Today is Bandcamp Friday, Best Day to Bag Our 4Juliaโ€™s House Compilation

As the headline suggests, itโ€™s Bandcamp Friday, August 6, 2021, when the music platform waivers its fees, from midnight-to-midnight Pacific Time. Thereโ€™s no better time to buy our awesome fundraising compilation album as an average 93% of your tenner will go to Juliaโ€™s House Childrenโ€™s Hospice.

Bandcamp Friday has been operating since March of 2020, on the first Friday of every month. Bandcamp is a wonderful site, it doesnโ€™t prioritise signed artists, but level pegs all musicians. They waivered their shares to help support the many artists who have seen their livelihoods disrupted by the pandemic. You can explore Bandcamp forever, finding your favourite artists, local music, or do as I like do sometimes, and venture off for a musical journey beyond your usual haunts. You can trek to a country and find all manner of musical styles youโ€™ve never heard before, safe in the knowledge, unlike streaming sites, it is fair trade for the artists.

Streaming sites offer a pittance of revenue share to the artist, they have to get millions of listens to make the price of sausage roll, whereas Bandcamp is a buying service, where merchandising can be added too. This is why I chose the site to launch our compilation album. Money comes straight over to us when you buy, and weโ€™ve currently raised over ยฃ150 for Juliaโ€™s House, please help us to raise this bar.

Besides, itโ€™s a cracking album, where if youโ€™re in the local area, name your favourite local artist, and I thereโ€™s a high chance theyโ€™ll be on it, and I guarantee youโ€™ll discover some new ones too. 46 full length songs of various genres, thoughtfully placed in sections according to those genres, to create a soundscape encompassing everything thatโ€™s amazing about both our local music scene, and beyond, artists weโ€™ve featured on Devizine in the past.

In fact, I call it an album, but a โ€œboxsetโ€ would be a more appropriate term if it was a physical product. Unfortunately, it is only as a download, as to make it an album would take over 5 CDS, and the expense of producing a product is too much to risk taking any profits made for the charity. I would be keen to hear from a business willing to sponsor the production of a small run of CDs, but as it is, download it is. Thereโ€™s a good thing with download, your purchase is stored in a cloud, so youโ€™ll never lose it as you have unlimited downloads of it. You can transfer it from one devise to another, you could burn it onto your own CD, if you wished.

It will never fail to amaze me, just how many musicians rallied to donate a song to this project, and Iโ€™m forever grateful to them all. Artists you should branch out to, and buy some of their albums and singles, as Iโ€™ve handpicked these fantastic people, so you can be rest-assured of their quality and talent.

For detailed track listing click here, but hereโ€™s the lowdown of who youโ€™ll be hearing on this musical journey of over three hours, in order of appearence: Pete Lamb & Cliff Hall, King Dukes, Erin Bardwell, Timid Deer, Duck n Cuvver, Strange Folk, Strange Tales, Paul Lappin, Billy Green 3, Jon Veale, Wilding, Barrelhouse, Richard Davies & The Dissidents, Tom Harris, Will Lawton โ€“ Evanescence, Jamie Williams & The Roots Collective, Kirsty Clinch, Richard Wileman, Nigel G. Lowndes, Kier Cronin, Sam Bishop, Mr Love & Justice, Barmy Park, The Truzzy Boys, Daydream Runaways, Talk in Code, Longcoats, Atari Pilot, Andy J Williams, The Dirty Smooth, SexJazz, Ruzz Guitar Blues Revue, The Boot Hill All Stars, Mr Tea & The Minions, Cosmic Shuffling, Blondie & Ska,The Birth of Bonoyster, The Two Man Travelling Medicine Show, Julie Meikle and Mel Reeves, Meru Michael, Cutsmith, The Tremor Tones, Big Ship Alliance, Feat Johnny2Bad, Robbie Levi & Stones, Urban Lions, Neonian, First Born Losers.


Disenchanted Webb

Swindonโ€™s one-man red-hot chilli pepper, Webb is about to blow your mind, speakers and pants off with his new EP Disenchanted; Iโ€™ve heard it, and live to tell the taleโ€ฆ.

First impressions last, and Iโ€™m having one of those mornings. Perpetual drizzle, darker mornings conspicuously drawing nearer, and other trivial irritations which I canโ€™t quite put my finger on, are building to a generally low-spirited mood. Tedious has the eighties pop mix Iโ€™m listening to become, even nostalgia cannot help me. I stop for a break, knowing Iโ€™ve got Ryan Webbโ€™s new EP Disenchanted to review, which promises to mark the emergence of WEBBโ€™s new, heavier direction. This is displayed by the forename being dropped, saving as Webb.

I consider playing the Lost Trades, for their folky calmness will do wonders for my wellbeing, and I suspect Disenchanted might have the opposite effect. Though I acknowledge it will be of high quality, Ryanโ€™s sound has always been substantial, heavy rock or metal isnโ€™t my bag, and Iโ€™m usually highly critical of it. Donโ€™t do it, I deliberate, last thing they need is for me to be set to whinge mode. But I did anyway, and given all algorithms, I worried this could head south rather quickly.

The five track EP includes the previously released track โ€œDONโ€™T!โ€, which we reviewed in May last year. I didnโ€™t headcount the tracks but noted, after a while, Iโ€™d heard the one playing before; itโ€™s gone around on repeat unnoticed, Iโ€™ve been sucked in, and it surpassed my preconceptions by a country mile. Ha, turns out it did suit the mood after all, in fact, it fitted all too well, and is, essentially a magnificent piece of music.

Now, given all Iโ€™ve said, about heavy rock not being my cup of tea, and this is something rather special even to me, if you are partial to the heavier weight of rock, itโ€™s got your name all over it.

So, now Iโ€™ve awarded my mind the task of figuring out why it works so well. And to do this is to honestly unravel why I maintain qualms about metal. Donโ€™t get me wrong, after the hip hop boom in the eighties became somewhat tiresome, like many I looked towards the soft metal genre for solace; I was shot in the heart too, just like Bon Jovi, longed for crazy, crazy nights, and if Heart sang how can I get you alone one more time when all they had to do was ask me, Iโ€™d be content. And as student years rolled in, I lost myself in the classics. Noting if it was compulsory for every soft metal band to sound like Jimmy Page, which while this is no bad thing, the vocal trend over time seemed to metamorphize into a hackneyed caricature of the voice of Satan. My qualm begins here, you donโ€™t know if Satan actually sounds like that, all coarse and demonic, he could have a camp voice for all you know!

There it is, the negativity, the hellish themes of death and destruction, and the long hair; I donโ€™t want to bring my, or anyone elseโ€™s daughter to the slaughter, if you donโ€™t mind. Even if itโ€™s tongue-in-cheek, times when I want to push the extensive fringes of metallers from their foreheads so they might see the beauty in life, the positives. Nu-metal, I say, feels like a long stretch to the elements I favour, the frenzied driving passion of Zeppelin, of The Ace of Spades, even Black Sabbathโ€™s Paranoid Iโ€™ll give you.

And hereโ€™s where Disenchanted fits; contemporary with nods to the classics, the vocals more on Page than Beelzebub, and Webb can hold a note like a tenor, while sublime drums roll over it blissfully. This fits because it’s precisely the opposite of mindless headbanging for headbanging sake, it’s composed and constructed with clarity and a truckload of talent.

