, which is always a win for me.

Yet another top night’s entertainment for free, that you’d gladly buy a ticket for, at the dependable Southgate; they never fail to please. Laissez Faire, an introduction to a name to keep a keen eye on, followed by a band we’ve tracked the progress of for many years, and with a building mass of followers dubbed Talkers, on a local level at the very least, provide such a universal sound it’s impossible to ignore their success. Talk in Code by name, but there’s no cryptic mystery as to why they’re one of the very best bands on the circuit.


Six:Teen Edition; Devizes Music Academyโ€™s Historic Pop Blast Showcase!ย ย 

Images Used With Permission of Gail Foster

Last night at Devizes Corn Exchange I, and a packed house, witnessed the retelling of the six wives of Henry VIII, in an unique, contemporary and dazzling way. It was as if Andrew Lloyd Webber was directing Little Mix in a musical of Horrible Historiesโ€ฆ.

Without hindsight I admit, I was apprehensive it would be my cuppa. It was mostly the fact young Jess Self starred in it which drew me to it. Truly a natural born star, I’ve witnessed firsthand the range of dramatics she handles with sublime ease, yet I was concerned her talent may upstage the other students appearing in Devizes Music Academy’s inaugural showcase.

I wasn’t wrong about Jess’s talent, playing the part of Jane Seymour, her solo ballad much in the musical style she’s accustomed brought the house down, but I hadn’t predicted how exceptionally close to that pedestal the other cast members would attain. It was a bonded girl band, to all intents and purposes, akin to the non-uniformed Spice Girls, where each girl’s contrasting characteristics and personalities have the freedom to be played out, but the ingenious part was that both the individuality of each performer, and the characters of the wives of Henry VIII intertwined so wonderfully if the concept is difficult to imagine, it simply worked wonders through their dedication.

Image: Gail Foster

I mean, yeah, Devizes most prestigious stage, the quality of light and sound engineering, and the clever design of the dresses to mesh Tudor styles with contemporary fashion, all benefitted, but the magic truly was in the performance, as they boomed onto the stage brewing with both with the joy of performing and confidence of an established pop band on tour. Backed by the precise choreography of the remaining students, the six wives came out in a force of unison, as did they finalise the show with two additional numbers.

With just enough narrative to inform and not prevent it turning into a full blown play, rather a pastiche of a pop party, they jostled each other for the spotlight with amusing Gen Z banter and staged a song-off battle brimming with historic facts. It was uniquely brilliant.

Image: Gail Foster

Each took a solo pitch in the chronological order of the King’s wives. I tried to keep track of this despite mostly staring out of the classroom window during history lessons! Katherine of Aragon first, played enthusiastically and skilfully with the egotistical diva of Miley Cyrus, by Ruby Phipps, and you’d be forgiven to assume her astute and amusing quips and side-eye glances at the others would be a comical showstopper, much too was the confidence in her vocals.

Amelie Smith as Anne Boleyn followed. A contrasting but equally engaging performance, with the Cockney-pseudo-rap-singing fashion of Kate Nash. It was clear each modern pop sub-genre would be inclusive with each solo, and each performer’s personal attributes would be encased within their characters; the casting was defined with excellence.

Image: Gail Foster

Jane Seymour next, her family-orientated persona perfect for Jess Self to light up the stage with the aforementioned breathtaking musical ballad. Truly a star, but the others, I now know, are too.

It then all went all Europop for Anne of Cleves, adapting her Germanic roots in the House of La Marck as a tekno club intro was a stroke of humorous genius. Played with gusto and inimitable panache, the exceptionally talented Kelsey Husband took no prisoners in a neo-soul blast akin to Missy Elliot come attitude of P!nk in a period drama; wowzers, it was as cool as a cucumber!

Image: Gail Foster

Mia Jepson as Catherine Howard implemented a more punky, indie fusion, as if lead in a Republica style band. The result was spellbinding and contrasting, and performed with confidence, as if singing like a rock legend was child’s play to Mia!

Image: Gail Foster

The final wife Kateryn Parr, played with a certain brilliance by Lisa Grime returned the vibe superbly back to a soulful ballad, and through beautiful vocals the harsh realities of their fates begun to reside over the folly and excitement of fame, exactly the downside of Henry VIII’s wives and contemporary pop stars might equally face. And that was where the unique spin resided. I said from concept to production the idea was a stroke of genius, didn’t I?!

Sure, we’ve seen modern makeovers of biblical or historical stories in musicals, from the Romeo and Juliet adaptation West Side Story to Rice’s Jesus Christ Superstar, but nothing I know of which reflects a Gen Z pop concert to the letter, in so much as it was more a pop concert than play, and this conveyed the preference of the generation, and breathed zest and joy into a head-chopping historic referenced narrative.

Image: Gail Foster

A mahoosive congratulations to director and mentor Jemma Brown, and all the awesome students of Devizes Music Academy. It was absolutely fantastic, enough to take on tour, or perhaps, if you all became presenters of the History Channel, they’d move it to MTV and actually get viewers!!

While thereโ€™s many great local options for schools of performing arts, judged from the quality of this show alone, Devizes Music Academy shows real potential in creating current programs which would really engage the youth of today. 


Trending….

Thieves Debut EP

Adam Woodhouse, Rory Coleman-Smith, Jo Deacon and Matt Hughes, aka Thieves, the wonderful local folk vocal harmony quartet of uplifting bluegrass into country-blues has aโ€ฆ

Never Changing the Rules With Atari Pilot

Swindonโ€™s sonic indie popsters Atari Pilot are a prolific bunch, and have a new single out called The Rules Never Changeโ€ฆ.

And, they donโ€™t. Thereโ€™s a definite uniformed methodology to Atari Pilot which builds with each new single. Yearning vocals, never without a repetitive chorus to hook you, neatly packaged in retrospective new wave electronica. It may not be as commercially viable as, say, Talk in Code, but itโ€™s irresistibly beguiling and universal to be pop you need to hear. 

Love it! I donโ€™t want these rules to change!

LinkTree


Trending……

You; Lucas Hardy Teams With Rosie Jay

One of Salisburyโ€™s most celebrated acoustic folk-rock singer-songwriters Lucas Hardy teams up with the Wiltshire cityโ€™s upcoming talent who’s name is on everyoneโ€™s lips, Rosieโ€ฆ

Bands At The Bridge

Organised by Kingston Media – to raise money for Dorothy House and Wiltshire Air Ambulance – the 3rd of May saw Bands At The Bridgeโ€ฆ

Phil Cooper is Playing Solitaire

Trowbridge singer-songwriter and one third of The Lost Trades, Phil Cooper has actually been doing more than playing solitaire, heโ€™s released a new solo albumโ€ฆ

Something Of Nothing; New Single From Talk in Code

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

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

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

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

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

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

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

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

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

Pre-save it HERE!


Trending…….

No Alarms No Devizes, Aptly in Devizes!

If I’ve been galavanting recently, gorging on other local townโ€™s live music scenes, what better way to return to Devizes than a visit to theโ€ฆ

Wiltshire Music Awards Website Goes Live

Last month we were pleased to announce our involvement with the new Wiltshire Music Awards in conjunction with Wiltshire Events UK, details of which areโ€ฆ

Snakebite Tune From The Dirty Smooth

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

Rub salt into the wound, why donโ€™t you, Dirty Smooth, and put out a buzzing new single?!ย 

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


Trending…..

Soupchick in the Park

And there was me thinking nothing good comes out of a Monday! Today local bistro Soupchick, popular in the Devizesโ€™ Shambles opened their second branch,โ€ฆ

Family Easter Holiday Events

Devizine isn’t only about music and gigs for grownups, y’know? It’s about events for everyone. This Easter we’ve lots of things to do over theโ€ฆ

Full Time for Full-Tone Festival 2023, Hereโ€™s to Next Year!

All images ยฉGail Foster

It may be a wrap for another successful Full-Tone Festival in Devizes this bank holiday weekend, but talking to conductor Anthony Brown, seems like itโ€™s full steam ahead for next year, with a few changes. With such a busy weekend in general, the one possibility I believe we can leak is it may not be on the same date, other than this youโ€™ll have to wait to see!

And it was a busy weekend, alas I didnโ€™t get the full-on Full-Tone experience I shouldโ€™ve done and looking through Gail Fosterโ€™s awesome snaps today I see what I missed, including the wonderful Becky Lawrence who we absolutely love here at Devizine Towers. Fortunately, we do have some coverage, as our equally wonderful writer Helen Edwards dropped in on the Saturday, and then I made haste for the Green on Sunday, as soon as I washed the dishes, as is my part of the bargain with the very patient and understanding Mrs Devizineโ€ฆโ€ฆ

Becky Lawrence ยฉGail Foster

Full-Tone Festival: Saturday: Helen Edwards

Day one at the festival was fantastic. When I arrived the magnificent Full-Tone Orchestra was in full swing with Jemma Brown (one of the key organisers of the festival) at the microphone – and what an incredible voice she has!

ยฉGail Foster

The vibes were chilled, and family focused, the food and drink options were varied and reasonably priced and the tunes were banging.  Perhaps thatโ€™s the wrong word for the earlier afternoon classical proms and TV & movie music but by the end of the evening the dance anthems were pumping out. The crowd in front of the huge Glastonbury-esque stage was thronging, glow sticks in hand with face glitter and fairy-light flower headbands adorned. Those festival goers not dancing were sat in their camping chairs chilling with mates or queuing for food, all bopping their heads to the music. All except those of school age. They were hanging with their friends, the older ones walking laps around the site enjoying the freedom and festival atmosphere.

I left before the end and saw that the entertainment and enjoyment on The Green had spread past the impenetrable, black sheeted fencing. There were many set up on the opposite side of the road with their blankets laid and tents erected enjoying the music from afar.

Pete Lamb’s Heartbeats @ Fulltone Festival 2023 – Day One ยฉGail Foster

I got talking to people in the food and drinks queues to ask their thoughts about Devizesโ€™ only two-day bank holiday festival.  I spoke to a couple who live locally and, also, a few who had travelled from neighbouring Calne, Trowbridge and Westbury to attend. Hereโ€™s a few of their comments:

โ€˜I donโ€™t enjoy the bigger festivals; thereโ€™s too many people and I feel overwhelmed. This is my second year here.  Itโ€™s got such a safe atmosphere and amazing and varied musicโ€™.

โ€˜Itโ€™s brilliant! I canโ€™t wait to get to the front and dance!โ€™

โ€˜Itโ€™s such a welcoming festival, everyoneโ€™s so friendly.โ€™

Fulltone Festival 2023 – Day One ยฉGail Foster

The sound engineers got the balance spot on; the orchestra was majestic throughout, yet the singersโ€™ voices were clear (and brilliant). If youโ€™ve never heard a 50-piece orchestra playing modern music from the movies and TV through to dance anthems, then youโ€™ve got to get to get yourself a ticket to Full-Toneโ€™s next festival.

The people who put their efforts and passion into its success have given Devizes an annual festival to be proud of. Itโ€™s become an event that brings our community together, gives a phenomenal orchestral experience and makes the โ€˜what to do over bank holidayโ€™ decision even harder!

The sound is unforgettable, the vibes are perfectly chilled and itโ€™s a great value for money weekend.

Fulltone Festival 2023 – Day One ยฉGail Foster

Full-Tone Festival: Sunday: Darren Worrow

Day two of the Full-Tone Festival here in Devizes, and I’m afraid they’ve got me rocking up this time around, the big bad editor to cast my beady eye on matters; itโ€™s Sunday and Iโ€™m grouchy, God dammit!

Allow me thus, to summarise the magic with a story, as I annoyingly tend to do (what? Itโ€™s an age thing, you donโ€™t gotta read it!) An anecdote which sees me front and centre absorbing those overwhelming acoustics, bumping into a friend Georgie Devon, who was looking stunning in black dress and glitter, causing me to wonder if she was up there singing on that magnificent stage, and I was right, she was, but I had no idea she could sing!

Fulltone Festival 2023 Day Two ยฉGail Foster

For Chris, Snedds, Titch and Jambo, aka the southwest’s champion indie-pop band, Talk in Code, they’ve arrived semi-fresh from the Victorious festival in Southsea, they’re no stranger to a stage, and naturally, they rocked it. For a smidgen over half-hour, they stole the stage, wowing an audience perhaps unaccustomed to festivals, least hoping for classic singalong covers, with their irresistible originals. Talk in Code donโ€™t do covers, they’re an originals band, but both their catchy songs and energetic stage presence holds said audience spellbound, as if they got what they wanted. What Iโ€™m suggesting is you might well be induced into some John Hughes eighties soundtrack, for Talk in Code rinse in the retrospective charm of the era so much I find I liken them to bands like Simple Minds, rather than something contemporary.

Talk in Code @ Fulltone Festival 2023 Day Two ยฉGail Foster

Apt then, for them to be placed prior to a set by the orchestra and guest singers of eighties classic pop, which was both โ€œradโ€ and โ€œwicked,โ€ in the eighties slang meanings of the words! Unlike you lucky lot, I had to work this morning, and had Heartโ€™s Alone, perpetually looped in my head, a particularly adroitly performed cover amidst the many wonderful renditions of a very best of Now, Thatโ€™s why I Call Music compilation; utterly brilliant, Full-Tone. I loved that song, and all the big-haired soft rock chicks; how would Heart get me alone? Well, they only had to ask!

Fulltone Festival 2023 Day Two ยฉGail Foster

Back to knowing those Talk in Code guys to seal my overall angle on this piece. It was a no-brainer their set would be this electric, but for the occasional and amateur singers, such as Georgie, the opportunity to deliver a song here on this now iconic stage for the town, amidst a full orchestra, is golden, not to mention the cherry on the cake as to why Full-Tone is so Devizes, and so magical.

Even when star in the making, Jess Self, gets up there, the thrill on her face says what I’m trying to convey, and this young star is accustomed to the stage. The ensemble of these musicians and performers is a monumental occasion for our humble market town. For those not from Devizes, or who hasnโ€™t been to a Full-Tone, imagine, if you will, The Proms, mix it with Pete Tongโ€™s Heritage Orchestra, add a spice of community festival, and stir in a pot of village fete.

Jess Self @ Fulltone Festival 2023 Day Two ยฉGail Foster

Then some keyboard warrior goes on Facebook clutching at straws to find any minor issues to whinge about the event. โ€œThe least the orchestra could have done was to prevent the rain and stop the traffic,โ€ I joked with chief organiser Jemma Brown, as the rant included the grass was wet and there was noise from the road!

The Full-Tone Orchestra can musically pull a rabbit from a hat, but they’re not gods! Just a collection of talented individuals, a majority of which are local, and the coming together on this scale, the logistics in organising it, the opportunities it provides, the attention to detail, from first aid to side stalls and from portaloos to one man standing conducting a variety packed programme for a full weekend is bonkers amazeballs, and to nitpick unavoidable paltry I can only imagine is based on pathetic jealousy.

โ€œHere’s a man who needs his bed!โ€ I guesstimated to conductor Anthony Brown as he approached to greet me. I had one question for him, as we stood next to this impressive stage surrounded by a mass of crowds clearly enjoying themselves without an inkling or care of online rants. The stage has become iconic, the event has become ingrained in just a few short years in our town’s culture, as I predicted after the inaugural one. The million-dollar question for him; where do you take this next?

Fulltone Festival 2023 Day Two ยฉGail Foster

Anthony elucidated it would continue annually but was keen to express there would be some changes. Yet what is important right now, Full-Tone this year was an extension of its previous success rate, it was spectacular on a level apt for a mass audience to enjoy and was a cherry on top of the cake already baked through previous years.

Unlike DOCA events it gets no arts grant, so it must put a price on it, and as we said prior, comparatively it’s reasonable. It is what it is, and I’m not going to suggest it’s everyone’s cuppa, even, but plonk yourself in the middle of it, witness those having fun or stand in awe of the talent and the acoustics they breath into it, and you cannot put a justified complaint in, impossible! Full-Tone works, and Full-Tone is enjoyed by the masses, masses which wouldn’t usually consider an orchestral occasion or festival, for this it is magical, and as Anthony hinted, here to stay; wonderful.

Fulltone Festival 2023 Day Two ยฉGail Foster

Trending…..

Situationships With Chloe Hepburn

A second single from Swindon Diva Chloe Hepburn, Situationships was released this week. With a deep rolling bassline, finger-click rhythm and silky soulful vocals, thisโ€ฆ

Devizes to Host New County-Wide Music Awards

I’m delighted to announce Devizine will be actively assisting to organise a new county-wide music awards administration, in conjunction with Wiltshire Music Events UK. Theโ€ฆ

Ruby, Sunday at the Gate

It’s a rarity that I should drag myself off the sofa on a Sunday these days, one usually reserved for the monthly Jon Amor Trioโ€ฆ

Simply the Best, CrownFest!