The reason the EP rolled on unnoticed is because it captures all that is positive, all the elements I appreciate of the genre. Webb says, โ€œIโ€™m really excited about Disenchanted. Itโ€™s an EP that I am really proud of, and I feel that now I have found the right direction for my music,โ€ and proud he should be, for in technical jargon, Disenchanted can be summed as oomph; here, have a bit of that.

It amplifies a quote from my review of the single, โ€œa one-man red-hot chilli pepper.โ€ Ryan wrote, produced, sang, wailed his guitar, recorded and mixed this track in his studio. The only collaborators being Dave Collins on Don’t, the mastering engineer for Metallicaโ€™s last album, and Pete Maher who mastered the whole EP; heโ€™s mastered the Rolling Stones and the Killers to name but a few.

Within seven seconds it pounds, the stunning lead single Concrete Beds; oh, those rolling drums, proficient howling guitars and Webbโ€™s mighty soulful vocals; it rocks. Disenchanted demonstrates the multi-instrumental talent that makes him unique.

Thereโ€™s acute narrative to boot, Concrete Beds aptly homelessness themed, Iโ€™m Standing Here erotically scorching, the third track though, Secrets is a haunting ambient caution to bottling up, and debatably the most poignant on the EP. When Darkness Falls lifts the tempo once more, and is heavy, but Iโ€™m still engrossed, then the finale, Donโ€™t rips you a new arsehole, the riff beguiling, the considerable power and passion launched into this is exceptional.

The test of good โ€œdrivingโ€ rock is just that, your footโ€™s tension on the accelerator is judge and jury, and Disenchanted will have your pedal to the metal. Itโ€™s unleashed to the world next Saturday, the 14th August, and tickets are now available for the launch show at The Vic, Swindon.

CD pre-orders are available directly from WEBBโ€™s online store: https://www.webbofficial.com/product/disenchanted-pre-order

You can also pre-save/pre-add to your favourite music platform https://ditto.fm/disenchanted

I suggest you do, then hold on tight to the nearest thing nailed down.


Hotting up for August 2021: Things to Do Across Wiltshire and Beyond

If July saw the gradual return to normality, and cautiously events crawled back with a welcomed but awkward feeling, while it may be hugely debatable if weโ€™re doing the right thing, or not, August is warming up to be stonker. Events of all types are flung up each day, itโ€™s hard to keep track and up-to-date, nevertheless I try.

Fingers crossed it doesnโ€™t go Pete Tong. Such a divided issue with good arguments on each side, Iโ€™m not about to start ranting for either, but I salute everyone organising events, at great risk to themselves financially. All I will say is, it is vital for the success of any event and the continuation of them in general, that we still apply certain rules, restrictions set by the organisers, and adopt the necessary etiquette when attending them. We know what the precautions are, theyโ€™re second nature now. The government passed the buck, it is up to us, each and everyone of us to think for ourselves, respect otherโ€™s decisions on how to act, but I appeal, act responsibly and long may this continue.

Without further-a-do then, hereโ€™s what weโ€™ve found on Devizine for August. Itโ€™s far easier to knock this article up with providing too many links, they can be found at the event calendar, and for family events throughout the school holidays, check here; but please do check for updates, itโ€™s never an exhaustive thing, new events are being added. Said that bit before, but it is even more vital to check ahead, to ensure events are going ahead as planned, and what restrictions might be in place at them individually. Have a great August, stay safe.

Week 1:

Kicking off on Monday August 2nd with the +5 Holiday Club at The Farm Cookery School. Tuesday 3rd and running until Thursday 5th August, RW Football School Summer Football Camp are at Green Lane, Devizes, ages 6-11.

Wednesday August 4th, then. Chippenham Museum host a Childrenโ€™s Art Walk. Take a walk, through Monkton Park for this fun arty session. You will receive a pack with pencils, crayons and plenty of paper and join local artist Kirsty Jones to explore the wonderful setting of the park.2pm โ€“ 3pm. ยฃ4 per child. Recommended age 6 and above, all children must be accompanied. Meet at the town bridge entrance to Monkton Park. Thereโ€™s also the +8 Holiday Club @ The Farm Cookery School.

Wednesday also sees the first Junior Actors with Lucia, for school years 6-9, for the Youth Theatre Summer Workshop at the Wharf Theatre, Devizes.

Thursday 5th and the Summer Kidโ€™s Art Club at Wiltshire Scrapstore starts on Bowden Hill, Lacock. Sessions from 10:30 am โ€“ 12:00 pm, run every Thursday and Friday through August.

Our first August festival starts Thursday, Wickham Festival in Hampshire, where Van the Man headlines, and the Love Summer Festival at Plympton, Devon starts Friday.

Thereโ€™s an interesting-sounding new family musical written and produced by Mel Lawman staged at Bathโ€™s Forum on Friday 6th -Saturday 7th Miss Red. Devizes folk support this, because our homegrown talented twelve-year-old, Jessica Self from Centre Stage Academy of Dance in Devizes and Stagecoach Trowbridge is in the cast, playing Daisy Blewitt. We wish you all the best, Jessica.

Friday 6th also sees the Salisbury Comedy Festival start, Black Sabbath tribute, Supernaut play the Vic in Swindon, and HoneyStreetโ€™s Barge will be kicking as the Mid Life Krisis Collective head down there.

On Saturday 7th time for Sheer Music to put aside their lockdown TV presenting skills and get on with what they do best, hosting gigs. And what a way to start, itโ€™s Frank Turner at the Cheese & Grain. Also, catch the amazing Kevin Brown the Southgate, Devizes, and those mods, The Roughcut Rebels play the Greyhound in Trowbridge.

The wonderful Strange Folk are at The Three Horseshoes in Bradford on Avon. Concord Drive, Transfer Window and Man in Vest play Swindonโ€™s Vic, Jive Talkinโ€™ perform the Bee Gees at Chippenhamโ€™s Neeld Hall and itโ€™s The Bath Festival Finale Weekend, where McFly headline.

For Sunday chilling, on the 8th, get down to the Queens Head in Box where Schtumm presents The Lost Trades with support from Lee Broderick, alternatively the Neeld play The Rod Stewart Songbook.

Week 2:

Monday 9th August thereโ€™s a +8 Holiday Club, The Farm Cookery School and +11 on Tuesday.

Wednesday sees another Youth Theatre Summer Workshop, at Devizes, the Wharf Theatre, check their website for details. Chippenham Museum also hosts a Writing & Performance Workshop with performer Ruth Hill, for ages 8 and above. More Summer Kidโ€™s Art Club at Wiltshire Scrapstore on Thursday and Friday, and The Cake Lady takes The Farm Cookery Schoolโ€™s +8 Holiday Club.

Friday night, Iโ€™ve got Stop Stop playing Swindonโ€™s Vic, and thatโ€™s it so far.

Saturday 14th, Cobbs at Hungerford have a charity Emergency Service Day, should be fun for the little ones. For the grownups, cider fest at the Civic in Trowbridge with the Mangled Wurzels.

Lewis Clark is at The Southgate, Devizes, Shepardโ€™s Pie at Wanboroughโ€™s The Harrow, and Webb, formally known as Ryan Webb has this EP launch party at Swindonโ€™s Vic, with Broken Empire and Land Captains in support. Hope to get a copy of this for reviewing, some clog in the pipeline at the moment. But hey, itโ€™s also Buckfest at Marlborough The Roebuck where the loud and proud Humdigger headline.

Bedpost, Transfer Window and Pool play the Vic in Swindon on Sunday.

Week 3:

+11 Holiday Club at The Farm Cookery School on Monday 16th, and the RW Football School are in Melksham. Suitable for ages 6+, Pound Arts welcome Scratchworks Theatre Companyโ€™s joyful and mischievous show to Corsham Almshouses, for an outdoor performance of The Grimm Sisters.

A welcomed return of events at Melksham Assembly Hall on Thursday 19th, with Neil Sands Bringing Back the Good Times; olโ€™ time favourite show tunes from the 40s, 50s & 60s and a heart-warming tribute to Dame Vera Lynn.

Friday 20th and Jack Deeโ€™s new show, Warm Up is at Chippenhamโ€™s Neeld Hall. Iโ€™ve nothing else for Friday night yet, but Saturday21st, woah, festival time!

First up, is where I plan to be, Mantonfest, near Marlborough, with Blondie tribute Dirty Harry, Dr Feelgood, Barrelhouse, Richard Davies & The Dissidents and many more. Over the downs, OakStock at Pewseyโ€™s Royal Oak is another safe bet; Amy Winehouse, Rag n Bone Man tributes, alongside the brilliant Illingsworth.

Meanwhile the rescheduled Bath Reggae Festival takes place, with Maxi Priest, Aswad, Big Mountain, Dawn Penn, Hollie Cook and more. Anneโ€Marie, Dizzee Rascal and Clean Bandit headline Live at Lydiard 2021.

Howlinโ€™ Mat plays The Southgate, Devizes, while Sex Pistolโ€™s tribute Pretty Vacant are at Swindonโ€™s Vic, with support by The Half Wits and Subject Ex.

Week 4:

Monday 23rd August is +8 Holiday Club at The Farm Cookery School, and Tuesday is11+.From Tuesday until Thursday, The RW Football School Summer Football Camp returns to Green Lane, Devizes, for ages 6-11.

Chippenham Museum has a one-hour workshop to create your own simple mini scrap book inspired by their latest exhibition on Wednesday, for ages 6+.

Thursday and Friday itโ€™s Summer Kidโ€™s Art Club at Wiltshire Scrapstore. And Thursday 26th August sees an Olympic Gold Medallist, Alex Danson running a Hockey Masterclass at Devizes Hockey Club. Open to all hockey players aged 11-18 โ€“ you donโ€™t have to be a member of DHC.

All weekender at The Barge on Honeystreet, when Honey Fest kicks off Thursday, with a grand local line-up, including The Lost Trades, The Blunders, and Chicken Shed Zeppelin, to name but a few.

The Southgate is the place to head towards on Friday in Devizes, where my personal indie-pop favourites, (not that I should have favourites) Daydream Runaways are booked in. Also, the highly anticipated FullTone Festival returns to Devizes Green, all weekend, with the Full Tone Orchestra and Pete Lambโ€™s Heartbeats appearing Sunday.

A theatrical outdoor re-telling of Kenneth Grahameโ€™s classic, Wind in the Willows on Saturday 28th August at Corshamโ€™s Pound Arts. And Sunday, a Magical show where beautiful Princesses become Pop Stars, Pop Princesses comes to Wyvern Theatre, Swindon.

Meanwhile, itโ€™s the welcomed Triple JD Band at The Southgate, Devizes and HarrowFest at Wanboroughโ€™s The Harrow, featuring Jamie R Hawkins, The Blind Lemon Experience and moreโ€ฆ


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

Devizine Proudly Presents Various Artists 4 Juliaโ€™s House; Hereโ€™s the Track Listing!

Sleeve Notes for our Album 4 Juliaโ€™s House

Here it is, the moment youโ€™ve all been waiting for, I hope! The track listing and details of all our wonderful songs presented on our forthcoming album, Various Artists 4 Juliaโ€™s House. Read on in aweโ€ฆ.

Pre-order album on Bandcamp here!

Released: 29th June 2021

1. Pete Lamb & Cliff Hall – Julie

2. King Dukes – Dying Man

3. Erin Bardwell โ€“ (Like the Reflection on) The Liffey view

4. Timid Deer โ€“ The Shallows

5. Duck n Cuvver – Henge of Stone

6. Strange Folk โ€“ Glitter

7. Strange Tales โ€“ Entropy

8. Paul Lappin โ€“ Broken Record

9. Billy Green 3 – I Should be Moved

10. Jon Veale – Flick the Switch

11. Wilding โ€“ Falling Dream

12. Barrelhouse โ€“ Mainline Voodoo

13. Richard Davis & The Dissidents โ€“ Higher Station

14. Tom Harris โ€“ Ebb & Flow

15. Will Lawton โ€“ Evanescence

16. Jamie Williams & The Roots Collective โ€“ Dreams Can Come True

17. Kirsty Clinch – Stay With Us

18. Richard Wileman โ€“ Pilot

19. Nigel G. Lowndes โ€“ Who?

20. Kier Cronin โ€“ Crying

21. Sam Bishop โ€“ Wild Heart (Live Acoustic)

22. Mr Love & Justice โ€“ The Other Side of Here

23. Barmy Park โ€“ Oakfield Road

24. The Truzzy Boys – Summer Time

25. Daydream Runaways โ€“ Light the Spark

26. Talk in Code โ€“ Talk Like That

27. Longcoats โ€“ Pretty in Pink

28. Atari Pilot – When We Were Children

29. Andy J Williams โ€“ Post Nup

30. The Dirty Smooth โ€“ Seed to the Spark

31. SexJazz – Metallic Blue

32. Ruzz Guitar Blues Revue โ€“ Hammer Down

33. The Boot Hill All Stars โ€“ Monkey in the Hold

34. Mr Tea & The Minions โ€“ Mutiny

35. Cosmic Shuffling – Night in Palermo

36. Boom Boom Bang Bang โ€“ Blondie & Ska

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

38. The Oyster – No Love No Law

39. The Two Man Travelling Medicine Show โ€“ Ghosts

40. Julie Meikle and Mel Reeves โ€“ This Time

41. Cutsmith – Osorio

42. The Tremor Tones โ€“ Donโ€™t Darken my Door

43. Big Ship Alliance โ€“ All in this Thing Together

44. Neonian – Bubblejet

45. First Born Losers โ€“ Ground Loop

Iโ€™ll tell you what though, kids. This has been a lot more work than I originally anticipated! Yeah, I figured, just collect some tunes, let the artists do all the hard work and take the credit! But no, mate, wasnโ€™t like that at all. The most important part for me, is ensuring the artists are properly thanked, so, just like those Now, Thatโ€™s What I Call Music albums, I wanted to write up a full track listing with sleeve notes and links. Please support the artists you like on the album by checking them out, following and liking on social media and buying their music.

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


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

1- Pete Lamb & Cliff Hall โ€“ Julie

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

Pete Lamb

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

Cliff Hall

2 – The King Dukes – Dying Man

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

Dying Man is a prime example, taken from the album Numb Tongues which we fondly reviewed back in the October of 2019. The brilliance of which hasnโ€™t waned for me yet, and isnโ€™t likely to.

The King Dukes

3- Erin Bardwell โ€“ (Like the Reflection on) The Liffey

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

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

Erin Bardwell

4 – Timid Deer โ€“ The Shallows

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

Taken from the 2019 album Melodies for the Nocturnal Pt. 1, Iโ€™m so pleased to present this.