If last year I trundled off the 49 at Bishops Cannings in a blazing heatwave alone, this time things were different; the bus was heaving with revellers, mostly unprepared for the torrential rain forecast, enough to warrant me query out loud if anyone onboard wasnโ€™t going to CrownFest, and if not, did they have a pac-a-mac I could borrow?!

Attendance figures made for a vast improvement to last yearโ€™s inaugural festival at this wonderful village watering hole, which although was a thoroughly smashing occasion, due to a date clash with Devizes carnival could have been better attended. In fact, the unavoidably unpredictable British summer time climate could possibly be my only whinge this time around, as the rationale maintained “might as well make the most of it,โ€ rang through the beer garden of the Crown, and everyone, it seemed, had a fantastic time.

And to add importantly, downpours were sporadic and at better times the sun poked his head around the gloomy clouds to say hi. Dapper in country attire, Capโ€™n Rastyโ€™s Skiffle City Rockers were already underway, with highly entertaining skiffle variations of classic pop covers, a few traditional folk singalongs thrown in for authenticity. New to me this one, they were utterly proficient with an air of timeless cool.

Nonchalant was the vibe in general, though, in the face of adversity; a possible landslide to the next village, or trench-foot at the very least. Lesser in sidestalls, perhaps due to the forecast, the arrangement of tables and chairs which last year caused an elongated divide between the stage and bar had been realigned and by design everything was tickety-boo.

But it has to be awarded, the medal of honour for service and total dedication to the cause, to all the young staff at the Crown who worked tirelessly under mounting pressure to serve everyone their poison and tucker with a smile. Basically, gen z staff retained decorum, ironed every trivial issue, and restlessly served their elders, generation x, who generally fell drunkenly into marshland and partied like they were sixteen again and never saw Abba or Tina Turner!

And for want of a better nutshell there it is. Anyone there, lucky enough to have seen the originals of any of these triple billed tribute acts in their prime, would’ve been in the minority, for all intents and purposes, I couldn’t pick a more skilled one between them. This retrospective appeal is why tribute acts are a welcomed trend, and after every new one I witness I’m convinced of their worth and place in live entertainment that bit more.

If three succeeding tributes was a good move by music organiser Tunnel Rat Studio’s Eddie Prestidge, I call allowing all acts an extended ninety minute set a risk which also paid off. Band changes were fewer and swiftly operated; birthday boy Fantasy Radio DJ Marc Anthony was there anyway.

Personal favourite goes without saying, taking the finale, The Marley Experience was everything I could have wanted and more, truly a dedicated and precise homage to Bob Marley and the Wailers of the highest quality and sublimely executed entertainment. They marched through the classic discography, and saved time for a few lesser known tracks, like Soul Rebel. I know my reggae, and this was irie dread-I to the highest heights.

On the other hand, despite Abba not being my cuppa, I was converted by the Abba All Stars even in the most torrential section of the day; imagining how beguiling the Swedish innovators of pop would have been in their heyday was made easy with these confident young band looking and sounding every bit the partโ€ฆWaterloo, or portaloo, it didn’t matter now, we were soaked to the skin, and we didn’t care, and this was mostly thankful to the Abba All Stars. Quote me on this at your own risk, as it’s something I’d never thought I’d say; “I loved this Abba tribute!”

Nestled between though was my most negative preconception, having seen in the past the kind of Tina Turner tribute to put you off of Tina Turner tributes for life, and forgoing the wealth and power of a voice like Tina’s is near impossible to effectively pull off, but Kinisha Morgan-Williams did, with bells on. The Tina Turner tribute known as Simply the Best was indeed as advertised. It was nothing short of phenomenally accurate, even on those soulful ballads, Kinisha absolutely rinsed it and wowed the crowd. Particularly memorable was Kinisha’s Nutbush duet with Eddy Armani; what a dynamic show blessed in realism and excitement.

But, simply the best part of CrownFest was this insatiably friendly festive vibe with an air of enthusiasm and unification from staff, volunteers, punters to performers there was the underlying notion this is the start of an annual landmark in local feelgood festivals in which the villagers welcome revellers and assign themselves to good times. After the success of this weekend, we hope CrownFest will continue; you should consider yourself extremely unfortunate if you miss next year’s.

The sum of all these parts meant CrownFest was nothing short of the kind of superb spirit drizzle couldn’t dampen. Though if locally sourced acts were shorter in billing, those Junkyard Dogs can bark up enough wattage for three bands, with their irresistible electric blues covers. Oh yes, the Dogs did their thing and rocked the show prior to this plethora of tributes and is always an unmissable hoedown. Leon Daye Band unfortunately I arrived too late for, could still taste the toothpaste, soz.

Time to summarise, if I have to accept it’s all over for another year. On our doorstep, a small pub-run festival only in its second year which packs far more punch than this definition, and far beyond the average of its kind. We could debate musically it’s geared towards generation x, against the notion the eighties produced timeless acts legendarily to all, but as, proudly, I’m of that era, CrownFest 2023 was an awesome all-rounder, with or without an umbrella.


Trending…..

๐€ ๐๐ข๐ ๐ก๐ญ ๐จ๐Ÿ ๐Œ๐ฎ๐ฌ๐ข๐œ ๐š๐ง๐ ๐Œ๐ž๐š๐ง๐ข๐ง๐ : ๐…๐ฎ๐ฅ๐ฅ๐ญ๐จ๐ง๐ž ๐Ž๐ซ๐œ๐ก๐ž๐ฌ๐ญ๐ซ๐š ๐š๐ญ ๐“๐ž๐ฐ๐ค๐ž๐ฌ๐›๐ฎ๐ซ๐ฒ ๐€๐›๐›๐ž๐ฒ

Review by Pip Aldridge Last week, I had the privilege of seeing the Fulltone Orchestra perform at the beautiful Tewkesbury Abbey beneath the Peace Dovesโ€ฆ

Hells Bells! AC/DC tribute in Devizes

With our roads being the state theyโ€™re in, is it any wonder on the 5th April Hells Bells, rated as the UKโ€™s top AC/DC tribute,โ€ฆ

Cracked Machine at The Southgate

If many space-rock acts have more band member changes than most other musicians change their socks, Hawkwind are the exemplar of the tendency. There mightโ€ฆ

Geckoโ€™s Big Picture

In 1998 a pair of pigs escaped while being unloaded off a lorry at an abattoir in Malmesbury and were on the run for aโ€ฆ

Park Farm; New Music Festival in Devizes

A new music festival is coming to Devizes this July. Organisers of the long-running Marlborough based festival MantonFest are shifting west across the downs andโ€ฆ

We’ve Found You, Danni W!

Right you lot, listen up; I’m fully aware this debut album, Lost to be Found, from Swindon’s Danni W has been out, what, a fortnight nearly now? Reason why I’ve not mentioned it prior, aside from being a busy boy, is I had to listen to it a few times because it’s undoubtedly feelgood pop and best defined as a “growerโ€ฆ..”

Meaning that, as all the best pop does, it becomes more appealing the more you listen. This is why commercial radio stations are passed dollar by record companies to keep the same current tunes on a loop until you’re forced to like them, otherwise you run the risk of spontaneous human combustion!

Though, while this album justifies why Danni should be on said loop, she really doesn’t need her songs to forcibly thrust down your throat; you should like this because there’s nothing to dislike about it.

Another valid reason why I’ve avoided its appraisal until now, and perhaps also why it’s uniquely beguiling is twofold. Firstly, unusually for pop it’s incomparable. Every wannabe pop star cites a major influence and strives to sound akin, but while I’m sure Danni has hers, I’m unable to pinpoint a definite phrase like Swindon’s answer to Whitney, or Kylie or Janet, or anyone really. It is, Danni and solely one of a kind. My only hope here is one day not too far away I’ll review someone else with the line, so-and-so’s answer to Danni W!

If I had to cite a clear influence it might well vocally be Maria Carey, though this could stem from how I came to discover Danni when she sent a Christmas song, All I Dream Of, for our christmassy podcast. My notion of the โ€œgrowerโ€ idea certainly weighed in with this one. I was hooked after a few listens; there was something strictly All I Want For Christmas about it …but away with this yule talk, itโ€™s summer and I donโ€™t wish to mention the C word again!  

Second reason is the sheer joy in her voice, confident in the spotlight but with a genuine enthusiasm you simply cannot fake. Her music sounds mainstream but is impossible also to slot into an era, timeless pop which will enthuse all ages, without the need, if feels, to go with the status quo and add trending riffs or retrospective gimmicks. It proficiently rides a generalised sound, and Danni laps up every second of it.

No spoilers here today, but at times Danni handles some tough subject matter too, topics not usually covered in pop, much less with the clarity and precision here. To start with, the opener, If I Tell You Truth, has a blues edge with an easy listening rolling piano riff akin to the crooners of the fifties, but as with all tunes on offer here, thereโ€™s freshness about this sound which delights.

With a guise of Paula Abdul eighties pop, the second tune bounces on a financially hard times theme, the third similarly but with a โ€œfinding yourselfโ€ concept. Yet by the fourth tune in, one which is reflected in an enchanting piano ballad of lesser tempo, Who Am I, you know you’re in good hands, and this one is sublimely executed leaving you dripping for more from these wonderful three minute heroes.

Back to the upbeat, Ignorance is Bliss is where we find the unusual content in contemporary pop, a political-social commentary wrapped in an almighty crashing and building pop tune, this works possibly the best tune for the balance between upbeat pop and these lounge jazz blues ballads. Tricky subject matter seems to build from here, social media and digital romance and fears of being the odd one out get Danniโ€™s makeover, melancholy apologetic notes over a piano lounge jazz ballad, followed by a confidence builder and I find myself contemplating Gabrielle as a new influence to possibly cite, but maybe I should have just asked Danni rather than clutching at straws, because her sound is stylised and distinctive.

It ends kind of like our Christmas number, bouncy and jolly, an overall take on the whole album, even if the subject sometimes isnโ€™t. Though this one is on impending love, and well, that could go either way! One thing is for sure, Danni W has put a lot of work into this, it shows, and sheโ€™s seemingly lapping up every minute of it. That joy is felt across this universally-appealing album, and damn, if it doesnโ€™t rub off on you equally to the beguiling nature of the sound too!

If you were ever lost, as your album title suggests, Danni W, I, for one, am glad I found you!

LinkTree to Danni W


Trending….

Results of Salisbury Music Awards

All images: ยฉ๏ธ JS Terry Photography An awards ceremony to celebrate the outstanding musical talent within the city, aptly titled The 2024 Salisbury Music Awards,โ€ฆ

Static Moves at The Three Crowns Devizes

Bussing into Devizes Saturday evening, a gaggle (I believe is the appropriate collective noun) of twenty-something girls from Bath already on-board, disembark at The Marketโ€ฆ

Nothing Rhymes With Orange have Butterflies

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

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

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

Nothing Rhymes With Orange Image: Gail Foster

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

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

Nothing Rhymes With Orange. Image: Gail Foster

Trending…..

The Emporium in Devizes to Close

If Devizes boasts an abundance of independent gift shops of unique and exquisite or often novelty items in the face of a national pandemic ofโ€ฆ

Mental Rot; New I See Orange Single

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

RowdeFest 2025!

Okay, I canโ€™t keep the secret any longer or Iโ€™ll pop! While all the hard work is being organised by a lovely committee, because theyโ€ฆ

Female of the Species Announce 2023 Date!

For eight years on the trot, minus the lockdown year no one needs reminding of, local all-female supergroup, The Female of the Species have performed a one-off gig raising funds for various local charities; 2023 is no different as they announce this year’s will be on 21st October at Seend Community Hallโ€ฆ.

It’s an amalgamation made in heaven. Five frontwomen of various local bands join in celebration, which is the sum of all their individual talent and a whole lot more. Nicky Davis from People Like Us and The Reason, Julia Greenland from Soulville Express & Delta Swing, Claire Perry from Big Mamma’s Banned & The Misfitz, Charmaigne Andrews from Siren, and Julie Moreton from Train to Skaville and Jules & The Odd Men make the line up, and if you’ve seen these any of these girls in action solo or with their own bands, you’ll know they’re all 100% dynamite; imagine this times five, forget the maths, the result is greater than 500%, an atomic detonation of wonderful!

I’ll see your examples of legends upstaging each other when on the same stage at the same time, as it’s fair to wonder how on earth something so right like Mike Jagger and David Bowie recording Dancing in the Street could’ve gone so utterly wrong, but raise you my assurance this is not the same ballpark here. The girls of Female of the Species work together in unison, back each other’s solos with such gusto, skill and friendship, it’s a sight to behold.

From Teen Talk to Young Melksham, and even once for Carmelaโ€™s Fight Against Muscular Dystrophy, Female of the Species must have raised tens of thousands of pounds by now, and received a civic award three years ago. Last year was a Halloween theme, this time the girls cover “the MTV years.” And will raise funds for Alzheimers Support.

I mean, yeah, it’s an assortment of sing-a-long covers, but with the adjoining of so much talent, it’s the unmissable cover show bursting with energy and fun you must see for yourself; the likes you only know if you know. Because of this ever growing need to know basis, it will sell out super fast, so….

Tickets are HERE.

The  Female of the Species throw absolutely everything they have at this annual event. With great support acts and on stage banter, it’s something to behold. Here at Devizine we congratulate and thank the girls and all involved in this annual event which has become as special on our local event calendar as Christmas day!


Trending…..

Events This Weekend; January Into February!

If weโ€™re nearly out of the prolonged gloom of January, note itโ€™s still winter but weโ€™ve climatised and are ready to party. February this yearโ€ฆ

Song of the Week: Talk in Code

You canโ€™t stay on the sunny side of the street; youโ€™ve got to cross over at some point. But if the blurb Iโ€™m sent for Talk in Codeโ€™s latest single Hindsight suggests theyโ€™re showing โ€œa darker side,โ€ donโ€™t run off with the notion theyโ€™ve come over all Radiohead.….

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

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

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

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


Trending….

Live at Esquires: Belated Christmas Pressie from Gaz Brookfield

Featured Photo credit: Jus Carroll

Itโ€™s been far too long since Bristol-based singer-songwriter Gaz Brookfield has had a mention on our pages, so hereโ€™s a belated Christmas present from this amazing performer, a name-your-price download of a live album youโ€™ll be sorry to have missed out on otherwise.

Of course, I only say belated because Iโ€™ve failed to mention it between munching on Quality Street until only toffee pennies and empty wrappers remain, and putting batteries in things, for Gaz released this Christmas Eve. Itโ€™s recorded live at Esquires in Bedford, back in November as part of a tour whereby his Patreon page members chose the setlist. So, expect a mixture of the best songs old and new, but be safe in the knowledge theyโ€™re accomplished acoustically. Without backing from The Company of Thieves, here is Gaz, warts, and all, as he apologises for a sore throat but, as you could imagine if youโ€™ve seen this character before, still manages to pull a blinder.

I honestly didnโ€™t expect to pick up on tracks Iโ€™d recall, but was reminded of one particularly adroitly written chef-d’oeuvre, The Tale of Gunner Haines, a true story of a solider assigned to Somersetโ€™s Brean Down Fort, who was reprimanded for reporting in late from an unauthorised leave, due to a flat tyre on his bicycle, and promptly took 5,000 lbs of gunpowder and blew himself and the barracks to smithereens.

If this comes across rather Ralph McTell or Eric Bogle, historical narratives are a scarcity in Gazโ€™s repertoire, rather drawing influences from everyday observations and personal reflections. And to argue these subjects are clichรฉ, Iโ€™d nod, but allow me thus, Gaz does it so incredibly well, the thoughts and observations of many others pale by comparison. So, as every good live album should, thereโ€™s abridged chat, confidently amusing and relative, and then thereโ€™s these ingenious prose pieces of aging and his youth, of medical issues, his affection for the ordinary from maps to gardening, and much to deliberate on the matter of being a musician on the road, self-deemed a “land pirate,” and particularly amusing when character assassinating drunks at his gigs.

Within it, Gaz states he follows a serious song with a โ€œsillyโ€ one, but the lines between sentimental and amusing are blurred, you take what you want from each, for if a good sign for the performer who uses the tenet of personal reflection as topic is that you come away from listening thinking you know the person, Gaz will seem like your best mate. This open fellow is a lively Billy Bragg at his peak, a West Country Springsteen of storytelling, with the carefree attitude to pigeonholing of James Taylor and the coolness of Leonard Cohen. The sum of these parts is a highly entertaining show.