Naomi Henstridge


5- Duck n Cuvver – Henge of Stone

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

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

Duck & Curver

6 – Strange Folk โ€“ Glitter

A dark west country folk band in the realm of a beatnik time of yore, with a serious slice of gothic too, Strange Folk came to my attention playing the Vinyl Realm stage at the Devizes Street Festival. Hailing from Hertfordshire, band members also now reside in Somerset, Strange Folk is comprised of four songwriters; vocalist Annalise Spurr, guitarist David Setterfield, Ian Prangnell on bass and backing vocals, and drummer Steve Birkett. Glitter features cello by Helen Robertson, and is a name-your-price gift to fans during lockdown, a wonderful teaser which if you like, and I canโ€™t see why you wouldnโ€™t, you should try the 2014 mini-album Hollow, part one.

Strange Folk

7 – Strange Tales โ€“ Entropy

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

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

Strange Tales; Paul Sloots & Sally Dobson

8- Paul Lappin โ€“ Broken Record

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

Music & lyrics by Paul Lappin ยฉ2020. Recorded at Earthworm Recording Studio, Swindon. Produced & Mixed by Jon Buckett. Mastered by Pete Maher.

Paul Lappin

9- Billy Green 3 – I Should be Moved

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

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

Billy Green 3

10- Jon Veale – Flick the Switch

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

Jon Veale

11- Wilding โ€“ Falling Dream

What can be said which hasnโ€™t about Aveburyโ€™s exceptionally talented singer-songwriter George Wilding? A true legend in the making. Now residing in Bristol, George has the backing of some superb musicians to create the force to be reckoned with, Wilding. Perry Sangha assists with writing, as well electric guitar, loads more electric guitars, acoustic guitar, organ and weird synth things. Bassist James Barlow also handles backing vocals and cous cous. Daniel Roe is on drums.

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

Wilding

12 – Barrelhouse โ€“ Mainline Voodoo

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

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

Barrelhouse

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

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

Richard Davis & The Dissidents

14 – Tom Harris โ€“ Ebb & Flow

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

Tom Harris

15 – Will Lawton & The Alchemists โ€“ Evanescence

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

Will Lawton

16- Jamie Williams & The Roots Collective โ€“ Dreams Can Come True

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

Jamie Williams & The Roots Collective rocking the Southgate last year

17 – Kirsty Clinch – Stay With Us

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

Kirsty Clinch


18- Richard Wileman โ€“ Pilot

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


19 – Nigel G. Lowndes โ€“ Who?

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

Nigel G Lowndes

20 – Kier Cronin โ€“ Crying

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


Stockwell, Storm Jae and Nory Canโ€™t Come Home

Itโ€™s not every day we hear a quintessentially hip-hop track with the magnitude of enriching classic rock riffs, say, as Gerry Raffertyโ€™s Baker Street or Pink Floydโ€™s The Great Gig in the Sky.

Agreeably the nineties downbeat and trip hop era unleashed some masterful acts, particularly of the Bristol scene. And thereโ€™s shards of precisely this too, of Massive Attack and Portishead, in Canโ€™t Come Home, a new Wise Monkey single from Stockwell featuring Storm Jae and Nory.

If I retain through rose-tinted specs, a passion for those naughty nineties itโ€™s fuelled by nostalgia; I was young, once! Can even recall some bits of it. But rather than the drifting layers sluggishly building of aforementioned trip hop, the wailing guitar here hits you full in the face, more akin to said enriching classic rock tracks.

Stockwell

Even all this said and done, thereโ€™s nothing content to rest in a time of yore here, as the alignment of beats, astute male rap and uplifting female vocals of Canโ€™t Come Home is fundamentally fresh and contemporary. Enough, I feel, to cross the barrier from myself to my teenage daughterโ€™s musical taste, and that rarely occurs! This combination makes the song especially unique and substantially epic.

Storm Jae

With the attitude and gumption of Stevie Nicks, and the mezzo-soprano range of Joni Mitchell, Storm Jae is a jolt in the right direction for an enveloping new era of singer-songwriters. Nory seems more elusive, I canโ€™t find any information on! But teaming up with the trailblazing hip-hop-come-rock crossover musician and producer Stockwell is a match made in heaven, a heaven you can hear for yourself.

Itโ€™s agelessly sharp, emotionally elevating and an impactful grower, which will tease the palate of rock and urban adherents alike. If I make you wince to note Run DMC walked this way with Aerosmith some thirty-five years ago, or if you have to ask Siri what I mean by that, neither matters, this tune will appease either.


Trending……

Extended Lineup for CrownFest

It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentionedโ€ฆ

Chandra Likely To Go Boom!

Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoidโ€ฆ

Brainiac 5โ€™s Other Dimension

And it is precisely that. Cornish psych-punkers The Brainiac 5 release this mind-blowing album of both reflective new tunes and lost archived tracks, today. Another Time Another Dimension bursts the clichรฉ term genre-breaking to compose scattered influences, with this kind of low-fi garage style, which while loans to punk, even reggae, has the nod to acid rock of a previous psychedelia era. Most befitting a title, this is a tricky nugget to nail down, but itโ€™s grower.

The band stress this is not a lockdown album, the impetus came from two other sources, namely a digging through the archives for unreleased material, and secondly, the passing of a long-time friend of the band, Martin Griffin. A supportive engineering assistant to the band in its earliest days, allowing them extensive use of his Roach Recording studio. Both reasons sparked the writing of some new songs, in this fifteen-track bundle of era-spanning and mind-expanding goodness.

I confess I was dubious at first, itโ€™s as if The Beatles came after punk, but still recorded in a garage. It made me ponder the Clash singing โ€œphoney Beatlemania has bitten the dust,โ€ and in turn the target audience, presumably a fairly eclectic bunch. As I said, itโ€™s a grower, and I suspect Iโ€™ll be digging bits of โ€œoh yeah, I get it now,โ€ for many listens to come. But time has got the best of me, got to get this review out tonight.

โ€œThe four albums released during our second coming have all garnered many reviews noting our continuing desire to experiment and expand while still maintaining the basic psych/punk ethos,โ€ they say, โ€œIndeed, the three new tracks here do continue this tradition of experimentation. However, although it is clear that the band has grown and developed over the years it is remarkable just how much we were experimenting right from the bandโ€™s inception.โ€

The bulk of Another Time Another Dimension, then, are memoirs, lost archives from 1976-1980, in what the band name โ€œour initial Cornwall period.โ€ Taking John D. Loudermilkโ€™s Tobacco Road to Hendrix proportions, yep, sure is blues to be found here, and the rough and ready cover of Moveโ€™s Do Ya revels in low-fi garage rock.

But itโ€™s loud, proud and sonic trialling, denoting a path through dubby seventies roots reggae, with a few tracks which offbeat, such as I Call Your Name and though Our Devils is another, it reeks of avant-garde, a Bonzo Dog Doo-Dah Band-come post-punk Talking Heads. Then I return to thinking, definitely punk, I Feel Good a prime example. And then, wham, thereโ€™s freaky drunken Jim Morrison weirdness in tracks like Khazi Persona.

Though the ground here is bumpy at the best of times, your head doesnโ€™t smash on the top; it may be raw, but blends with a flowing refinement of proficiency. โ€œThere is a lot of ground covered here,โ€ they rightly explain, โ€œhang on and enjoy the ride.โ€ And thereโ€™s the very thing; once youโ€™ve found your footing, itโ€™s a fantastic, adventurous ride, just lacks suspension!