If this live recording shouldnโ€™t be treated as comprehensive, but a teaser for you to explore more of his discography, I guarantee youโ€™ll come away from it wanting more.


Trending…

Discovering Swindon Story Shed

With Dad’s taxi on call in Swindon and a few hours to kill whilst her majesty is at the flicks, it was fortunate local authorโ€ฆ

The Rise of Winter Festivals

Once upon a time it seemed to me, that folk would grin and bear the winter weather for the sake of a Christmas lights switchingโ€ฆ

In Retrospect With Gary Martian

So yeah, not only has Cracked Machine and Clock Radio drummer Gary Martin added a letter A to his name to make it sound moreโ€ฆ

Illingworth Celebrate Their 100th Gig!

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

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

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

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

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

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

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

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

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


Talk in Code: The Big Screen

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

January 2019, and I find myself making several eighties cultural references in reviewing Resolve, the debut album by Wiltshireโ€™s own Talk in Code. A band which turned my aged preconceptions of the โ€œindieโ€ pigeonhole on its head.

For me, wedged in the nineties, imaginings of that somewhat depressing outlook of the riot-grrrl, the post-gothic period of indie my rave fixation required an abhorrence of by default. Though it was hardly mods and rockers in that era, as in we didnโ€™t fight, โ€œraversโ€ and โ€œindie kidsโ€ simply didnโ€™t recognise each other until the remerging of the crossover, through the likes of the Chemical Brothers and Prodigy, yet, reflecting, it was always there with Madchester and the progressive Primal Screamโ€™s Screamadelica.

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

The point is, Talk in Code build on this ethos, their sound ever strives towards it, ergo, everything after Resolve increasingly adds to this method, of its standout single Oxygen and its gorgeous dreamy emotions akin to a John Hughes soundtrack, and gradually onward. Yet somehow this panache isnโ€™t regressive, forgive the eighties references, itโ€™s retaining freshness in the contemporary, just allowing a serious nod toward early to mid-eighties feelgood pop.

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

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

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

One of my personal favs follows, Talk Like That, came out back in January 2020, of which I suggested would โ€œblow your diddy-boppers off!โ€ Track four is Hindsight, an album track, perhaps, least one I havenโ€™t heard of, but again, listening to it everything just falling so neatly into place. Talk in Code are so stylised, this flows as an album rather than a collection of singles, and nothing here will disappoint.

April 2020โ€™s single Courage (Leave it Behind) is followed by a cooling new song, Someone Elseโ€™s Shoes, which takes on the Wham boys at their earlier best. This is a drifter, but yeah, I said Wham, I donโ€™t know about you, but it got me reminiscing the greatness of Everything She Wants, a hidden gem of their discography often obscured by later hits.

But Save It returns to paced euphoric, and one canโ€™t go wrong towards the finale, as the last three tracks are recently celebrated singles. The Molly Ringwald moment of Young Loves Dream, autumn during lockdownโ€™s neon song Secret and ending on the summery Taste the Sun, dripping in fun, and sunshineโ€ฆ. club tropicanaโ€™s drinks are free, yโ€™ know? And in that, a certain moreish finesse weโ€™ve come to accept as standard from Talk in Code shines on.

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

Get the album here, s’ only seven quid.


Trending….

Christmas Greetings From Devizine!

Here’s our Christmas video Greeting, ho-ho-ho! Filmed on location at DOCA Winter Festival, Devizes, 2024 by Jess Worrow. Merry Christmas everyone!

Opera Meets House at Devizes Full Tone Festival

Featured image above by Gail Foster

It has been undeniably a variety music show at the Full Tone Festival this bank holiday weekend on the Green in Devizes, of tremendous proportions and matchless quality.

The stage I’ve previous dubbed “like something out of the Jetsons,” was once again erected, deckchair city assembled around it, with a bustling collection of food and drinks stalls beyond, and the sun with his hat on, shining down on all the shiny happy people.

It is a remarkable achievement and something to be truly proud of, to have here in our humble market town. The Full-Tone Orchestra taking their show to prestigious venues like Bath Abbey and Marlborough College, returned home, looking even more professional than ever. Conductor Anthony Brown waving his hands around like manual control of the world’s air traffic; it was, in a word, magical.

Highlights came thick and fast, Dominic Irving thrilled, heading a Tchaikovsky concerto on piano, for an opening of obligatory classical elements. The stage emptied as Will Foulstone took control of the keys, solo. Full Tone platforms young talent, like TikTok trumpeter Oli Parker, on Sunday, to an audience majority unlikely to know what TikTok is. Similarly, Will performed some videogame themes among Coldplay and contemporary pop, which is better in reality than it sounds to my generation bought up on ZX Spectrums or Mega Drives!

Will’s finale was an astounding cover of Elton John’s I’m Still Standing, and the orchestra realigned for a concentration of movie scores, largely dependent on the western themes of the late Ennio Morricone; liked this.

Then, BBC Introducing DJ skateboarder, James Threlfall took to digital wheels of steel and blasted the zone, and across the road to the chippy, with a set of contemporary and commercial high-energy house; lights came on blazing like the Green was the Ministry of Sound. Here is where I need to revert to my reviewing template, which resides on two major contributories. One is, did the event appease me personally, the second, more importantly is, did it do what it said “on the tin,” i.e., was it everything it posed to be. For the latter, the Full Tone Festival 2022 hit top marks, without a doubt. I watched the joy on hundreds of faces, as they danced the night away to James and the following Full-Tone Orchestra set of “nineties smash hits.”

The grand finale of Saturday night was certainly intrenched with nostalgia, perfected by an orchestra where no penny was left unexpended, no rehearsal was spent playing tiddlywinks, where the professionalism is first rate and the atmosphere was nothing short of sublime. The Full-Tone Festival was superb last year, this time around comes the typical stigma of a sequel, the โ€œhow can we ever top that” enquiry, and I’ve a duty to be honest, based upon the imperative Saturday evening, I’m not completely certain they did, on personal reflection, you understand?

Image: Gail Foster

Song choice at this conjunction was the only thing which let it down, for me. Started off okay, the Britpop beginning I can tolerate, but as it progressed to the pop hits of S Club 7, Britney Spears and Cher’s I Believe, et al, these, for me, were the excruciating pop slush of a generation below; I detested them at the time, and retain said detestation.

It was a far cry from the club anthems of last year’s, because that’s the point where creatively, electronic music technology truly challenged the orchestra. But, sigh, it’s all subjective, I told you about the hundreds of faces, didnโ€™t I? They matter, it did what it said on the tin, with high gloss, it just wasn’t my cuppa.

Image: Gail Foster

I’m sorry I couldn’t make it to Sunday’s extension, we don’t all have bank holidays y’ know? But I can rest assured with the years of rock n roll experience of Pete Lamb’s Heartbeats, Kirsty Clinch’s angelic country vocals, and the fact Jonathan Antoine has been done BGT, it’d have been alright on the night.

Image: Gail Foster

Feedback on the orchestra’s big band showcase has been fantastic, with particular praise of vocalist Will Sexton. On opera, spellbinding local soprano who could turn even me to opera, Chloe Jordan, said, “it was my dream to sing ‘Song to the Moon ‘Resulka with an orchestra. Thank you so much to The Full Tone Orchestra for allowing that dream to come true!” And that, in a nutshell, is the kingpin to assessing this spectacular; if dreams come true there, you can’t argue how special an occasion it was.

Image: Gail Foster

Though the headcount was slightly lesser-so than last year’s, trouble to many events this, as a sad reflection on economic issues, here’s hoping this awesome weekend on the Green will be enough to convince Full Tone to make this a permanent fixture on our event calendar. Devizes loves you Full Tone, that much is certain.


Trending….

Chapters, New Single From Kirsty Clinch

Okay, so, Iโ€™m aย  little behind, recently opting to perfect my couch potato posture and consider hibernation, meaning Iโ€™ve not yet mentioned Kirsty Clinchโ€™s newโ€ฆ

Devizes Writers Group Win Silver Award

Congratulations to Rosalind Ambler and Paul Snook from Devizes Writers Group… At the National Community Radio Awards held in Cardiff on 16th November Together!, theโ€ฆ

Richie Triangle; Imposter Syndrome

Coming around to Devizineโ€™s fifth birthday has got me reminiscing on how all this started in the first place, who is really to blame?! It wasnโ€™t Richie Triangleโ€™s fault, really, for he cannot help who comes to see him play, but as for our mainstay support of local live music, a hefty portion transpired from a rare occasion the better half and I dropped into the Black Swan and was surprised and blown away to hear some live music in town, this good.

Here’s the thing, there is and always was a lively music scene in Devizes, I know this now, but I went from the raver-clubber into parenthood and neither of them warrant the angle to have gone searching for a band in a pub, not that it was something I disliked, far from it. At the time my local rant column for Index;Wiltshire was becoming tiresome and heavily edited, it was time to spin it around, reflect on what was good about living in Devizes. Richie Triangleโ€™s residency at the Black Swan was the catalyst, and I ventured off to find Tamsin Quin, and the rest erupted from there.

Times move on, landlords of pubs do, and so did Richie, now residing on the Kent coast, yet, I still think we owe it to him to mention his latest album, Imposter Syndrome, released this week. Itโ€™s a far cry from the acoustic young man belting out Irish folk songs and pop covers in the same format. Richie is a force to be reckoned with, an intricately weaver of wordplay and original compositions, and if David Gray coined the term folktronica, Richie has epitomised it.

Here’s your for instance; twelve songs blending acoustic goodness into pop, with echo-delays of dub, an acapella intro with oddities of voice synthesisers, followed by The Tide, a modish-come-country angle, much in the flavour Elvis Costello, or what Jon Amor achieved with Red Telephone. From there thereโ€™s really no pigeonholing, Trying to Get Home rolls with a slither of old eighties soul-disco, and Richieโ€™s not afraid to add a rap.

It gets a deeper melting pot track by track, Hope in your Eyes, definitely electric blues rock, while Sign of Times, hints of electronica of yore. From there oneโ€™s ear settles on this wavering style, but thereโ€™s surprises again towards the ends, nothing is off the cards as folky goes rap and a non-compliance theme and jazzy piano bridge. Itโ€™s systematic, purposely blending and experimental, the finale characteristic of Adrian Sherwoodโ€™s On U Sound, who while Iโ€™m unsure if this is produced by them, Richie has worked with them in the past.

All I do know is, even if you recall attending Richieโ€™s regular gigs at the Black Swan as he camped out the back of the Devizes pub, or not, hereโ€™s a upcoming marvel, who once graced our town with his presence, and proved himself as a inimitable talent then, this album is a pleasure to listen to; itโ€™s long overdue you checked in on him again.


Trending…..

Hansel & Gretel: Panto at the Wharf!

Images: Chris Watkins Media It was lovely to spend Sunday afternoon at Devizesโ€™ Wharf Theatre, to see how this yearโ€™s pantomime Hansel & Gretel, isโ€ฆ

No Worries; Worried Men at The Pump

Long overdue a visit to the Pump in Trowbridge, Jamie Thyer, frontman of the Worried Men twisted my arm Friday night and there I was,โ€ฆ

Ian Siegal at Long Street Blues Club

Devizes is often spoiled for choice when it comes to live music. Swindon folk ensemble SGO at the Gate would’ve been an excellent decision forโ€ฆ

Wiltshire Music Centre Announces New Joint Leadership

Wiltshire Music Centre is delighted to announce the new appointments ofย Danielย Clark as Artistic Director, andย Sarahย Robertson as Executive Director.ย Danielย andย Sarahย join Wiltshire Music Centre in a new co-leadershipโ€ฆ

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

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

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

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

Image: Helen’s PolarPix

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

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

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

Tickets are just ยฃ6.00 in advance from https://www.seetickets.com/event/talk-in-code-riviera-arcade-tom-moore/the-vic/2319587 Listen to Talk In Code here.

Ah, my road trip with Talk in Code!

Trending….

What’s Happening During November in Devizes?

Remember, remember, weโ€™re moving into November; leaves, loads of โ€˜em! Being as we are no longer doing weekly roundups, hereโ€™s some highlights of events inโ€ฆ

YEA Devizes: DOCA New Youth Project

Devizes Outdoor Celebratory Arts announced their upcoming project, YEA Devizes today. Made possible by a grant from National Grid Electricity Transmissionโ€™s Community Grant Programme, theโ€ฆ

Thoughts About George Ezra at Trowbridgeโ€™s Civic

Yes, I did, thank you; and what a brilliant show it was last night when George Ezra came to Trowbridge!

Consider the punks, who spat at conformity, consumerism and societyโ€™s esteem of pop culture, are now near, if not pension age, when digestating the derisions and jeers from a few when I told them โ€œIโ€™m going to see George Ezra.โ€ Marketed commercialisation, yeah, I get that; if for the pre-gig meal we frequented the golden arches, I was more than disappointed my โ€œItalian Stackโ€ was just a cheeseburger with rocket salad and pesto sauce. I mean, who puts a pasta sauce on a burger, adding insult to injury what with the broken milk shake machine, my only guilty pleasure from Ronald?

For them though, I bid they take heed of my anecdote more than those who attended George Ezra at Trowbridgeโ€™s Civic Centre yesterday, which, like many of my yarns, begins with me spending a penny. Upon my return to the hall, in which we were instructed in this record-breaking heatwave to โ€œsqueeze in as tight as possible,โ€ a few had gathered behind my teenage girl posse. With my customary irony I nudged in front, โ€œmake way, responsible adult coming through!โ€ only to note Iโ€™d obscured the view of a young girl behind me.

The expression of anticipation at seeing George Ezra drained from her face, unacknowledging now sheโ€™d only see the back of a podgy middle-aged parent in a Batman t-shirt. But before she could completely well-up, I promised to stand aside as soon as he came on stage, but if I moved now someone not so willing might push in. Though she doubted my conviction, I did retreat from my position, her parents expressed their gratitude. The space my belly once occupied ample for her to sing and dance her heart out, which she did, and her expression of sheer joy made my night.

Because, while George and his band mayโ€™ve only blasted a job-and-finish half-hour set at us, damn it the guy puts some umph in. Honestly, heโ€™s like the geek of a Saturday supermarket job who really puts his all into shelf-staking. Professionally executing the placid and sincere pop star persona, the guy convinced me heโ€™s the genuine article, finding time to box-in his every known popular tune. Sure, playing through his new album The Gold Rush Kid, was a pointless marketing exercise, being the ticket price included a copy of it, but there was everything there youโ€™d expect from an upcoming musician and none of the bravado of celebrity; passion, drive, and even some narrative of backstory.

But for his best efforts, I owe it to the little girl in front of me, and every other screaming teenager or child, to express what a superb evening it was, her mien said it all. For it was never about anti-corporatism critics, rather the rare opportunity for youths to see a popstar in the flesh, in Trowbridge, which would otherwise cost the parents something quite unaffordable in tickets and travel costs.

Doubtless this was The Civicโ€™s finest half-hour, though structured without encore, for less than a purple one, we got our moneyโ€™s worth in George and his bandโ€™s dynamic performance; worth the hassle of fastest-finger first ticket booking system, which sold out in seconds of going online, queuing in the heat only to be squashed in like sardines, but perhaps not the no drinks policy profiteering attitude, which saw the bar closed and only bottled water they sold allowed. Maybe laws have changed without my knowledge, but I assumed not providing free drinking water was unlawful, and even if not, itโ€™s safety and basic etiquette poorly overlooked by The Civic.

Yet we owe it to Marlboroughโ€™s music shop, Sound Knowledge for this most excellent show. Must be best part of quarter-of-a-century Roger has been the best purveyor of records around these backwaters, and stayed afloat through this technology-changing era by hosting these fantastic album marketing gigs. Usually based in the shop itself or in the club opposite, itโ€™s bought many an upcoming act to Marlborough, including Ezra in 2014. The only other time a band has been too big to fit in was when they shifted Ragโ€™Nโ€™Bone Man to the College campus, but George was too bigger name, even for this venue, causing the organisers to add a matinee at the Civic.

But usually, thereโ€™s a post-gig meet-and-greet opportunity, something though we took our CDs we had to accept wouldโ€™ve sadly been unviable due to the vast number of attendees. And that, in a nutshell, whitewashes any niggly criticisms, because maybe restrictions have to be set in order to pull off an event of this magnitude, perhaps you do have to shout orders at the crowd and search childrenโ€™s bags in this day and age. Even though this isnโ€™t what Iโ€™m used to, I was happy in the knowledge that for many there, this was not just a golden opportunity, but a first-time concert which will live in their memories forever.