But, with the third eye being squeegeed so succulently as this, suspension is for losers, anyway. Another Time Another Dimension encompasses a past with a present, as if neither really happened, and that’s refreshingly effective against pigeonholing.


Trending….

Only The Brave Burn The Midnight Oil

Hurrah, at last! Only The Brave is the debut song from Burn The Midnight Oilโ€™s revised lineup; something Iโ€™ve been anticipating since watching them rehearseโ€ฆ

Dulcet Tones Rock Back to Bassett!

You’re a teenage Tom Cruise, at least you wish you were, but stay with me on this! Your parents are away, you’re home alone withโ€ฆ

Cult Figures; Deritend, Yes Mate!

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

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

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

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

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

โ€œDeritend draws a line under the past,โ€ they explain, โ€œall eleven tracks composed and recorded since our 2016 comeback, simultaneously reflecting a maturity gained in 40 years of life experience, whilst still embracing the accessible three Ps of the early days; punk, pop and psychedelia.โ€ The albumโ€™s title owes to a historic industrial area outside Birminghamโ€™s centre, โ€œa few miles from where Gary and I grew up.โ€

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

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

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

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

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


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

Trending……

Whatever Happened to Pancake Races in Devizes?

It seems Shrove Tuesday celebrations in Devizes have fallen as flat as aโ€ฆ.well, you get the gagโ€ฆ Traditionally organised by Age Concern Wiltshire, and oftenโ€ฆ

The Lost Trades Live Stream in Advance of Album Launch

April 1st is All Fools Day, the day after youโ€™d be a fool to miss this. Much I hark on about local folk harmony trio, The Lost Trades, even before they were united as such, but only for good reason. It was always a win-win when the three singer-songwriters officially formed, Phil Cooper, Jamie R Hawkins and Tamsin Quin all excelled on the local circuit as solo artists and regularly appeared together for gigs.

Together this force to be reckoned with has formed a definite style akin to a corporate identity, and uniformed they move towards a debut album with all new, original songs. Based on their EP, which we fondly reviewed, the album launch is rightfully highly anticipated.

ย The albumโ€™s name has been revealed by the trio, “The Bird, The Book & The Barrel,” and will be released on 4th June. Though the band want to make the most of the Bandcamp Friday before that, where the platform-based music site kindly site waivers their fees, giving the artists full royalties. Therefore, The Lost Trades will be taking pre-orders on 2nd April and 7th May. There will be a live stream, something the Trades have always been on the top of their game with, on 2nd April, to celebrate.

The trio promise the full sound system, concert-style at live stream, scheduled at 7.30pm, will present everything from the album, including brand new, never before heard songs. The live stream will be broadcast from their Bandcamp page, and is ticketed at a very reasonable ยฃ2.50, with Bandcamp also waiving their fees on all live stream tickets sold until the end of March.

Best of luck, Tammy, Jamie and Phil; sounds like a virtual cake kind of occasion to me, but then, any occasion sounds like a cake one to me! Get your tickets HERE. Follow the event on Facebook.


Trending…..

Rowdefest 26 Lineup Reveal!

Drizzly Sundayโ€ฆagain. Iโ€™ve just finished designing the poster, so allow me to reveal the lineup for Rowdefest this coming May, might cheer us up aโ€ฆ

Agricultural Appropriation with Monkey Bizzle

There’s no sophomore slump for Monkey Bizzle; prolific in their art, these rural chav-choppers return with a second album, Agricultural Appropriation, only five years andโ€ฆ

Doctor Faustus Sells His Soulโ€ฆ. in Devizes!

Featured Image:@jenimeadephotography Just another rainy Saturday afternoon in Devizes, whereby I watched a profound fellow dramatically sacrifice himself to the devil, then popped to Morrisonsโ€ฆ

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……

Chandra Finds Heaven on Earth

Usually I just write what I think, but if I had a point-scoring system this new single from Bristol-based indie-pop outfit Chandra would tick everyโ€ฆ

Devizes Issues Wants You!

Dubiously biased and ruled with an iron fist, the mighty admin of the once popular Devizes Facebook group, Devizes Issues, is using the iconic Greatโ€ฆ

Who Broke into Joyrobberโ€™s Car?!

Poor Joyrobber, got his car broken into, on his birthday too, but avenged them in song! Requiem for my Car Window is this mysterious characterโ€™sโ€ฆ

Make Headway for Ariel Posen

Try this: think of some tunes of the decade you were born, songs which you like but donโ€™t know why, songs which, for some reason, ring alarm bells at you as characteristic of the era. Your taste screams no, you shouldnโ€™t like these, but you do. Then check the year they charted. I wager many of them were in the year you were born, the previous or following.

I remember liking, at the time, and Iโ€™m not proud but in the name of science Iโ€™m going to confess, Brotherhood of Manโ€™s Save All Your Kisses for Me! Oh, while weโ€™re there, Abbaโ€™s Dancing Queen too! Thing is, I know why. They were in the charts in 1976, when I was three, the sort of excruciating pop mush anthems a toddler graduates to after the Wheels on the Bus. However, I cannot put my finger on why Iโ€™m engrossed with glam rock songs, such as Gary Glitterโ€™s Iโ€™m the Leader of the Gang, The Sweetโ€™s Blockbuster and Sladeโ€™s Cum Feel the Noise, when the genre makes me generally quiver.

Any doubt I was born in the 70s cleared up with this family photo; I’m the baby!

Why flower-power sold out and hippies took to wearing kipper ties and platform shoes with goldfish in the heel is beyond my understanding of youth culture vicissitudes. Still, when I hear the aforementioned glam rock screeches, they stir something vague inside, indications of a life obscured by cognition. Coincidence they all charted in 1973, the year I was born? Or could the sounds around you, as a baby, implant permanent scars?! If so, Iโ€™ll be dammed, deeply archived Little Jimmy Osmondโ€™s Long-Haired Lover From Liverpool!

Though you should never condemn an entire decade for its pop chart. Given youโ€™ll throw Sonia, Jason & Kylie, even Blacklace at me, and tell me to shaddup my face. Despite the lack of technological advances of the seventies when compared with the eighties, there was numerous classics. Iโ€™m drawn to the cherished saxophone riff of Gerry Raffertyโ€™s Baker Street, but surprised to note, it broke my theory and wasnโ€™t until โ€˜78.

The research was stirred by Canadian singer-songwriter, Ariel Posenโ€™s forthcoming album, โ€˜Headway,โ€™ released on 5th March. Oh, yeah, I am coming to an eventual music review, excuse my waffle. Thereโ€™s something retrospectively seventies about it, my mind sees a Ronco record label revolving on the turntable of a seventyโ€™s mahogany music centre. A quick flick through the tracks suggested motives not to like this are manyfold. Yet, akin to why I cannot put my finger on why I like those glam tunes of my birth year, Iโ€™m finding it tricky to reason with this too, but I do like it, a lot.

With magnificent guitar riffs which nods subtly to country and heartland rock & roll, combined with smooth, blue-eyed soul vocals, thereโ€™s something very Springsteenโ€™s Darkness on the Edge of Town, or Tom Pettyโ€™s Full Moon Fever about this potential electrified Americana rock classic.

The harmonious and tenderly sensual soul of Coming Back, against the folksy- blues guitar picking of the single Heart by Heart suggests thereโ€™s a vast melting pot, but Posen meticulously stirs it into one seriously chilled groove, David Soul styled, which will leave you causally drifting through till the end. Hence my reasons for pondering my little science experiment while listening. Again, comparisons to seventies music, hereโ€™s an album to listen to complete, afar from youthful trend of flicking through Spotify playlists like time is against them.

Upon first impressions I was dubious about a Springsteen comparison, contemplating the subjects are generally of romance, and perhaps simpler than the Bossโ€™s interweaved wordplay, yet again humbler Beatlesโ€™ pop formulas clearly influence it greatly too. Harder listening conjured a progressive prose of evolution in life, love, and all points in between. Theyโ€™re poignant and beguiling, combined, you just have to dive a little deeper.

Two years in production, Posen began recording Headway in December 2019, a week after wrapping up an international tour in support of his acclaimed debut, How Long; the effort shows. The gigs received standing ovations, and Rolling Stone dubbed him โ€œa modern-day guitar hero.โ€ Music Radar listed him as a fan voted top 10 rock guitarist of the year, and the Western Canadian Music Awards nominated him for Breakout Artist of the Year.

So, yeah, this is worthy of your attention, and if I attempt to lambast the seventies again, remind me of the current sate of my lockdown coiffure; Iโ€™ve got the big hair of a middle-aged Caucasian from 1976. Iโ€™m going out on my Raleigh Chopper now, mum, call me when my mince in gravy is ready!

Artic Roll for pudding? Hunky dory!

Pre-order Headway HERE


Trending….

Lady Nade; Sober!

Dry January, anyone? Well, Lady Nade just plunged into an outdoor 4ยฐC eucalyptus sauna for a social media reel. But whilst I’d require a stiffโ€ฆ

Ha! Let’s Laugh at Hunt Supporters!

Christmas has come early for foxes and normal humans with any slither of compassion remaining, as the government announced the righteous move to ban trailโ€ฆ

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

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 inโ€ฆ

And There it is, Araluen

Ever considered Jolene mightโ€™ve been an innocent victim of circumstance? Dollyโ€™s husband was obsessed with her, talked about her in his sleep. But thereโ€™s no evidence in the song to suggest she enacted, nothing to say she consciously encouraged it or made the first move. Dolly persecuted her, couldโ€™ve been jealously. Thereโ€™re two sides to every story and we never hear Joleneโ€™s.  

Sounds rather conservative to me, Dolly blames anyone but herself. Rather, Araluenโ€™s song In the Arms of Another, offers a liberal angle on a similar premise. The singer admits and regrets her part in pushing him into the arms of another, by not seeing the significance of those tell-tale signs.

Credit: Music Closeup

Arguably, its notion is more provocative than Jolene, but itโ€™s certainly the most poignant tune on this captivating album, And There it is, released last month. Araluen being the project of Australian-born, (hence the name,) but resident in the UK, Paul Lush, known for his contributions with Rockingbirds singer Alan Tyler and Danny And The Champions Of The World. With a repute on the UK Americana circuit, guitarist and award-winning songwriter, Paul, has been plying his trade as a fleet-fingered gun for hire and now sets up his own project.

โ€œAraluen is the vehicle that I use to record my songs,โ€ explained Paul. โ€œIt’s an idea more than anything, that allows me to use whoever I want without having to stick to a set band line-up. I’ve written and recorded a lot of songs but have never done anything with them. So, once I started this project, it was with the idea to finally release something – get it out there.โ€

Occasionally here, the sound slips skilfully into folk-rock, and thereโ€™s an electric slide guitar instrumental decidedly rock, but for the bulk, itโ€™s uplifting country, graced by the alluring vocals of Angela Gannon from Magic Numbers. Also important to note this flows between changing styles with acute precision, rather than jumps in and out of styles.

Credit: Music Closeup

Maybe my mumโ€™s insistence we listened to her Tammy Wynette cassette in the car as kids, prepped me for my newfound affection for country, projected within our local circuit, our Tammy, Quin, Jamie R Hawkins and Dean Czerwionkaโ€™s invitations to attend his Americana club nights, but I must say, I actually prefer the string-bending country ballards on And There it is more than the rock ones; or is it an age thing?!

I could speculate till the cows come home, but itโ€™s likely the style suits Angelaโ€™s voice more. It is, by its very essence, hypnotically divine, and amatory too, in a kind of chequered shirts with tassels and Daisy Dukes fashion. Virtually all romantically themed in small-town matters and secrecy, I found myself drifting into its gorgeous, effectively unpretentious narratives, as thirteen of them roll off the ears like waves on a tropical ocean.

Such is the alluring vocals, my mind contemplated the classic Simpsons episode, where Homer is near-tempted by the advances of country singer Lurleen Lumpkin, incidentally voiced by actress and singer Beverly D’Angelo, who as well as being Ellen Griswold in the National Lampoon’s Vacation films, was nominated for a Golden Globe Award for her role as Patsy Cline in Coal Miner’s Daughter, so itโ€™s a fair credit.

Credit: Music Closeup

โ€œI’d admired Ange’s vocals for a long time, so one night while we were talking over a drink I asked if she was interested in singing on my new album,โ€ Paul elucidated. โ€œWe went through the songs a couple of times and then recorded them. She blew me away. I had never heard her sing like that. This was the first time I’d heard her sing as the main featured vocalist for a whole album and she’s fantastic.โ€

And she certainly is. Lush by name, Paul has created a cross-bred masterpiece here to appease both country aficionados and those merely window-shopping into the genre via rock n roll avenue. This is a keeper.


Trending….

Song of the Day 25: Strange Folk

I know, I accept your question, and let me just say, I think it’s a very good question, one which I fully intend to answer in the fullness of time, but first, let me just say this, and this alone, and let us be totally sure that this is the correct time to, indeed, as you ask, for me to answer that question, one which I think is a very good question, as I may or may not have said and I really feel it is a question which needs answering….and so on, and so forth….

Think I’ve got what it takes for national politics?! I can waffle shit for Queen and country, and yes, I promised a Song of the Day feature everyday, and I haven’t delivered on that promise for a few days now, and any excuse I could provide wouldn’t be fully truthful. That’s why I believe I’ve got what it takes, my capacity to lie is acute, and my moral responsibility is pretty much shot, besides I couldn’t possibly mess it up further than it already is anyway, so yeah; I might stand.

The fact you’re probably all watching real politicians waffling about the easing stages of lockdown, is neither here nor there. I’m going to slip our song of the day in now, when you least expect me to.

And it’s wonderful, earthy folk outfit Strange Folk, with a track called Glitter. You may recall them playing the Vinyl Realm Stage at Devizes Street Festival, you may not. But enjoy, it’s gorgeously fantastical, the kind of escapism we need right now.

Back to reality, why they gotta keep calling it a “roadmap,” for crying out loud? Boris navigating for real and you’d end up driving headlong into a lake.

Strange Folk they might be, but not as strange as those leading us, I might add. The announcement will be on all night, while the Daily Mirror managed to sum it all up, hours prior to the conference, in one neat graphic.

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


Song of the Day 21: Andy J Williams

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

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

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

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

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

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


Song of the Day 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 the Day 10: Summit 9 Studios

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

Saucy effort guys, love it!

Very good. Carry on….


Stonehenge or Bust; Duck n Cuvver Scale the Fence!

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

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

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

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

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

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

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

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

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

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

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

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

    


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.


  • โ€œUnderdog: The Other Other Brontรซโ€ at the Rondo Theatre, Larkhall, Bath, March 25th-28th 2026

    by Ian Diddams

    images by Richard Fletcher

    How many Brontรซ sisters can you name? Which books did the sisters write between them? Can you name them?