It got me thinking of my first ever gig, about the same age as my daughter and her friends now. To set the bar high, it was Bruce Springsteen, and, George, sorry mate, but through rose-tinted specs, while you werenโ€™t quite that good, you were totally amazing. Proof of this goes along the lines of me mumbling the words to Shotgun all day today, the profound effect is unimaginable for those younger, if it got this grumpy old git inspired!               


Trending…

The Mist; New Single from Meg

Chippenhamโ€™s young folk singer-songwriter Meg, or M3G if you want to get numeric, will release her 6th single The Mist on Friday 18th October, andโ€ฆ

Indecisionโ€™s Final Incursion of Devizes Corn Exchange

The grand finale of popular local covers band, Indecision stormed Devizes Corn Exchange last night, Saturday 21st May, for one last hoorah. A hugely successful turnout in the-hard-to-fill Ceres Hall……

From Seend Beer Festival to Potterne Cricket Clubโ€™s, Indecision has been a firm favourite for many-a-year now, playing across the south west from Bromhamโ€™s long lost Owl community centre to as far away as Portsmouth, the six-piece Potterne-based band have demanded many to the dancefloor, but last night the time was nigh to say farewells.

Keyboardist Martin Spencer, who also owns Potterne’s Badger Set studio, gave me a never-say-never shrug when I asked him if it was really the end, but for now, he assured me it was.

They came out all guns firing, kicking off with Otis Redding’s Hard to Handle, and preceded to knock out every timeless classic you could name, weaving from Johnny be Goode to The Cult’s She Sells Sanctuary as if they were recorded in one session! There were nuggets of phone torch waving, particularly adroit was The Stereophonics’ Dakota.

Here is, essentially, a function covers band, but if you had them at your function it’d make it night to remember. Proof of this was evident in the huge crowd, with such a wide demographic, it seemed like everyone who had ever attended a function or event where they had played descended upon Devizes’ Market Place, and in knowing what was coming, flooded the dancefloor in anticipation. That’s one mighty accolade.

Yes, they smashed the predictable, and clichรฉ covers apexes at Wonderwall, a point lovers of original compositions will no doubt sigh at, but for a covers band, it sure was accomplished, and they stood confident and experienced, raising funds for the Fatboys Charity and Wiltshire Rescue.

For me personally, my impressed expression didn’t falter, at times though I felt this collective had the skill and ability to create some tunes of their own, but in this consider they know their audience and give them what they want; they came here to dance the night away to the tunes they love, and who am I to deny them their enjoyment?

But I confess, I slipped out for a short while, for a pint down the Gate, because my focus and first love is the creativity of an original act, and there’s only so much disco swinging classics I can handle, no matter how skilfully handled. This, coupled with the fact I knew no one there, astonished as to how they can ram such a vast venue and not see one recognisable mug of town’s usual live music aficionados.

The audience reaction was upstanding, as if the Beatles were on stage, ergo my dilemma is to rate this highly upon the tenet just because it wasn’t wholly my cuppa, Indecision do what they say on their tin. Disgruntled at what appeared to me to be a village-fashioned clique with some audience members, upon trying to take an empty seat for the temporary moment I wished to sit, as this was so danceable, I was waved off with a warning the seat was reserved, despite the fact no one was obviously sitting on it, as if I was going to take the chair with me; bit weird and uncalled for, an eighties cheesy nightclubber come of age?! No, kind sir, I didn’t look at your girl!

Still I intended to return, but when I did the band had finished and a DJ was spinning Tiffany and other terrible pop mush, but they liked it, and that’s what’s important here, sadly I winced and escaped! Which was a shame, Indecision certainly tore the house down, were professional and beguiling, and I hope raised some serious wonga for the charity. Ah, the fault isn’t there’s, it’s all me! A massive congratulations to Indecision for staging a vibrant evening, of which the delight of their audience reviewed itself.


Trending….

Autumn-Winter Comedy in Devizes

Comedy in Devizes is a rare thing, unless you count visitors turning right at the Shaneโ€™s Castle junction, reading opinions on the Devizes Issues (butโ€ฆ

Forestry Operations Due to Start at West Woods

Featured Photo: Forestry England/Crown copyright Planned timber harvesting is set to begin at popular walking destination, West Woods, from the end of September until Marchโ€ฆ

The Dark Horizon of Sam Bishop

Oh, for the rolling years since Devizes Sixth Form-Hardenhuish collaborated boy band 98 Reasons, time cannot stand still, we know this, we still see the bassist of which, Finely, on the local circuit with cousin Harvey as the Truzzy Boys, and as frontman of astounding mod-rock covers band The Roughcut Rebels. And occasionally we hear from his partner in the duo spin-off Larkin, Sam Bishop, itโ€™s good to hear from him again with an awesome new EP, Dark Horizons; out now……

While still studying music over in Winchester, his unique brand of pop, while momentously contemporary, didnโ€™t agree with me personally one occasion, a couple of years ago, and he took it on the chin; I have to be honest. If something definably โ€œpopโ€ doesnโ€™t agree with my grumpy aging expectations it doesnโ€™t make it bad, just means Iโ€™m too old! He rebuked any past criticism with a sublime last EP homing more auditory on my cabbaged ears, but hereโ€™s a young singer and musician who just keeps getting better.

Honestly, cast off any doubts, Dark Horizons is another massive progression, enriched with euphoric soundscapes, some often dark in subject, as the EP title suggests, yet all uplifting. It plods open with digital notes, Same Stars, and Iโ€™m nodding approval; love it. Thereโ€™s contemporary pop on offer here, bleached with William Orbit or Moby style soundscapes.

Yet the second track, Playing in Shadows transcends the previous for retrospective influences, think eighties electronica, especially on the intro, virtually Kraftwerk! Yet again, nothing is passรฉ no matter how far the basslines and synth-pop arch back for recollections, as the vocals roll with repetitive elegance, stirringly upbeat and ultramodern, Years And Years fashion.

Clearly thereโ€™s vast experiments washing like waves onto the beachy mind of Sam Bishop, yet by the third tune out of four, Stay Close, we hear the accustomed acoustic croon of Sam, a floating love-song which builds with a subtle aforementioned ambience, but essentially retains the guitar riff over chanting backing vocals. Itโ€™s the standout track you mightโ€™ve been suspecting when you clicked on the link, if aware of Samโ€™s past work, but herein lies the point; the EP in general a massive advance forward, looking headlong rather than rearward.

To confirm this progression, here’s Sam a few years ago with a drumstick up his nose, of which he’ll kill me for posting!

The finale, Backroads has a piano riff, building into current pop with elegance, like a lot of Samโ€™s themes it relies on lifeโ€™s directional decisions, yet it delves deeper into trialling and investigation both musically and lyrically, which intertwine in such a way Iโ€™ve not felt so connected to Samโ€™s solo work than this wonderful EP previously. And before you suggest, thatโ€™s cos you is, like, getting old, brah, Iโ€™ll have you know I get my teenage daughter DJ on car journeys, so I may not have the gen Z patois of a roadman but I know my Cardi B from my Ariana Grande, and this is as a blend akin to what The Weeknd and The Kid Laroi are putting out; sick, apparently!

ALBUM LINK HERE


Trending…..

Swindon Gets Shuffling!

Despite the population of Devizes throwing confetti and paint at each other in their most celebrated annual ritual, I believe I picked the right weekendโ€ฆ

The Juggernaut Delivers Back at The Southgate

If there’s been welcomed stand-ins for the monthly Jon Amor Trio residency at the Southgate in Devizes recently, Ruzz Evans and Eddie Martin, Jon โ€œtheโ€ฆ

Deadlight Dance New EP Chapter & Verse

Marlborough gothic duo Deadlight Dance are due to release an EP of new material. Itโ€™s called Chapter & Verse and itโ€™ll be out on Rayโ€ฆ

A Gecko in Trowbridge Town Hall

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Trending…..

Fulltone Confirmed For 2025 in Devizes

The Fulltone Orchestra has confirmed today that their annual festival will take place on The Green in Devizes from 25th โ€“ 27th July 2025โ€ฆ. โ€œItโ€™sโ€ฆ

Get ‘Lifted’ by Chandra

Chandra, Hindu God of the Moon, with his own NASA X-ray observatory named after him, and also frontman of a self-named friendly Bristol-based four-piece pop-punkโ€ฆ

Swindonโ€™s New Tribute to the Blockheads; Dury Duty

On the eve of a new tribute act fronted by Swindonโ€™s Mark Colton, he tells me โ€œDury seems to be a forgotten genius and the blockheads are an amazing band still. We just want to remind people of what a great showman he was, and what great songs there areโ€ฆโ€ฆโ€

I find myself pondering on Duryโ€™s virtuosity, influence and why itโ€™s popularly considered underrated. True, the meandering and wishy-washy narrative of Matt Whitecrossโ€™ 2010 biopic, Sex & Drugs & Rock n Roll, didnโ€™t do much justice, but his funeral, a decade prior to the film, saw a handful of celebrities, keen on honouring the mysterious persona of Ian Dury. From Mo Mowlam and Robbie Williams to Madness, the latter of whom occupied a similar place in the nation’s heart as Ian Dury and the Blockheads did a few short years prior.

A posthumous national treasure, in death he achieved what his dark and edgy character prevented him from accomplishing, a Times obituary praised the singer’s โ€œSwiftian satirical streakโ€ and acknowledged his โ€œlasting place in the corpus of the English popular song.โ€ If The Blockheadsโ€™ pseudo-fusion of jazz into punk didnโ€™t wash with the atypical punk movement, it certainly scored them some hits, and anyway, when did punk itself ever adhere to โ€œfit in?โ€

Ian Dury

To take onboard recent trends in British unpremeditated, often jokey street rap, the kind The Streets, Lily Allen and Kate Nash rinsed, Dury popularised that poetic verse, to consider post-punkโ€™s more jazzy moments, The Blockheads reigned supreme, but perhaps the synthesis doesnโ€™t pigeonhole them for a majority to realise the strength of their influence on pop.  

Swindonโ€™s newly formed six-piece Dury Duty is dedicated to the songs and performance of legendary band leader and raconteur Ian Dury, rather than recent Blockheads reformation. This combo of experienced musicians strives to recreate the sound and feel of a genuine Ian Dury concert, drawing from material found within his solo output, his work with The Kilburns, The Blockheads as well as other side projects.

โ€œI have decided to follow my heart and do the projects I have always wanted to do,โ€ Mark explained, โ€œincluding this one. The initial set features the sort of set around the time Do it Yourself would have been released, lots of songs from New Boots.โ€

Mark Colton

Colton leads in Thin Lizzy tribute, The Lizzy Legacy, temporarily fronted ska covers band The Skandals, continues in the punk cover band Rotten Aces, and has been gigging solo for a while with a repertoire of two-tone and punk covers. He basically has his fingers in so many pies, itโ€™s tricky to keep up! I asked him if the concentration was solely on Dury Duty now, or if the other original and tribute acts are still in motion.  

โ€œThe solo stuff will continue,โ€ he informed, โ€œI have a few projects still on the go. My original material band CREDO is recording our 5th album, Rotten Aces are gigging again from April, after getting a new guitarist. I have a Marillion Tribute too, called Marquee Square Heroes, and the Lizzy Legacy are still active, but less so due to others commitments and of course, Dury Duty. Each band is a different challenge, but they all keep me on my toes!โ€

Along with the expected big hitters, such as ‘Sex and Drugs and Rock and Roll’, ‘Reasons To be Cheerful (Pt.3)’, ‘Hit Me With Your Rhythm Stick’, and ‘What A Waste’ forming the backbone of any set, Dury Duty promise โ€œlesser known but equally entertaining nuggets to whet the appetite of any long-time Ian Dury aficionado.โ€

Mark is joined by Jono Judge – Saxophones, Percussion and Vocals, Michael York – Piano, Keyboards, Guitar and Vocals, Brian Barnes – Guitars and Vocals, Rob McGregor – Drums and Vocals and Ken Wynne – Bass Guitar and Vocals. A self-confessed โ€œtalented band of brothersโ€ keen on not only entertaining those familiar with the extensive cannon of this great performer and wordsmith, but to bring new fans to the man. โ€œIan Dury is sorely missed and his sharp, witty and often cutting observations on the mundane and absurd through his lyrics and poetic verse are carried forward by this.โ€

Opening gig is at Swindonโ€™s premier venue, Old Townโ€™s Victoria on Friday June 3rd, but are the band ready to roll, should a nearer booking come their way, I asked Mark. โ€œI suspect we would do something if it came up for Dury Duty, but that’s what we are working towards at the moment. We will be looking to get out and get this working, the songs are a pleasure to play.โ€ Got to wish them all the best with the project, being it innovative and crucial for a tribute act find a sustainably eminent niche which doesnโ€™t fall into clichรฉ, and for the reasons of Ian Duryโ€™s elapsed stimulus makes this project exciting local music news.


Trending….

Local Book Review: Dadโ€™s New Dress

Spent most of Pride month, and the following month too (what? Iโ€™m a slow reader and a busy chap!) reading an apt book, given toโ€ฆ

Some Days with Paul Lappin

Paul’s self-made cover to his latest single, Some Days depicts a fellow sitting under a tree pondering life, while an autumn zephyr blows leaves aroundโ€ฆ

Imberbus is running this Saturday !

Following on from last monthโ€™s email, this is a final reminder that yearโ€™s Imberbus service will be running this coming Saturday โ€“ 17th August 2024.โ€ฆ

Marlborough, I’ve Seen Your Pants

โ€œWe can’t stop here. This is Tory country,โ€ I chuckled while fiercely yanking the handbrake, as if Dr Gonzo was in the car. We canโ€ฆ

Three Crowns and Some People, Like Us

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

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

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

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

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

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

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

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

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


Talk in Code; Young Loves Dreamers

Set to release their new single โ€˜Young Loves Dreamโ€™ on Friday 11th February across all digital platforms, Talk in Code are rinsing their inimitable and uniformed sound with anthemic pop goodness; itโ€™s to be expectedโ€ฆโ€ฆ

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

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

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

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

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

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


Trending…..

Ruzz Up The Gate!

I was intending to start this along the lines of โ€œyou don’t need me to provide another reason why I love The Southgate,โ€ but thisโ€ฆ

Sing Another Love Song with Rosie Jay

Second impressive single from young Salisbury singer-songwriter Rosie Jay is released today. Sing Another Love Song; a sound of the summerโ€ฆ.. Her debut breakup trackโ€ฆ

Cotswold Water Park to be Renamed

Here’s a prime example as to why I could never be a councillor….. Cotswold District Council will vote on changing the name of Cotswold Waterโ€ฆ

The Life of Brian, in Rowde

So, itโ€™s finally come to pass, beginning to look a lot like autumn and a Halloween weekend crammed with events I feel I should attend conflict against the general drizzle looming outside. Having a soaking every morning at work Iโ€™m dubious to continue past summery wanders up the hill to Devizes, coupled with my newfound knowledge itโ€™s actually easier to get to the Sham from Rowde via public transport and I really felt like a cider or five.

While I appreciate the killons (thatโ€™s a zillon zillions) of invitations I get per weekend, I opted for the easy route and headed for The Cross Keys in Rowde, a local I neglect in pursuit of trekking the county gig hunting, yet which holds many fond memories, including my own wedding reception!

A grand open-plan Waddies, The Keys served the village community with historically a mixed bunch of landlords, some, it must be said, far more dedicated to the task than others. Given an interior paint job complete with retro movie and rock n roll stencils the new owners have recreated the friendly and down-to-earth welcoming atmosphere. They boast a new chef and the continuation of an affordable Sunday carvery, the legacy of the previous owner.

But Iโ€™m not here on chance, or for a roast potato; the Rowde landmark opens itself back up for a live music event, and Iโ€™ve not heard of the billed โ€œLife of Brian Band.โ€ Promising pop-rock from the sixties to the noughties and boasting the frontman, conveniently called Brian to avoid any Monty Python quips, as a former guitarist for Kate Bush. Okay, Iโ€™m game.

Usual wobbly photo from yours truly; always the mark of a good night!

Took a while to kick off, as best things to come to those who wait, plus with their usual drummer absent, Jim from Rowde band Eazilyled made an outstanding adlib performance between this couple of, shall we say, matured and proficient gents, on lead and bass guitars. Eventually cracking open with The Temptationsโ€™ My Girl, and following with a plethora of well-defined Beatles, Rolling Stones and Kinks classics, including a wonderfully delivered Waterloo Sunset, Brain and his bass player skilfully executed a grand show of anthemic rock n roll and blues pop covers.

Though there was nothing ground-breaking going on here, it was a rousing and professional sporadic pub band clearly and nostalgically loving every minute of the spotlight. That makes it for me, the sheer expression of bliss and fun, particularly from the bassist. It gives the impression theyโ€™re in their element, and they were, rocking out. The couple bouncing off each other with slight banter and dexterous guitarwork, with drummer Jim challenged to improv the next moves from this refined double act, blessed the Cross Keys with an exhilarant evening; hereโ€™s hoping for more.

Arguably the noughties where underrepresented, but I donโ€™t believe this mattered one iota to the punters, as Beatles and Stones works for every generation. Plus, alongside we had guaranteed crowd-pleasers from Cream, Free, even the Travelling Wilburys, at times soul with Wilson Pickett and Sam & Dave covers, an especially adroit couple of flashes of the Policeโ€™s Roxanne and Message in a Bottle, and some memorable moments with the Whoโ€™s Squeeze Box and Tom Pettyโ€™s Learning to Fly. What they did they do with charm, professionalism and enjoyment, and one canโ€™t ask for more than this.

A blessing to know the Cross Keys is on top form, and Iโ€™d welcome more live music nights, encourage Paul, the landlord to get in touch with some recommendations, if he so wishes. Because while one might trek to towns and cities in want of live music, our villages need some love and attention too, saving stranded people some taxi fees or steps on their FitBits!


Trending…..

Devizes Scooter Rally Rules, OK?!

If it’s been a fantastic weekend on Devizes Green with the orchestral Full-Tone Festival, further out of town scooterists, mods, skins and anyone else withโ€ฆ

The Next Season at the Wharf Theatre

Featured image byย Chris Watkins Autumn, finish your ice lolly, as we need to to start thinking about it! Our wonderful, one and only, theatre inโ€ฆ

The Evolution of Kirsty Clinch

“The only thing disappointing about Kirsty Clinchโ€™s Evolution is, it ends.”

Itโ€™s a generation X thing, Iโ€™m suggesting, which levels me to downloading an album as the last port of call to actually โ€œowningโ€ something anywhere near physical, against this era of streaming music, sourly missing the fondness of holding a piece of vinyl for all its crackles and jumps. Because owning an album was like a piece of treasure, the cherished keepsake sense you donโ€™t get with streaming, and in review today is exactly the sort of album to be such a cherished keepsake.

Nevertheless, Wiltshireโ€™s adorable country-pop virtuoso, Kirsty Clinch has mastered the art of marketing, and with a drive to succeed, knows precisely through social media, how to gain and keep engaged a modern audience, equally to her exceptional gift as a musician and singer-songwriter. Yes, you couldโ€™ve guessed it, her new album Evolution is a masterpiece. The finale of which being aptly a tune called Social Media, which expertly reflects on the image one projects online against the hidden imperfections of reality.

But the ingenuity of marketing is a miniscule element as to why Kirsty manages to reach the fourth position in the iTunes charts in under a few short weeks of releasing her debut album, against the much larger reason that this is the sort of music which doesnโ€™t require pigeonholing, because whatever the angle of your personal taste, youโ€™ll emerge from it thinking; you know what, I like country-pop now.

So, I bite the bullet, stream it on Spotify, like a fledgling, mottled boss, ignoring the invasion of adverts for the sake of hearing an album Iโ€™ve held in high anticipation, since she mentioned it to me quite a while ago. If itโ€™s taken time, itโ€™s primarily Kirsty being a perfectionist, and it shows. Nothing here will disappoint or make me doubt the faultlessness of the composition of this album, and in turn, Kirstyโ€™s talent, her picture-perfect balance, in such a way, itโ€™s impossible not to love.

Around and Aroundโ€™s modest drum makes this song an irresistible introduction, if the astute song writing, complimented by Kirstyโ€™s rich and warming voice, doesnโ€™t, oh but it does. Waterโ€™s Running Low continues the quality, confirming youโ€™re in for a beautiful journey, ten tracks strong.

Fit The Shoe, the single weโ€™ve fondly mentioned prior, is hauntingly divine, like William Orbitโ€™s production of Madonnaโ€™s Frozen, with a theme of who the cap fits, which is followed by the title track, again, wonderful. Uplifting is the keyword throughout, maintain the balance of sombre yet jubilance. I am Winning, a song of faith in your accomplishments, being a grand example, it drifts over you, as if itโ€™s always been in your life.

Previously thereโ€™s always been an obviously and well played out taste of countryโ€™s female giants clearly influenced in Kirstyโ€™s songs, of Tammy or Dolly, but here, now, this is wholly Kirsty, it sounds freshly awakened to the junction whereby one day, not far away, reviewers will cite her influence on newer folk artists; that much I’m certain. 

Perhaps the memorable, yet not as quirky as the title suggests, No Cornflakes makes me sigh, are we past the halfway mark already? The only thing disappointing about Kirsty Clinchโ€™s Evolution is, it ends.

But not before I Am Me, a rejected romance theme, breaths the most heart-warming narrative of all, with a trialling drumbeat imposing you to realise her style is contemporary, rather than the genreโ€™s archetypal nostalgia. And three more tunes which never faulters the experience, the catchiest of them being Down, and it ends with the aforementioned Social Media.

In this finale you get the confirmation behind the stunning, echoing voice lies honesty in the song writing, from the heart and soul. And thatโ€™s itโ€™s worth, in a nutshell, you feel as if youโ€™re getting a little piece of this performer, who is the whole deal, plus one. Self-managed, produced, save the odd tip and mastering from Pete Lamb, marketed, Kirsty even drew the cover illustration. She puts the young students of her newly opened music school before that of promoting this album, she surely shines, and if you heard her previous songs, seen her perform live, youโ€™ll remain convinced this album, is Kirsty indeed evolving into a shooting star you cannot ignore.


Trending….

A Perfect Picnic in the Park

A perfect sunny(ish) Sunday at Hillworth Park in Devizes, if not to overcome one’s fear of public speaking while dressed in a giraffe onesie andโ€ฆ

The Pleasure was all Minety!

Broke my Minety Music Festival cherry, and it was gurt lush! When it comes to live music and festivals, I initially set a high bar.โ€ฆ

DOCA Picnicing in the Park!

With the unfortunate cancellation of Devizes International Street Festival this year due to Arts Council cuts, all eyes are on our wonderful Hillworth Park nextโ€ฆ

Michelle Gonelan Makes History

Last political rant from me for a while, given all that happened today, pinky promise! Hitler shot himself, then, as requested, he was doused inโ€ฆ

Scott Laveneโ€™s Milk City Sweethearts

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

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

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

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

If Iโ€™ve made this sound despondent and somewhat depressing, while yeah there is that, Scottโ€™s witty charisma teeters atop at even the gloomiest synopsises with clever wordplay and metaphors. And besides, not every track is quite so melancholic. In fact, it begins very much with the aforementioned mod revival style. Upbeat opening tune, Nigel, is especially comical, expressing the strangeness of individualโ€™s choice of โ€œkicks.โ€ Likewise, The First-Time reels off an amusing list of first experiences with the annotation, โ€œone day thereโ€™ll be a last.โ€ Itโ€™s all very Essex lad Talking Heads, Phil Daniels chatting on Blurโ€™s Parklife, etc.

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

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

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

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


WIN 2 tickets HERE

Trending……

MantonFest Magic, Again

With the danceable penultimate act attracting a packed crowd, I observed a young teenager, who, on spotting a disregarded beer bottle, picked it up andโ€ฆ

Devizes Arts Festival Rules, OK?!

Alas, it’s been a long week since the Devizes Arts Festival called time. It feels a little like when my Dad would take the Christmasโ€ฆ

Everything You Are, Onika Venus

You remember being given some coursework, when back in higher education, with various objectives and your task was to choose one to complete? Not really wanting to do it, you go to the student at the top of the class, and ask them what theyโ€™ve done. They reply, โ€œah, not much,โ€ and this gives you the cue to do absolutely nothing. Then, on the day of handing it in, theyโ€™ve unexpectedly produced the single-most awesome project, covering all the objectives in one ingenious combination, and you stand there with zilch, except a jaw hanging and an implausible excuse, which you made up on the bus coming in?!

Iโ€™d imagine Onika Venus to be just like that. Now Bristol-based, Jamaican-born Onika plays Trowbridge Town Hall on September 18th, so, given reggae is cited as an influence, I thought Iโ€™d check out her debut solo album, Everything You Are, which was released back in March.

The title track was chosen as Songsmithโ€™s Song of the Year 2020, and itโ€™s easy to hear why. Iโ€™ve not been this blown away by a female vocalist since discovering Minneapolisโ€™s Mayyadda.

Immediately this pushed my buttons, but if this opening title tune is decidedly acoustic blues, with a distant harmonica resounding in the background, thereโ€™s a truckload more going on than the first impressions here.

The premise from the beginning is as simple as, Onika Venus has the prevailing soulful voice to carry whatever genre is thrown into the melting pot, and drizzle it over you like hot sauce. It only leaves you pondering how far she will take it. The second tune I pigeonholed as RnB pop, a contemporary Macy Gray or Erykah Badu, aiming for chart success. When Iโ€™m Broken carries this concept to a higher height, and is simply, the model formula of popular music every song should aim for.

Yet, three songs in and here comes the Caribbean influence. Friday Love has a clear mento feel, itโ€™s immediately beguiling, a good-time chugging song in the face the despondent romance theme. This will occur again towards the middle the album with Whoโ€™s Been loving You. Again, with Shotgun thereโ€™s similar appeal, perhaps the most definable as โ€œroots reggae,โ€ and, for me, theyโ€™re the favoured sections.

But it swaps back to the mainstay for track four, steady soul with an orchestrated ambience; Everything has its Season, is the ideal equilibrium to bless that heavenly voice and compose this euphoric moment of bliss. After a surprising modern dancehall intro, weโ€™re back to an acoustic guitar riff for the poignant The Storm, using sax to mitigate jazz. I Need You, though, has kick-ass funk, Ike & Tina Turner in their prime.

With only three tunes to go, just when you think influences have been exhausted, thereโ€™s a duet with a male voice, supplied by husband, Mark, Mary, sounds classic Americana, as if Joe Cocker just walked into the studio and said, why donโ€™t you try this?!

To keep you guessing what the last couple of tunes will hold, yeah, folk is strapped onto soul, Reaper Man aches of Aretha Franklin, but by this point you just know Onika Venus can carry this off with bells on. Raising the bar of comparisons is justified, believe me. For when itโ€™s funky Iโ€™d give you Randy Crawford, Chaka Khan, and when it levels with acoustic and folk, her voice dishes out notions of reggae heroines, of Phyllis Dillon or Marcia Griffiths, and the gospel finale, yeah, Aretha will be justified, if not Sister Rosetta Tharpe; it is this magnificent.

Yet, unlike all these aforementioned legends, the style here is not monocultured, neither does it jerk from genre to genre without consistency and flow. Onika Venus gives volumes to the eclecticism, and it moulds efficaciously into one melting pot, beautifully. Prior to this solo launch, in a band called Slyde, her voice customised their breakbeat, techno and house style, to great effect, and I can well believe it. The flexibility of her skill is captured here, Iโ€™d imagine as comprehensively as she chooses personally, and just as the student who bursts in effortlessly, with the homework complete and to an exceptional standard, Onika Venus makes this look easy!


Win 2 free tickets here!

Trending….

Talk in Code are All In for New Single

Swindon indie pop virtuosos Talk in Code released their brand new single, All In, Yesterday, via Regent Street Records. And We. Love. Talk in Codeโ€ฆ

Longcoats Get Dancing

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

To begin, Bathโ€™s indie-pop favs, Longcoats have an official new bassist, Will Vickery. The band claim he was โ€œa stray man we found on the street and august-rush style he could just hear the music and play it.โ€ Proof in the pudding, Iโ€™ll double-bet ya youโ€™ll going to love their new belter, โ€œGet Dancing,โ€ which is, incidentally just what we all need right now.

Will Vickery

Probably why itโ€™s blossoming attention and airtime from the likes of BBC Bristol, Target, Soho Radio, Sheppey FM, New Yorkโ€™s New Visions Radio Network, and even Australiaโ€™s Valley FM, and seeing them bookings at Moles, Brightonโ€™s Pipeline, and supporting The Rift at Swindonโ€™s Rolleston.

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

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


OUT NOW! Various Artists 4 Julia’s House

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

Crude to look back, even when I advanced to tape-to-tape, I discovered if I pressed the pause button very slowly on the recording cassette deck, it would slide into the next song, and with a second of grinding squeal Howard Jones glided into Yazoo!! Always the DJ, just never with the tech! Rest assured; this doesnโ€™t happen on this, our Various Artists compilation album, 4 Juliaโ€™s House. And oh, have I got some news about that?!

Huh? Yes, I have, and here it isโ€ฆ. ย 

We did it! Thanks once again to all our fabulous contributing artists, our third instalment of detailed sleeve notes will follow shortly, but for now, I couldnโ€™t wait another day, therefore, Iโ€™ve released it half a day early, this afternoon!

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

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

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

You know, sometimes I think I could raise more money with less effort by trekking down through the Market Place in a bath of cold baked beans, but I wanted to bring you a treasured item comprising of so many great artists weโ€™ve featured, or will be featuring in the near future on Devizine. Never before has all these artists been on one huge album like this, and look, even if you donโ€™t care for a particular tune, thereโ€™s 46 of them, check my maths as I pride myself on being exceptionally rubbish at it, but I make that 22p a track, and all for such a worthy cause!


Click for info on Julia’s House

โ€œWe are so grateful to Devizine and all of the local artists who are taking part in the charity album to raise funds for Juliaโ€™s House. We donโ€™t receive any government funding for the care we give to families in Wiltshire, so the support we receive from our local community is so important.โ€

Claudia Hickin, Community Fundraiser at Juliaโ€™s House

Andy J Williams; Buy all his $tuff!

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

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

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

Reminisces flood my neurons upon initial listening, of how eighties electronica fused funk into pop, a kind of โ€œfunk-lite,โ€ avoiding the substantial seventies untainted funk vibe, and through post-punk new wave, rewrote the club-pop formula. Bands like Duran Duran and Roxette spring to mind, Iโ€™d even go as far as Michael Jackson meets Huey Lewis, but while Iโ€™m aware thereโ€™s a bizarre subgenre called โ€œfunk metal,โ€ pleased to report Andy doesnโ€™t get that heavy! This is more like musical cubism, with a skilful composition akin to King Tubbyโ€™s mixing board, and it comes out the other end as extraordinarily unique beguiling pop.

Donโ€™t take the opening Britpop track as red, the next, Post Nup, opens up this funk riff, but no matter where it takes you, lyrically this well-crafted too, written with thoughtful prose. Thereโ€™s topical subject matter amidst the archetypical romance, including the referendum and social media, but no theme distracts from the overall musical presentation. Night Terrors, for example, works opposite to Jon Amor, who uses Elvis Costello pop to create a more frivolous blues, Andy maintains pop by adding elements of electric blues. Then, piano solo, layered with subtle percussion. Andy rinses a fine ballad, undoubtedly the most evoking track on the album, Stay.

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

Ballads follow, Celia and Now Sheโ€™s Gone are particularly adroit, but you know Andy isnโ€™t going to end this with melancholy. Be Mine returns to rock as itโ€™s mainstay. Radicalised equally comes in hard, with an electronica feel. And Your Truth Hits Everyone is anthemic, concluding thereโ€™s a need to ponder what the Beatles would sound like if still around today, with Britpop, new wave electronica, and clubland techno at their disposal. Through this, I might provide a suggestion.


Trending….

Eighties Mod Revival Lost Gem: The Direct Hits

If I waffle positively here, and yes, I do waffle, about retrospection and a trend in sounds trying to be authentically from a time of yore, this one doesnโ€™t need to try. The Broadway Recording Sessions thrusts you rearward into the eightyโ€™s mod revival scene, whether you want to go there or not.

Battersea trio, The Direct Hits may only be remembered by the connoisseur of mod, having one-shot at charting in โ€™82, when TV presenter Dan Treacy released their song, Modesty Blaise on his Whamm! imprint. The music press hailed this as not just another Jam, crash-bang-wallop mod revivalist tune, and their explosive live shows avowed them pioneers of a โ€œBattersea Beat.โ€

Whamm were financially struggling to fund an album, so the band pooled their limited resources and booked the cheapest studio time they could find, Tootingโ€™s Broadway Sounds. By the afternoon they had knocked out nine songs, the other three on this album were recorded a fortnight later. It would be two years later when they re-recorded some of these songs for their debut album โ€œBlow Up.โ€

Now remastered, these lost recordings have surfaced finally, and, with warts and all, show the uncooked spirit of a hopeful mod garage band. Iโ€™ve had this playing for a few weeks since itโ€™s late February release, and it heralds the hallmarks of a post-punk return to the basics, which sixties groups like The Kinks and The Small Faces mastered. To expect this yardstick is pushing it, but through all its rawness thereโ€™s some beguilingly adroit songs to make you wonder why they wasnโ€™t as their namesake suggests, direct hits!