    Did you get that there were three sisters? That wrote seven books? You may have thought of โ€œJane Eyreโ€ and โ€œWuthering Heightsโ€, but what about โ€œAgnes Greyโ€? Or โ€œThe Tenant of Wildfell Hallโ€. You may have recalled Charlotte and Emily Brontรซโ€ฆ

    But what about Anne Brontรซ? Author of those two last named novels? Does she, or they, feature on your literary radar?

    Congratulations if they do โ€“ you are an English Literature graduate at least, or one of those weird people that know loads of usually useless knowledge that people want to have on their pub quiz team that then drop you like a stone once the winnings are divvied up, and you wander home alone, smelling vaguely of stale BO and loneliness.

    So, step forward the other other Brontรซ, Anne. The one everybody forgets if they ever knew of her to start with. And is embraced by Sarah Gordonโ€™s play performed this week at the Rondo Theatre, Larkhall, Bath by the โ€œin houseโ€ theatre company, RTC.

    Anne, as per the above, is the centre of this play, but in many ways its really about the fractious, loving, abusive, and caring, relationship between her and Charlotte as we see Anne systematically abused firstly in her efforts to be a governess, and when finally escaping the oppression of service, receiving little better from her eldest sister… while Anne eventually becomes the worldโ€™s first feminist writer.

    The story covers a simple timeline of the Brontรซ sisters adulthood, with appearances of drunken brother Branwell, though there is a little poetic licence over some chronology to help the flow of the narrative. I have to throw that in for the three of you reading this that are actually internationally renowned experts on the Brontรซs and may otherwise think I missed it. So there. I didnโ€™t. For everybody else โ€“ its not important and the story works well as a result. I blame Branwellโ€™s booze befuddled brainโ€ฆ

    Anyโ€™ow โ€“ as they may say in West Yorkshire โ€“ their basic history is on Wikipedia so I wonโ€™t reproduce it here. Suffice to say all three Brontรซs in their own way produced magnificent works that have stood the test of time, and Kate Bushโ€™s singing, before Anne and Emily succumbed to tuberculosis following Branwellโ€™s previous demise. The water in Haworth has a lot to answer for.

    Charlotte died of complications in pregnancy โ€“ maybe she didnโ€™t drink the water. None of them made the age of forty, and the younger two barely thirty at best. Tragedy had also struck the other two totally unknown sisters – Elizabeth who had died aged ten, and Maria aged eleven.

    โ€œUnderdogโ€ is a quite superb piece of writing; Sarah Gordon has lifted a passingly interesting family history and created a vibrant soap opera (in the best possible way!) about three siblings all destined for greatness, with hugely differing personalities. Of their love and support for each other; their internecine rivalries; their differences. Anne, at first demure then latterly strong and quietly confident, Emily, abrupt yet watchful, and Charlotte โ€“ a domineering bully that gaslit her sisters, particularly Anne and most definitely herself. Charlotte opens the show with a 4th wall monologue about pious men looking down on women, but is portrayed as being no better herself.

    The three leads are mesmeric. Their characterisation is sublime, magnificent. Josie Mae-Ross plays Charlotte, Naomi Miller, Emily, and Alana Wright, Anne. The three bond so well on stage, with amazing chemistry, they really feel like three sisters. Itโ€™s a line heavy play for the three of them, as well as the portrayal of their characters on top and they are on stage for pretty much the entire two hours that the play runs for. Chapeau all round.

    Branwell is played by Natalie Prescott, swapping her natural North Cheshire vowels for West Yorkshire ones and crossing the Pennines to do so. Thereโ€™s a suitably gruesome reminder of the results of TB and Natalie captures Branwellโ€™s self-destructive insouciance to a tee. Natalie also partakes in various ensemble roles along with the other members of the cast Antonia White, Jade Wright, Sarah Horrex and Sophie Kerr. Their slickness between several cameo style roles each is commendable, and peaks with a brilliant scene of literary critics discussing the sistersโ€™ works in deprecating terms. No spoilers here but the show is worth seeing just for this one particular ninety second scene.

    Youโ€™ll have noticed I am sure eight female names for eight cast members โ€“ yes dear reader, itโ€™s an all-female cast โ€“ as befits a play about the worldโ€™s first feminist writer. This is all pulled together by director Helen Taylor with great vision and pace. The set is wonderfully simple doing just enough to set the scene and allow the actors to deliver in an uncluttered space.

    Tech as ever at the Rondo is delivered as excellently as ever by Alex Latham, and the costumes are simply perfect โ€“ take a bow, as is often the way, Chrissy Fryers. The original music for the show is provided by the maestro that is Moray Macdonald and all of these creatives are more than ably supported by producer Yvonne Paulley, Stage Management Lylou Sharp and Olivia Lynch with publicity and poster design by Meg Robertson and Cate Nunn respectively.

    You donโ€™t have to be a Brontรซ fanboy or fangirl to enjoy this show. It has a quality that live theatre brings that watching a screen just doesnโ€™t haveโ€ฆ the immediacy of the action, the intimacy of the space, the direct connection with the cast, and it has this in spades. It is simply one of the best pieces of theatre I have ever seen, and I am fortunate enough to watch a lot of quite excellent theatre that is well worthy of the highest praise.

    You could do far worse than blow a whole fifteen quid, cheaper than a pizza and a pint, on a ticket to this wonderful show this week. I even urge you not to miss it.

    Tickets from https://rondotheatre.co.uk/underdog-the-other-other-bronte and the show runs Wednesday 25th March to Saturday 28th March.

    And you may recall I said something about the water in Haworthโ€ฆ? Itโ€™s actually trueโ€ฆ.

  • 7 Hills to Trowbridgeโ€™s Old Town Hall

    To clear up any confusion, Trowbridgeโ€™s old town hall is no longer the town hall, but The Old Town Hall. I have no idea, nor care to know if there’s a new town hall; that’s irrelevant. Whilst still owned by the council, it was refurbished and reopened as a charity funded arts centre and cultural hub last Octoberโ€ฆ..

    I met a great bloke there called Tom, he used to run Bath’s venue Moles, now he’s steering events at this glorious grade II listed building, originally opened in 1889 to commemorate Queen Victoria’s Golden Jubilee. It is an utterly stunning space of Victorian splendour with acoustics from the heavens; nice to note it’s in good hands.

    In equal splendour was the reason I’m here, for the 10 Hills Spring Music Festival. Congrats if you spotted the deliberate mistake, there were only ever seven hills; I’m rounding it up as if it’s a score out of ten, perhaps I should add an extra hill or five onto that for good measure!

    If forced to find a nick-picking fault with this event, I could suggest a lack of chairs inside the hall, considering the higher end of the age demographic in attendance. But the concentration was on the music, an elaborate concert-festival, and the quality and quantity of this was absolutely mindblowing, if not particularly diverse.

    7 Hills regularly organise music events at The Night Jar in Bath, including an annual festival. 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 didnโ€™t clash with them, and Matt said letโ€™s do it together in Trowbridge as a spring festival.โ€ And here we are finally in spring, I’ve been looking forward to this.

    Americana, folk-rock was the order of the day, everything uniformed to the influences of Courting Ghosts. So if you wanted to go looking for a dance tent, this wasn’t for you. But the standard of music was sublime throughout the day and into the evening, and that’s what made 7 Hills so spectacular.