Perhaps it was that bit too retrospective for the progressive eighties. Because, elements capture neo-psychedelia, rather than soulful eighties mod assigned via The Spencer Davis Group and into bands like The Merton Parkas. That era where the beatnik style was teetering on influencing the pop sound, but Merseybeat was still riding the high ground. Thereโ€™s a delicate balance here, avoiding things getting too clichรฉ Mamas & Papas, these upbeat three-minute-heroes never fails to kick ass.

Consistently high-spirted and energetic garage sound, yet psychedelically enhanced; think if Syd Barrettโ€™s days spent at Pink Floyd wouldโ€™ve been spent with The Who instead, and you get the idea. Thereโ€™s even a bike song, just like on Relics. Lyrically thereโ€™s unassuming stories with clear narratives and characters to challenge the Beatles.

A polished rerecording of a track from the album.

Overall, though, youโ€™ve got twelve mind-blowing rarities which perfectly capture a raw moment of youthful optimism for an inspiring band, in an era where everyone felt encouraged to pick up an instrument and give it bash; and theyโ€™re good, really good. In a funny kind of way, I see similarities to the now; the forgone passing of DJ culture in a rave new world and tasteless manufactured pop, to an imminent inclination of online DIY indie, I see hopefuls taking to a guitar and giving it a go. Perhaps then, thereโ€™s no time like the present for this to resurface.

Buy The Broadway Recording Sessions Here


Trending……

Lady Nade at Devizes Arts Festival

If the opening Friday evening of Devizes Arts Festival was amazing for lively pirate-punk craziness, Saturday night was too for precisely opposite reasons. Bristol’s soulstressโ€ฆ

LilyPetals Debut EP

One of many young indie bands which impressed me at Bradford Roots Festival, and proof thereโ€™s more than the name suggests at The Wiltshire Musicโ€ฆ

Courting Ghosts Debut Album: Falling My Friend

Images used with kind permission of Pacific Curd Photography West Wilts and Somerset folk-rock collective Courting Ghosts are about to release their debut album, Fallingโ€ฆ

Song of the Day 27: Emily Capell

We are the mods, we are the mods, we are, we are, okay, you get the gist. Imagine Kate Nash is Doctor Who’s assistant, and they tracked back to Carnaby Street in 1963. If she dressed and performed without raising suspicion that they’re time travellers, you’ve got a general picture of the fantastic Emily Capell.

On one hand, this is fab retrospective meddling, on the other it’s lively and fresh fun, with a beehive hairdo.

There’s nothing here not to like, unless you’re a ret-con rocker and if so, I’ll see you on Brighton beach, pal. All I ask is you aim for the face, so you don’t crease my suit.

And, that’s my song for the day. Very good. Carry on….. oh yeah, nearly forgot to mention, Emily has a live stream coming up Friday 12th March, here; groovy.


Song of the Day 21: Andy J Williams

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

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

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

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

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

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


Song of the Day 20: Darling Boy

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

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


Song of the Day 17: Diana Leoport

What’s Spanish for “diva?” Oh, Google translate aptly says it’s “diva!”

Super sassy Spanish vocalised RnB-pop doesn’t come sexier than Mexican singer Diana Leoport’s debut single. Aching with masses of Latino promise there’s elements of Shakira and Gloria Estefan in this smooth tune. My glasses have steamed up!

https://youtu.be/jrd-0EwJurY

Out on all platforms here.

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


Song of the Day 12: Darla Jade

Even portions of expressive contemporary pop, the ambience of post-goth and downtempo electric blues of trip hop makes this Staffordshire singer, Darla Jade really someone to watch. With a haunting uniqueness about her voice and style, there’s shards of Evanescence fused with Beth Orton. It’s somehow individually chartable but would also appease alternative rock or goth aficionados alike.

Subscribe to her YouTube channel, hear her own stamp on Radiohead’s Creep, and realise, her talent is so very special.

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


Song of the Day 1: Atari Pilot

Irregularly I share a music video to our Facebook page with the status “song of the day,” or week, or whenever, as if it’s a daily occurrence. When the reality is it’s a big, fat fib on my part, it’s only when I happen to find such a video and can be arsed to share it. What-cha gonna do, sue me?

So, just in case your lawyer says you have a case, I thought I’d streamline this sporadic idea for 2021, make it an actual feature on the site rather than a Facebook post, and show off that I know what long words like “sporadic” mean.

Little more gone into it than this, you should be used to it by now. I’m not going to review them, just embed them here for your own appraisal and entertainment purposes. Potentially, it’ll be a groundbreakingily breif post, a simple but effective phenomenon, and something I can do without missing the Simpsons.

The challenge is consistency; whether I actually stick to the idea or, like others, it’ll be a flash in the pan. Who knows, this could be the start of something beautiful, this could be the thing they’re talking about in decades to come. A holographic Ken Bruce could be asking “what was the very first Devizine Song of the Day” in a Pop Master 200 years from now.

And you can answer it with who I bestow this honour, Atari Pilot. They’ll be revelling in the triumph of the hour if it wasn’t lockdown, I bet.

History in the making then, the only issue I foresee is I over-waffle any old crap, which is, incidentally, not what’s happening now and rarely does here; I had to explain myself, didn’t I?

Okay, I get message; here it is then, enjoy the tune, enjoy the rest of your evening. Good job, carry on.


  • Rooks; New Single From M3G

    Chippenham folk singer-songwriter, M3G (because she likes a backward โ€œEโ€) has a new single out tomorrow, Friday 19th December. Put your jingly bell cheesy tunes on hold for a moment, because this is a beautiful, epic journeyโ€ฆ.

    M3Gโ€™s seventh release, Rooks, poignantly pulls on the heartstrings when presented by the rise and fall of a romance, rooks often being a slang for cheating someone. It runs into six minutes, and reflecting the heartbreak of the subject, the song rises and falls accordingly. It creates a spellbinding ambience of both hope and worry equally, and is of magical vocal and acoustic guitar composition, with a gentle cajon drum subtly placed.

    Inspired by the likes of Florence Welch and AURORA, Meg was open about her autism in our interview from 2023, and claimed it as the backbone to her creativity. In this, what she creates is completely original, unique, and unequivocally personal. Meg doesnโ€™t just sing, she projects her innermost thoughts and expresses them, angelically. In Rooks, you can literally feel the characterโ€™s heart breaking, causing yours to inevitably go with it.

    The hyphen in the term singer-songwriter has never been so apt with another. Sure, I hear lots of brilliant expressive singers and lots of songwriters who can pen a marvel, but no one merges them so seamlessly and forgoes any fear theyโ€™re exposing too much of their innermost thoughts, dreams or desires. You only need to venture ten seconds into Rooks to observe what I mean, and if Meg constantly strives for improvement, causing me to say this is her best song yet each time, here we go again; this is awe-inspiring, her magnum opus to date.

    Recorded and mixed by Phil Cooper, his genius registers on it, yet still, itโ€™s Just M3G; layering her backing chants over her main vocals like choral had a singular tense, and who even designed the cover. She says working with Phil is โ€œa massive step above my other releases. I am so proud of it.โ€ It is on a next level, Iโ€™m uncertain what she could do to top it, but assured she will, and Iโ€™m certain Rooks will appease her fans and make her find new ones.

    Rooks streams tomorrow, 19th December 2025.

    Instagram Facebook


  • Wiltshire Music Centre Unveils Star-Studded New Season

    Wiltshire Music Centre Unveils Star-Studded New Season with BBC Big Band, Ute Lemper, Sir Willard White and comedians Chris Addison and Alistair McGowan revealing their classical music talents…..

    Wiltshire Music Centre announces new Spring season with some extraordinary listening experiences on offer in the new year. Wiltshire Music Centre is a unique and contemporary 300-seated concert hall in Bradford on Avon.ย  In the heart of rural Wiltshire, the venue’s built an enviable reputation over the years as a professional concert hall of exceptional quality, rooted in community participation and involvement.ย The Centre also provides a permanent home for local orchestras, choirs and music groups, and works extensively with young people locally through a vibrant and varied Creative Learning Programme in Wiltshire and beyond.

    Since first opening in 1997, Wiltshire Music Centre has been a musical hub, bringing the best in live performances to the area as well as providing a home for local orchestras, choirs and music groups. Recently appointed Executive Director, Sarah Robertson and Artistic Director, Daniel Clark have a renewed commitment to creating a space for people to gather and connect through a shared love of music โ€“ a space to celebrate the past, present and future of music-making and to nurture a spirit of musical curiosity.

    Audiences can look forward to an exceptional lineup of artists, including first-ever WMC appearances by leading pianistย Angela Hewittย (30 Jan 2026), opera virtuosoย Sir Willard Whiteย performing with WMC favouritesย The Brodsky Quartetย (20 Mar 2026),ย BBC Big Bandย (17 Apr 2026) showcasing the musical genius of George Gershwin, international cabaret starย Uteย Lemperย (8 Mar 2026), blues legendย Eric Bibbย (27 Mar 2026) touring his new album, and a WMC debut by theย Neil Cowley Trioย (11 Apr 2026) who bring their inventive show inspired by Baroque genius, J.S Bach, to the Centre. ย Meanwhile,ย Jamie Woonย (8 Apr 2026), British R & B and electronica singer/producer returns to the stage after a 10-year break.

    Classical and jazz season highlights includeย โ€œtrumpeter extraordinaireโ€ย (BBC Music Magazine)ย Matilda Lloydย performing with theย Goldmund Quartetย (7 Feb 2026);ย Nikki Iles and Claire Martinโ€™sย new projectย IG4ย (7 Mar 2026); evocative choral works fromย The Gesualdo Sixย (28 Mar 2026); stunning vocals from the Grammy-nominated British vocal ensembleย VOCES8ย (26 Apr 2026); and exciting new jazz sounds from Jazz FM Instrumentalist of the Yearย Mark Kavumaย (28 Mar 2026) and London-based saxophonistย Camilla Georgeย (22 May 2026), whose music blends Afrofuturism, hip-hop, and jazz.

    For blues, folk, and roots fans, thereโ€™s a packed programme of must-see gigs featuring both established and emerging favourites, including the powerful fatherโ€“daughter duoย Martin and Eliza Carthyย (3 Apr 2026), much-loved folk singerย Cara Dillonย (8 May 2026),ย Jon Bodenโ€™sย projectย The Remnant Kingsย (15 May 2026), andย Josienne Clarkeโ€™sย homage to Sandy Denny of Fairport Convention (6 Mar 2026).

    Families can look forward to a musical retelling ofย Benji Daviesโ€™sย childrenโ€™s bookย The Storm Whaleย withย Music in the Roundย (14 Feb 2026), and the film classicย Wallace & Gromit: The Wrong Trousersย on the big screen with live music performed by WMCโ€™s flagshipย West of England Youth Orchestraย (10 Apr 2026).

    The eclectic programming extends beyond the music alone. Former Royal Harpistย Catrin Finchย (15 Mar 2026) comes to the Centre withย Notes to Self, an evening of music and conservation, while master impressionistย Alistair McGowanย (12 Apr 2026) and sharp-witted comedianย Chris Addisonย (14 Feb 2026) bring comedy and music with their respective shows. There will also be a series of monthly screenings with the newly launched Adventurers Film Club, featuringย Becoming Led Zeppelinย (28 Jan 2026),ย Set the Piano Stool on Fireย (25 Feb 2026) โ€” the acclaimed documentary about legendary pianist Alfred Brendel and his protรฉgรฉ Kit Armstrongโ€”and more.

    Introducing the new season, Daniel Clark says โ€œHere youโ€™ll find a wide-ranging series of concerts from some of the most exciting voices of the past, present and future of music. From great legends of music-making to rising stars, weโ€™re committed to bringing the best music we can to our special venue, and hope youโ€™ll find something that will transport, inspire and delight you.โ€

    Highlights:

    Angela Hewitt:ย one of the worldโ€™s greatest living interpreters of Bachโ€™s music and recipient of the City of Leipzig Bach Medal in 2020 will make her WMC debut. (30 Jan 2026)

    Angela Hewitt London 2016

    Chris Addisonโ€™s Incomplete Guide to Chamber Music:ย Chris Addison brings to life the rich, vibrant โ€“ and sometimes bizarre โ€“ history of classical chamber music. A musical journey from baroque courts and European revolutions to todayโ€™s contemporary composers with some of the UKโ€™s finest musicians and Chrisโ€™ brilliant and original facts and insight. (14 Feb 2026)

    Eric Bibb:ย Three-time Grammy nominee and blues legend with a career spanning over five decades tours brand new album,ย One Mississippiย blending blues, folk, soul, and Americana. (27 Mar 2026)

    Ute Lemper: International cabaret star bringsย her showย telling the storyย of Hollywood legend Marlene Dietrich through songs and stories: from the Berlin Cabaret years to her Burt Bacharach collaborations. (8 Mar 2026)

    Lau Noah: Beautiful, innovative and evocative vocal and guitar harmonies from self-taught Catalan composer and songwriter who has supported Chris Thile, Ben Folds and Jacob Collier on tour over the past two years. (3 May 2026)

    Tickets are now on sale:ย wiltshiremusic.org.uk/


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound: Part 2

    Daphneโ€™s Family & Childhood Connection to Devizes

    Celebrations of Daphne Oram have been building in London since the beginning of December, for those in the sphere of electronic music and music technology. On the first Thursday of the month The Barbican held a concert commemorating Daphne’s centenary, where sound and music fair access partner, Nonclassical, in partnership with The Oram Trust and Oram Awards played commissioned reimagined works from various contemporary electronic artists, inspired from tapes in Daphne’s archive. This has been released as the album, Vari/ations: An Ode To Oram.

    London university Goldsmiths acquired Daphneโ€™s archive in 2006, bringing her work into the wider public domain, after decades of relative obscurity. ย In the male dominated realm of electronic music, this has presented a better understanding of Daphne as a visionary in the early development of the genre, and in turn inspired female musicians and producers.

    But our story begins rather differently, in the late nineteen-twenties, at Belle Vue House, Devizes, where a much younger Daphne is caught trying to climb inside the family piano! Daphne’s niece Carolyn Scales explained, โ€œshe was asked โ€˜why are you doing that?โ€™ and Daphne replied, she wanted the piano to make a sound between the notes on the keyboard.โ€

    Daphne with brother John

    Iโ€™m grateful to Carolyn for providing some fascinating background into Daphneโ€™s family and childhood in Devizes, something overlooked by the insurmountable information available regarding her work.

    โ€œAll the siblings enjoyed listening to classical music but only Daphne had the ability to create music,โ€ she told me. โ€œIdaโ€™s sisters often joined her to play trios and quartets at Belle Vue House while James did learn to play the cello but was happy to stand aside for more competent players. In his defence Jamesโ€™s fatherโ€™s diaries only mention one musical instrument at their home, a piano declared by a piano tuner as not worthy of tuning. Maybe we underestimate the strength of our Oram artistic genes.โ€

    Daphne at five months, with mother, Ida, brothers Arthur and John

    Daphne Blake Oram was born on the 31st December 1925, to James Oram (1890-1964) and Ida nee Talbot (1887-1972.) โ€œIda ,โ€ Carolyn explained, โ€œwho at heart seems to have been a natural party goer, was plagued by ill health. Daphne was born in Ivy House Nursing Home not because of a fear of losing Daphne but because of Idaโ€™s problems with her legs. In the first photograph of Daphne she is being held by Ida who is sitting in a wicker bath chair with Arthur and John in front of their new home of Belle Vue House.โ€

    โ€œIda was born in Braintree, Essex into a family of drapers,โ€ ย Carolyn said, โ€œwho soon moved to a shop on Maryport Street, Devizes, opposite the top of The Brittox, which they ran from 1888 until 1914. Unfortunately Idaโ€™s father Alfred died in 1896 leaving her mother Alice nee Blake to run the business.โ€ She continued to describe ย Aliceโ€™s six children helping at the shop, and its failure, though ย Ida was in charge of the millinery department, and how later there was a room in Belle Vue House devoted to her hats. Carolyn told of Idaโ€™s painting ย hobby, in watercolours, oils and other mediums.

    Talbot family with parents. Ida on swing with her twin

    Daphneโ€™s father, James, was known in Devizes as โ€œJimโ€ or โ€œJimmy.โ€ He was not Irish but proud of his upbringing off the coast of County Mayo, and โ€œnever lost his soft Irish brogue.โ€ His father Arthur Oram was a farmer and land agent in one of the most deprived parts of rural Ireland, hit hard by the famines of the early 1800s, and as such it was a natural breeding ground for agrarian discontent, later producing some prominent members of the IRA. This caused James to be keenly aware of local injustices.

    โ€œIn 1961, when James took us to see where he was born,โ€ Carolyn expressed, โ€œhe told us he was upset that he was not allowed to go to school with his friends. They were Catholic and he was a Protestant and to highlight the differences James and his siblings had to travel to school in Newport by pony and trap, rather than walk to the local school.โ€

    โ€œI feel sure that our father John was correct in saying that if James had stayed in Ireland he would have become a renowned barrister. Unfortunately, just as James left school there was a change in the familyโ€™s fortunes as The Congested Districts Board on behalf of the British Government were, quite rightly buying estates and redistributing the land among farmers living on tenanted, uneconomic smallholdings.โ€

    Therefore, instead of attending university at sixteen James travelled to Devizes, to help his uncle (by marriage,) Alfred Hinxman, the manager of the Devizes branch of a Salisbury coal merchant.ย  James lived in Devizes for the rest his life, managing the coal merchant until his retirement. Overseeing the distribution of coal in the southwest during the Second World War, James was so horrified by the profiteering he didnโ€™t take a penny for his efforts and received a MBE.

    James Oram, Devizes Mayor

    โ€œJames soon became a trusted member of the community,โ€ Carolyn said, โ€œactive in its civic life, as a magistrate and a school governor. This included being Mayor of Devizes during The Abdication and coronation of George VI.โ€

    โ€œJames also successfully became involved in many businesses including The Devizes Brick and Tile Co. Somehow James also found time for his interest in local history and was a member of various local societies. He could have become wealthy but instead gave away his excess income after ensuring that his family lived in a comfortable style. Every Sunday dinner during the depression of the 1930s they would discuss the families that the brickworks supported, carefully working out if they would have the money to feed their children. The discussion would end by choosing someone who was struggling to hire to cut the Belle Vue House lawn during the following week.โ€

    The Devizes Brick and Tile Co. Photograph by HR Edmonds

    Jamesโ€™ generous nature rubbed off on his children.ย  Daphne actively supported composersโ€™ rights to royalties while she was a Trustee of The Performing Rights Society in the 1970s. ย โ€œIn particular,โ€ Carolyn noted, โ€œDaphne helped to set up the PRS Membersโ€™ Fund that continues to support those registered with the PRS and their families when they are in need of financial help. During the 1980s Daphne arranged Christmas hampers for these families.โ€

    Before Daphne was born the family lived in rooms above the coal merchantโ€™s office at 7 High Street, Devizes. James wanted Belle Vue House, empty at the time but out of his price range, until theย  state of dilapidation dropped far enough, which was just as Daphne was being born. The house would have been at the end of Belle Vue Road, now replaced by Waiblingen Way housing estate.ย 

    Retired designer Paul Bryant, who still resides locally told me he grew up close to Belle Vue House, and recalled her returning to the family home and, โ€œthe excitement that was generated when she was awarded grants from the Gulbenkian Foundation.โ€ Paul expressed โ€œit is heartening to see the ancient horse chestnut tree, then at the end of the Oram’s garden, still surviving in Waiblingen Way.โ€ Meanwhile, local musician Peter Easton has written in request for a blue plaque to be erected in Daphneโ€™s honour.

    Daphne, with the grass roller at Belle Vue House, Devizes

    Carolyn explained how the siblingโ€™s engineering abilities can also be traced to the Oram side of the family. โ€œTheir great uncle John had designed machinery to make barrels for Rockefellerโ€™s oil, and their uncle Arthur oversaw many civil engineering projects in the Indus Valley, now in Pakistan.โ€

    โ€œArthur, aged 9 and John, aged 5 were to share a bedroom with an adjoining dressing room that James agreed they would turn into a workshop,โ€ Carolyn said. โ€œThey had already started their own tool kits and Arthur was delighted when James added a foot controlled fret saw.โ€

    In a letter to John dated April 2003, Arthur wrote it would be the 77th anniversary of their move from the High Street to Belle Vue House: โ€œEvery 20th April was the day of an annual fair on the Green, and Hitlerโ€™s birthday. That one in 1926 was a very special wet Tuesday for us. Our mother was taken the half-mile in a big closed Bath Chair drawn by a man holding the long handle in front, because of her illness with a bad knee. She was helped into their old oak bed in the drawing room, on the right of the door towards the fireplace. In that room there was placed, near the door, the old radio that our mother had bought some years before from proceeds of her Barbola work, with its two bright emitter valves and six volt battery, from which we had news through the general strike of 1926.โ€

    โ€œLater the workshop became home to Johnโ€™s lathe and of great interest to Daphne. John told me that he was sometimes very mean to Daphne when she came to the workshop. At first she had to stay outside the open door and be silent, if she passed that test she was allowed to stand just inside the door for a while before coming closer to John and even helping when possible. John taught Daphne to use a lathe and she had one of his old lathes at Tower Folly, albeit by then worn and no longer a precision tool. John also admitted to teasing Daphne over his Meccano set that she wanted to play with. Daphne had to watch John make, say a crane ,then he would tighten all the nuts and bolts before walking away leaving Daphne to dismantle his work.โ€

    Daphne visits her parents in Devizes

    Carolyn said, โ€œthere were three main early influences on Arthur, John and Daphne namely their father James, mother Ida and their home which gave them space to both work together and follow their own particular interests.โ€

    Iโ€™m eternally grateful to Carolyn Scales, Daphne’s niece, for a fascinating insight into Daphneโ€™s early years and family life, and for the photographs too. It seems her curious childhood nature was focused on what makes music, and her engineering skills were honed early, enhanced by her intrigue and not being allowed to assist by her elder brothers. This led her to create ย the Oramics Machine, her early synthesiser, built in the 1960s, but lost after her death. We should concentrate our efforts on Daphneโ€™s work ย in the third part, and how it shaped modern music……

    All images are taken with permission from the personal collection of Carolyn Scales with thanks. ยฉ2025 Carolyn Scales. Please ask permission before use.


  • Burning the Midday Oil at The Muck

    Highest season of goodwill praises must go to Chrissy Chapman today, who raised over ยฃ500 (at the last count) for His Grace Childrenโ€™s Centre in Uganda, with a little help from talented friendsโ€ฆ.

    Years back as soloist singer-songwriter One Trick Pony, Chrissy organised annual fundraising gigs at the Southgate around Christmas time, but now tuned up a notch with her incredible Americana band Burn the Midnight Oil behind her it was a high noon lock up and load for a Sunday afternoon hoedown at the Muck and Dunder rum bar in Devizes. The better half, Mrs Devizine, has been asking me to take her somewhere tropical, so given such an opportunity, we bused it to The Brittox.

    With Burn The Midnight Oil rightfully grasping the top slot with the same intensity as me holding my pineapple vase of piรฑa colada, all kicked off at half-two with Gary Hewitt-Long performing a rare acoustic set. New to the game, and while I obviously cannot condone a satirical song aimed at a certain rogue local councillor, Gary was unnecessarily bashful, as he acoustically played out some great originals to warm the crowd!

    Perhaps it was the crowd which, understandably nerved him; it sure was building, as Martin Rea sauntered through them, sporting a fashionable bum bag and dishing out raffle tickets.

    A Wiltshire duo new to me, One Plus One may offer sums even I can handle in name, but their performance was delightful. A proficient and lovable pop cover duo to please any event, One Plus One is guitarist Dave, and Emily on vocals, confident to take on an Amy Winehouse cover or two and come up trumps. Chapel Roan’s Pink Pony Club also got a superb makeover, and they polished it off with the seasonal Fairytale of New York; why not?

    Maybe only because our modest local folk legend Vince Bell, who followed, also planned to finalise his sublime set with the UK’s best loved Christmas song, with his wife Lisa as Kirsty MacColl. Though more musical theatre, no stranger to the limelight, Lisa nailed it, and the handsome, pretty, and the queens of New Devizes City crowd never minded the doubled up cover and sang the chorus.

    Vince also offered Chrissy the accompanying chair for a spellbinding middle duet they supposed they should record, and they should. But beginning his set with his divine self-penned melancholic earworms, garnished in percussive rhythm guitar mastery akin to flamenco, and raising the spirit with the more spritely Spiderman Pajamas, Vince is a local treasure and never fails to charm.


    Exactly a year after we first interviewed the original lineup, Burn The Midnight Oil came bursting on and delivered their awesome set with unified passion and precision, seemingly lapping up every minute. You’d be excused for assuming this band has been playing together for decades despite it being less than a year in the new format.

    They appeased the audience with a taste of what they’ve been working on, looked fantabulous, and, most importantly, put 210% into their show. Yet it was arguably the sum of all these parts and the community festive spirit, which made it the wonderful afternoon it was.


  • Daphne Oram; Devizesโ€™ Unsung Pioneer of Electronic Sound

    Part 1: An Introduction

    March 1936: newlywed French telecommunications engineer Pierre Schaeffer relocates to Paris from Strasbourg and finds work in radio broadcasting. He embarks on early radiophonic experiments. Fifteen years of his research, his inventions of various electronic instruments, and collaborations with Pierre Henry would lead them to found Groupe de Recherche de Musique Concrรจte. Musique concrรจte would be the root of the utilisation of modified recorded sound through audio signal processing and tape techniques.

    Across the channel, itโ€™s the St. Clementโ€™s Fair in Devizes. The town hall is decorated with a foliage of oranges and lemons, and the โ€œBells of St Clementโ€™sโ€ was recited with handbells to declare the fair open. Devizes Congregationsts arranged a small eisteddfod, which would be the origins of todayโ€™s Devizes Eisteddfod, founded ten years later to raise funds for the Congregational Church, opposite Wadworthโ€™s Brewery.

    The connection? Well, two cups were awarded by the minister Rev. W.S.H Hallett; one for Ruth Mead for a vocal solo, and the second to eleven-year-old Daphne Oram, for a pianoforte solo. The daughter of James and Ida Oram, Daphne was educated at Sherborne School for Girls in Dorset, where she was tutored in piano and musical composition.

    Daphne Oram as a young girl dressed as Alice in Wonderland with family, for the Devizes Carnival: Source Wiltshire Museum

    At seventeen Daphne moved to London, turned down a place at the Royal College of Music, to become a junior sound engineer at the BBC, where she would โ€œshadowโ€ concerts with a pre-recorded version, allowing the broadcast to continue despite interference or blackouts due to air raids.

    Throughout the 1940s Daphne devoted herself to the pioneering of electronic sound, labouring into the night composing various pieces, most far too avant-garde for the traditionalist BBC bosses to consider publishing. Promoted to music studio manager after a decade, she eventually convinced the BBC to the benefits of electronic music and musique concrรฉte for use in programming; particularly for The BBC Third Programme, replaced by BBC Radio 3. By 1957 they caved, and Daphne was appointed the original co-director of The BBC Radiophonic Workshop with Senior Studio Manager Desmond Briscoe.

    Their early efforts were for radio: radiophonic poems, effects for prevalent sci-fi serials like Quatermass and The Pit, and comedy sounds for The Goon Show. Yet Daphneโ€™s motivation remained in electronic music production, and she resigned in 1959 to freelance, moving again to Kent.

    Daphne Oram was way ahead of her time, a visionary frustrated with the direction The Radiophonic Workshop was heading, because electronic music was still in its infancy, especially the acceptance of it. The workshop continued without her and eventually branched into music, as television took over.

    A trainee assistant studio manager called Delia Derbyshire joined the workshop, creating numerous scores and effects for television programmes. Most notably in 1963, when Derbyshire electronically modified Ron Grainerโ€™s Doctor Who theme, hailed as the pinnacle moment in the advancement of electronic music in Britain. Though, BBC bureaucracy as it was, Delia was never credited on-screen for it until twelve years after her passing, in a 2013 fiftieth anniversary special, The Day of the Doctor. Her work has since been acknowledged and revered, whilst Daphne Oram remains a relatively unsung heroine in the development of electronic music.

    Image: Daphne Oram

    Futurist Luigi Russolo argues in a 1913 letter to composer Francesco Pratella, a manifesto referred to as The Art of Noises, that the ear will become accustomed to noises of urbanisation and industrial soundscapes, and thus mankind will develop a new sonic palette as technology progresses. A fascinating and accurate theory into the evolution of sound, in which Russolo encouraged musicians to listen to city sounds, which will putatively be the cymatics of future music.

    I find myself reasoning if this explains why electronic music today is most popular in urban environments rather than rural. Due to music famed promoter Mel Bush, Devizes retains an affection for the blues, using authentic analogue instruments. Producers of electronic music are rare here. If you want dance music, which greater acquires the usage of technology than rock, blues, or folk, you may need to head towards Bristol, Swindon, or Salisbury.

    But coming from a more urban background and growing up in the eighties and nineties, personally Iโ€™ve never outcasted electronics in music. Even if a musician is using analogue methods to create music, they will at the least use the internet to promote them. With eclectic tastes, I also love electronica, hip hop, dub, and dance music, and I love to explore the origins of it. So, this research project has me fascinated, the life and work of Daphne Oram, and her growing up in Devizes. I wondered how she became involved.

    A graphical sound technique where shapes etched into filmstrips are read by photo-electric cells and transformed into for various parameters of sound is called Oramics, after its creator Daphne Oram at her Oramics Studios in Kent. She expressed hope that her work on Oramics would โ€œplant seeds that would mature in the 21st century.โ€ Her legacy is commemorated in the annual Oram Awards, and the 2022 BBC Masterbrand Sonic, was internally known as “Daphne,” but still in her hometown sheโ€™s not widely known, neither are her early years spent in Devizes well documented.

    This month, Daphne would have celebrated her one-hundredth birthday. So, join me in an exploration of her life and work in a series of articles. We will talk with Daphneโ€™s niece, Carolyn Scales, about her early years in Devizes, explore her work further, and talk with a local producer of electronic music about her legacy and the impact her work has on them. Because one thing is certain, without Daphne Oram music today would sound vastly different, at least it would in the UK, and during the boom of pop, as you should be aware, Britain led the way. I believe that it is worth commemorating and honouring her here in her birthplace, Devizes.


  • Wiltshire Council โ€œUpdateโ€ on Northgate Street Lane Closure

    Yesterday Wiltshire Council published an โ€œupdateโ€ on the lane closure on Northgate Street in Devizes as the fire which caused it reaches its first anniversary. Only, it’s more a โ€œreminderโ€ than an โ€œupdate!โ€

    It begins, โ€œthe fire, in November 2024, caused significant damage to the Grade II-listed property and since then the council has had to install a single lane closure to keep people safe. The council recognises the inconvenience this is causing and is committed to reopening the road as soon as possible.โ€ย Yeah, knew that bit already.

    It continued justifiable, stating โ€œthe council has no legal powers to compel the building owner to take further action.โ€ Then the Deputy Leader of Wiltshire Council, Mel Jacob, said how frustrating it all was, and how they were โ€œkeen to get the road reopened as soon as we can.โ€ Knew that bit as well.

    Fair enough, red tape and all that baloney I get, but the remainder of the information simply says what an inconvenience it’s been, and its impact on the community; who knew that bit?!

    ย It suggests they’re in talks, but pledges โ€œmore positive news on the road early in the new year.โ€ If the word โ€œupdateโ€ needs replacing with โ€œreminder,โ€ the word โ€œmoreโ€ here should be swapped out for โ€œsome,โ€ for as of yet it seems there isn’t any news about it at all, let alone โ€œpositiveโ€ news; just some chatting, possibly over tea and cake. Youโ€™ve got a new bus shelter, be happy!

    But hey, even if I cannot confirm about the tea and cake, it’s 14 sleeps until Santa, so let’s keep our glasses half-full, and hope he miraculously brings a resolution in his sack. For there’s been a few advantages, such as free town centre parking for the most daring and cheeky!

    And think of it this way, the serious risk of turning right into Station Road from the mini-roundabout has been lessened by its more consistent usage; it seems now the occasional driver coming from the town direction acknowledges it as a roundabout, actually observes and obeys that technical hitch in the highway code known to others as โ€œthe right of way!โ€

    Before all this a right turn there was a white-knuckle ride only for the daredevil stuntman or those on the school run; there were more bumps there than on the road to Potterne.

    But one roundabout up into town, immortalised as โ€œThe Brewery Roundabout,โ€ has been a fascinating study into levels of human kindness in Devizes. As whilst drivers can exit the Market Place there, there’s no traffic crossing the roundabout in which to allow them their right of way. At peak times this can be challenging and a smidgen annoying. My last count of human kindness, as traffic flows at a snail’s pace from the congested New Park Street, was a fantastic new record of eighteen inconsiderate to one thoughtful driver!

    Those in the know about levels of human kindness in Devizes will nip down the Station Road junction from the Market Place, if they wish to ever exit the town westward, and being this road is narrow with parking spaces, it’s become a two-way rat run, whereby the 20mph limit is considered only for “snowflakes.”ย 

    All of which could’ve been avoided if there was a thing called โ€œplanning,โ€ whereby Station Road couldโ€™ve been reduced to one way coming out of the Market Place, and the single lane from the Brewery roundabout was used for coming into the Market Place. But no worries, because Wiltshire Council are talking about it. It’s not progress, is it? It’s more like poking a dead dog with a stick, hoping it might get up and run.


  • 7 Hills Spring Festival Comes to Trowbridge

    Is it time to start thinking about spring? I think so! Bath music promoters 7 Hills are moving their annual spring festival from the city to Trowbridgeโ€™s Old Town Hall. If youโ€™re already buzzing for the 2026 festival season to arrive, check this March offeringโ€ฆ..

    7 Hills regularly organise music events at The Night Jar in Bath, a glorious bar upstairs at the Bath Pizza Company, part of the hip Green Park Brasserie close to the railway station. Many gigs there have a โ€œpay if canโ€ policy, and present the likes of Luke De-Sciscio, Elles Bailey and Steve Cradock of Ocean Colour Scene. Their festivals are also usually held in Bath, but this coming year a spring one comes to Trowbridge.

    Chris Hoar of Courting Ghosts explained he, โ€œreached out to them initially to say I was planning a festival in the newly renovated Old Town Hall, just to check it didn’t clash with them, and Matt said let’s do it together in Trowbridge as a spring festival.โ€

    Concrete Prairie

    Itโ€™s an all day folk-rock festival, happening on Saturday 21st March, tickets are on sale now at ยฃ39.50. Thereโ€™s a number of acts new to me on the lineup, which is good; The Delines, Our Man In The Field, Joseph Arthur, Hannah White, Leander Morales Music, Chris Greenhalgh, Bluebeard and the Desperate Hours and Biff Country. Some to tick off my must see list, like AQABA, and others which I will never tire of witnessing, particularly Concrete Prairie, Thieves, Fly Yeti Fly and Matt Owens, with Chrisโ€™s band Courting Ghosts, of course!

    Courting Ghosts

    Following an extensive and transformative refurbishment, the historic Old Town Hall will host this inaugural 7 Hills Spring Festival, a landmark cultural event marking a renewed era of artistic ambition for the region. Conceived as a celebration of world-class songwriting and contemporary creative excellence, the festival assembles an exceptional line-up of internationally esteemed performers and compelling new voices.

    The Delines headline, widely regarded as one of the most evocative and accomplished bands of their generation. Praised for their cinematic soul, lush arrangements and profoundly humane storytelling, critics have called The Delines โ€œone of the finest Americana acts working todayโ€ and hailed their work as โ€œexquisite, elegant and utterly transportive.โ€ Their appearance at 7 Hills Spring Festival promises a rare opportunity to witness a band consistently described as โ€œamong the very best songwriters and performers on either side of the Atlantic.โ€

    They are joined by Our Man in the Field, whose transatlantic Americana and increasingly acclaimed live performances have captured audiences across Europe and beyond; the distinguished American singer-songwriter Joseph Arthur, celebrated for his poetic intensity; Matt Owens & The DVP, whose dynamic blend of modern folk, rock, and richly crafted lyricism promises one of the nightโ€™s most electrifying sets; and multiple AMA UK Award Winner,ย  Hannah White, widely recognised as one of Britainโ€™s most profound contemporary songwriters. Rounding out the bill are Courting Ghosts, an emerging band whose growing reputation reflects a bold and distinctive artistic voice.

    Fly Yeti Fly

    Showcasing newly enhanced performance spaces, architectural restoration, and a revitalised artistic vision, the renewed Old Town Hall stands as a major cultural milestone. 7 Hills Spring Festival will not merely highlight the buildingโ€™s transformation, but also usher in a bold new chapter for Trowbridgeโ€™s cultural landscape.

    With the absence of Bradford Roots Festival this coming year, usually in Feb at The Wiltshire Music Centre, I think I can pad it out until then; maybe go into hibernation until March!

    Tickets HERE.


  • St John’s Choir Christmas Concert in Devizes

    Join the St Johnโ€™s Choir and talented soloists for a heart-warming evening of festive favourites, carols, and candlelit Christmas atmosphere this Friday 12 th December at 7.30pm…..

    The spectacular, and oldest church in Devizes, St Johnโ€™s Church has a Christmas Concert on Friday with All proceeds go to Juliaโ€™s House and St John’s Church.

    Tickets are ยฃ10 for adults, free for accompanied children. Tickets are available via Ticketsource, Devizes Books, or by scanning the QR code in the poster below.


  • Devizes Assize Court Saved; A New Home for Wiltshire Museum

    This afternoon I find myself contemplating what the future holds for historical discovery and learning for all ages, fun and educational exhibits and events in Wiltshire; and it looks positive! Devizes is blessed to have Wiltshire Museum already, but the future looks even better, the future isโ€ฆ. Assizes!

    Wiltshire Museum announced today, The National Lottery Heritage Fund has awarded ยฃ8.5 million towards the ยฃ14.8 million Assizes for Devizes project to transform the derelict Assize Court building into a spectacular new home for the Museum. Derelict for decades, the once huge court house of architectural distinction, on the Heritage At Risk register, The Assize Court has been a sour issue for too long, and in its current condition is sadly an eyesore. The project will restore its historic features, and breathe new life into the building; Wiltshire Museum and in turn, Devizes will thrive.

    Since 1874 The Wiltshire Museum has been delighting visitors at Long Street in Devizes, and is home to nationally important designated collections, including stunning treasures from the Stonehenge and Avebury World Heritage Site landscape. It also hosts many exhibits, educational events and lectures for all ages, childrenโ€™s craft workshops and so much more.ย 

    Director of Wiltshire Museum David Dawson said, “we are delighted that the Heritage Fund has demonstrated its confidence in our plans to transform the former Devizes Assize Court into the new home for a reimagined Wiltshire Museum. At last we will be able to give the museumโ€™s internationally significant collections a fitting home, while rescuing an important at-risk listed building and providing a focal point for town centre renewal. We are grateful to National Lottery players, our loyal members and our other funders, existing and future, for their commitment and support.โ€

    Peter Troughton, CVO CBE, Chair of Devizes Assize Court Trust, which initially saved the building by purchasing it in 2018 with the support of generous donors, said, โ€œthe National Lottery Heritage Fund award to the Wiltshire Museum is fantastic news! It will transform the museum, save the historic Assize Court building and give the people of Devizes a community hub like no other. It will be an enormous help to the campaign to achieve the vision for the award-winning museum, already supported by the town, Wiltshire County Council and leading charitable foundations.โ€

    Read More HERE


  • For Now, Anyway; Gus White’s Debut Album

    Featured Image: Barbora Mrazkova

    My apologies, for Marlboroughโ€™s singer-songwriter Gus Whiteโ€™s debut album For Now, Anyway has been sitting on the backburner, and itโ€™s more than worth a quick mentionโ€ฆ..

    Gus White is a respected folk musician, record producer, festival organiser, and community maker with a deep love for the rooted and the heartfelt. His production credits are the string that ties together an emerging scene that refers to itself as Third Wave Folk, involving a collective of artists which record with Gus at his Wiltshire studio. This includes microtonal and genre-fluid rising-star Maddie Ashman, folk singer Minna, and UK folk-charting artist Ann Liu Cannon. The latter is our connection, fondly reviewing Ann Liuโ€™s album Clever Rabbits back in July.ย 

    Though, in the short wintery month this album has been simmering itโ€™s made number twenty-six on the Official Folk Album Charts, making Gus rightfully charting too. An initial listen from yours truly and I can understand why. I do declare it as instant as Douwe Egbertsโ€™ Pure Gold, only in rapture rather than coffee! Itโ€™s chock full of cool vibes, that breezy feelgood Sunday morning acoustic which is too darn soothing itโ€™s impossible to criticise. As for Gusโ€™s barista skills, Iโ€™ve no confirmation, but going on his music, I could take a wild guess heโ€™s a tea fellow.ย 

    Eleven songs strong, put the kettle on yourself, and allow Gus to get on doing his sublime thing! Thereโ€™s no rise and fall, the melodies flow like the Iguazu Falls. If I pick out individual elements into Gusโ€™s melting pot, like the doo-wop-ish structure of middle-track Terrible Things, the bluesy guitar picking in the following song, Head Held High, or jazz drum percolate in Please, Forgive Me, theyโ€™re all so subtly placed. If Gus defines it Third Wave Folk, thatโ€™s what it is; a composition borrowing from Americana and English folk, but neither whole; a gorgeous cherrypick from both. It has the universal folk-rock feel of Goerge Harrison and Cat Stevens, and is equally as uplifting.

    Though some themes are negative, the overall ambience is pessimistic; if youโ€™ve a bad day, so what? Watch the rain trickle down the window outside with that lukewarm brew in a slightly stained chipped mug, listen to this and contemplate, life goes on, youโ€™re rising above it.

    If the penultimate song on For Now, Anyway, After So Long is rinsed in a dejected romantic memory, Gus carries it as skilled as Tom Petty, and the final song Still Learning lifts the spirit one final time like a contemporary Dr Hook, with that beguiling cheerful chorus. It departs your ears leaving you aching for more; a beautifully and skilled production from someone who comes across as a modest genius tea-drinker. Gus produced, mixed and mastered For Now, Anyway, a defining statement as a songwriter and a prime example of his meticulous production work.ย 

    Image: Jeremey Prout

    Authentic too; recorded in 2021, with a live band of friends and local musicians, Gus White approached this stunning album like any other project, stating he was โ€œtrying to capture the magic, and the essence, of the song in a single live performance, in the way real instruments and human voices blend when left to their own devices.โ€

    Gus, also a member of folk band Dead Pages, is co-organiser of Late Spring Folk Festival, which celebrated its third iteration this summer at Dummer Down Brewery near Micheldever, since forming at a Wiltshire pub venue. This yearโ€™s is Saturday 23rd May. If he showcases this album there itโ€™s worth the reasonable ticket stub alone.

    For Now, Anyway is out now on Man Made Tigers. Available to buy on CD & vinyl exclusively from Sound Knowledge in Marlborough and is available across streaming platforms. Donโ€™t procrastinate like me, as Iโ€™m sorry I did now Iโ€™ve heard it.


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

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.

     


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.


Cold Water; New Single from Lottie J

Wasn’t it in my review of Talk in Code’s latest single where I waffled on the subject of my passenger seat DJ on trips to her football, and thinking about it, every time she gets in the car even if we’re only going half mile up the road?

Matter of factually then, my daughter ensures I’m as up-to-date with pop, as far as a middle-aged pop can be. So it may surprise you to note this rocking grandad knows his Dua Lipa from his Doja Cat, just about, and I know the “peng” sound of now, and Lottie J’s single is bang on the mark.

Though, I’ll probs get dissed by da yoot for my hopeless attempts to align with the trends in lingo, and peng is probably, like ancient history; soooooo last decade. But everything about Cold Water rings contemporary pop hit to me.

Lottie has come some way from teen singing her own heartfelt compositions at a piano on the local circuit, and the days when Jamie Cullum encouraged her upon visiting her school to donate his old piano.

If she has stars in her eyes, they’re directed and affirmed in a business acumen which knows exactly how to point them in the right direction; Cold Water confirms this. It is fresh, it is the pop sound of now, and assures me, through the chosen path of self-promotion in an era which allows it through streaming sites, Simon Cowell is not necessary. I predict we will be hearing more from Lottie J, bigger and better each time, and with her sublime voice and beauty abound, she is the pop star in the making.

It’s cool, emotionally prevoking, it’s pop-tastic beats and has all the ingredients of a contemporary r&b come dance hit. All it takes is word of mouth and online sharing. I usually run anything modern past my daughter, who mostly scoffs at my attempts to influence her musical taste, but on the position of Lottie J we mutually appreciate her talent. And that’s good, innit, I mean she could be my excuse for attending Radio 1’s Party in the Park. Post Malone, we’re on our way!

No, he’s an American rapper, no, he hasn’t got a black and white cat; get with the program!

Streaming Link

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.


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.

0_ZLZc3c-m3HYdeF0L

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.

atari2

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.

atari3

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!


Adverts & Stuff!

rockgazsuperheroholdclubeatout1wp-15952278837674305734103090329981.jpgrainbowlogo

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.

blank4

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!


Adverts & Stuff!

covidcampInDevizes-Logo-e1585760867966superheroholdclubrainbowlogoasam2eatout1

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!

indie7

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.)

indie4

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.

indie5

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.

indie6

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.

indie2

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?

indie3


Adverts & Stuff!

covidcampInDevizes-Logo-e1585760867966plankshead1

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.

Adverts & Stuff

covidcampInDevizes-Logo-e1585760867966plankshead1operationteddy1

April Warming with Asa Murphy as Buddy Holly

The Corn Exchange, Devizes most prestigious and largest venue, sets to rock n roll on April 6th when Asa Murphy and gang brings his hit Liverpool show, Buddy Holly Lives to town.

Posting a rehearsal video on Facebook this week proved a plan, it sounds marvellous. Asa also made an appearance at Devizes Books last week. Yet, the weekend may not have been the most carefully selected, the popular Long Street Blues Club hosts the Billy Walton Band, while The Melksham Rock n Roll Club are bound to pull a crowd for the Hurricanes, all on the same night. With rock n rollers spoiled itโ€™s just to express why Buddy Holly Lives is my personal choice for the most unmissable event this April, hopeful to reach to an audience beyond rock n roll aficionados, and I base it upon the simple fact Buddyโ€™s music was such it transcends its genre.

Timeless performers of Buddyโ€™s level of talent and prolific drive come around one in a generation, if weโ€™re lucky. Above all of their peers, Buddy Holly and the Crickets were the experimentalists, the pioneers who avoided rock n roll crashing out of fashion with their diverseness in musical formats. The unpretentious, simplest formulas are the backbone of every pop classic, take the ease which Buddy mastered this notion in a tune like โ€œItโ€™s Raining in my Heart,โ€ or โ€œIt Doesnโ€™t Matter Anymore.โ€

 
But if we are to strip down a song for analysis, take โ€œEverydayโ€ as a prime example of what Iโ€™m attempting to get at. An out of studio rehearsal of the song, where without drums Jerry Allison tapped the rhythm with his hands on his thighs, it is Buddyโ€™s immediate eureka moment to keep it as that, rather than use drums which represents the genius in simplicity which the Beatles borrowed, the same cognitive creative virtuoso producers like Quincy Jones, Lee Scratch Perry, Giorgio Moroder, or William Orbit would adopt to make a song into a hit, in their respective eras.

 

https://www.youtube.com/watch?v=ty31QY5ZGHo
Do you see where Iโ€™m coming from? It is why Iโ€™d recommend any contemporary aspiring musician to take heed of Buddyโ€™s catalogue, and also why Iโ€™d advise, if thereโ€™s one show this month you need to be at locally, itโ€™s this homage to the utmost pioneer of pop, aside being a fan rock n roll, or not.

 
This is without the added detail itโ€™s a celebration of the life of Bruce Hopkins, who through his music raised substantial amounts for Cancer Research, a donation will be made to charity, and Asaโ€™s professionalism and dynamic charisma. Bought to together with Buddyโ€™s music, with narrative, Iโ€™m not only looking forward to this, but dragging my mum halfway across the country to come see it! As a Buddy fan since early teenage, she will be a far harsher critic than me, Asa!

 
Tickets are ยฃ20, available now from Devizes Books.

 

Adverts & All That!

 

buddyhollylivesSpring concert POSTER 2019. C.inddhilleggjamieowlabba26thknati6thmade in dageborntorumericernieaveburyrocksonceupontimehauntedpostvinylrealm

Don’t throw your love away.

Sixties Mod group The Searchers are really at the Melksham Assembly Hall on Thursday. Up there with Merseybeat greats, The Beatles and Gerry & The Pacemakers, pop wouldn’t be the same without them.

With only one original band member, John Mcnally and Frank Allen who joined the band in 1964, they’ll still put on a great, memorable show.

 

The_Searchers_(1965)
The Original Searchers in 1963

 

Okay, we’re talking about total record sales well in excess of 50 million here, in their heyday their immaculate pop style was sensational. The Searchers still have great appeal today to young and old.

Tickets ยฃ21 from Melksham Assembly Hall (01225 709887) and online: www.ticketsource.co.uk/date/389779