    Best festival of the year I could jest, because it’s my first, still, I believe I’m going to be hard pressed to find a lineup as good as this, and the craziest element was, while I knew most of the local acts booked for the afternoon, I was in the dark about the later ones, but far from disappointed.

    Jess Chivers

    Perhaps the only one I saw to deviate from Americana was Jess Chivers, who delivered a great set on an acoustic stage adjacent to the main one, as this had subtle elements of punk. This second stage assured consistent entertainment whilst bands prepped on the main stage. I believe because I needed sustenance I missed Phil Cooper’s set, drafted in due to a cancellation, and a few others before my arrival, but Leander Morales polished off the acoustic stage with an energetic and poignant set.

    Thieves

    Sadly I missed Fly Yeti Fly, meeting Darren on the stairs as I came in. Love this duo too, they remind me of Christopher Atkins and Brooke Shields in the Blue Lagoon! My arrival, I hoped, would be timed for Concrete Prairie, as it was, lovable bluegrass collective Thieves were doing their wonderful thing on the second stage, while the prairie tuned on the main, under the stained glassed lancet; confirming I’m going to love this event.

    Concrete Prairie

    Make no mistake, Concrete Prairie was on fire, I expected no less. Undeniably the liveliest set at the festival, they gave us the classics from their 2022 self titled debut album, finishing on their magnum-opus, the incredible crescendo-hugging Devil Dealt The Deck, but between them blessed our ears with some new songs from their forthcoming album. While Joe set no date for its release, the songs came across livelier than the sombre mood of the debut album. Theyโ€™re perfectionists, providing me with faith there will be no sophomore slump.

    The band were incomplete too, Phil Cooper taking bass, and original fiddler in the band, Georgia, filling in for her replacement. Still they rocked it, and Iโ€™d have been content if I had to go home straight after them!

    Courting Ghosts

    Obviously with Chris Hoar at the helm, Courting Ghosts would play, and I could imagine no other following the Prairie, even if their overall mood is more sombre; this is music for the soul. Counting Ghosts surely set the mood for the remaining acts, this smooth Americania with influences from both country folk and jazzy soul. They gifted us a new song, to be the title track of their next EP, Baby, I Bleed for you, and sparks flew.

    Orla

    Everything chronologically from now on would be new to me, but all of it flying miles above my expectations. A great example came from the acoustic stage immediately after the Ghosts. Orla is a young singer-songwriter from Bath, and clearly one to watch. With crystal vocals she gave us some divine originals, including a particularly poignant one called Mouthwash, and made Crowded Houseโ€™s principal her own.

    Matt Owens & The Delusional Vanity Project

    Former Noah and the Whale, Matt Owens & The Delusional Vanity Project followed with a dynamite set. As evening set in a professional precedence, I figured this was going to get continuously better. Multiple AMA UK Award winner Hannah White, the best yet, intertwined devout stage presence with a heartfelt singalong, she captivated, projecting her pure lyricism like dripping honey. I especially liked the tune with the reggae offbeat, but overall, I left wondering if, or how it could possibly get any better.

    Hannah White

    If Iโ€™m now a Hannah White fan, and all presented before us was of a quality so high it would be impossible to fault, it should be no negative reflection in comparison to suggest something here wasnโ€™t entirely my cuppa. No doubt, any Ohio artist signed by Peter Gabriel is going to be of an excellent standard, and soloist and loop pedal god,ย Joseph Arthur certainly is, it was just the bar was set so high by Hannah it levelled off here somewhat.

    ย Joseph Arthur

    So, despite the highest of qualities, I wondered now if, for my personal tastes, anything could possibly top Hannah, and casted a preconceiving critical eye over Our Man in The Field as they set up. They certainly had an impressive ensemble, seven piece with an upright bassist, organist and everything. The lead guitarist had something of a Bill Wyman debonair, while the frontman presented himself as a funky truckstop dweller. Grasping tight to my newfound adoration of Hannah, this would be interesting, if nothing more.

    Thatโ€™s when the vibe hits you best, when itโ€™s a surprise! Our Man in The Field has the perfect Americana balance, components of country, but with such soulful jazzy swagger, they had me off-guard and now totally hooked, the first to entrance me wholly. Our Man in The Field is sublimely captivating.

    Our Man in The Field

    Shit, I realise now I shouldโ€™ve put more trust in Chrisโ€™s knowledge! He has presented a lineup which, despite me thinking at numerous intervals, heโ€™s not going to top this, he somehow did! I made up my mind then, I had to witness the final act even if an asteroid hit The Shires shopping centre.

    The Delines, self-labelled as โ€œretro country soulโ€ from Portland, Oregon headlined. With everything previous so hyped in the hamster wheel of my mind, it mattered not if this suited me, I could leave now, more than content. I couldnโ€™t leave. I imagined myself off the lines, driving one of those poetic American roads, planning to stop off to drink my soul away at a roadside bar, but when you walk in a band playing in a back room is so inspiring you figure life is too short as they blissfully cure your blues.ย 

    The Delines

    This was gorgeous. Utterly brilliantly steady, smooth with no need to fire up, just drifting with narratives akin to Guthrie, jazzy and soulful as Springsteenโ€™s early recordings and the Asbury Park scene, on a Gil Scott-Heron level, and topped with the honest banter of a band in their prime; there was no need for them to apologise for Trump, thereโ€™s two bridges between us, they can break the political one, but cannot ever do the same to the creative arts one. I wished my friend Chrissy could see this, this is what her band Burn the Midnight Oil should attain to, this was blended bliss, American music without borders.

    Impossible for me to compare what Queen Victoria’s Golden Jubilee was like at Trowbridge Town Hall with the events now being run at it, but 7 Hills felt like it couldโ€™ve matched it, even without cherries cooked in flaming brandy, and the range of community events at the venue breathes positive new light into Trowbridge town centre.ย 



  • Wiltshire Hunt Sabs Stolen Drone Footage Reveals a Beaufont Hunt Kill

    Retrieved footage from a stolen drone of the Wiltshire Hunt Saboteurs reveals the Beaufont Hunt making a fox kill earlier this month, and itโ€™s undeniable evidence of their despicable crimes against our wildlifeโ€ฆ.

    The Wiltshire Hunt Saboteurs have exposed The Beaufort Hunt numerous times, recording a kill on the Fosse Way in November 2025, on the Dukeโ€™s Badminton Estate in December, and another at Cranmore Farm, Shipton Moyne, in January this year.

    This distressing footage was recorded earlier this month at Commonwood Farm, Luckington. It clearly shows a fox hiding the hedgerow, the hounds doubling to the exact spot where a field rider was waiting, and dragging the terrified fox from the edge of the hedge, tearing it apart. The fox is then killed in front of hunters, who do nothing to stop the attack.

    If this sickens you, the next part of the process is utterly terrible; the cover-up. Whilst they bag the remains of the fox, their terrierโ€‘men and hunt supporters surround the drone, waiting for it to land, in an attempt to steal it, while the sabs rush to protect it. This is now common practice added into their โ€œtraditional country sport.โ€

    The Police were called, and an officer from the Roads Policing Unit took the drone. “He just took it,” The Sabs explained, “he didn’t say what powers and didn’t give a receipt, hence we call it a theft.” Meanwhile, many of the terrier-men, with “registration plates deliberately muddied out,” realising they too were being recorded, fled. Police engaged with the leader, but not with the sabs. A rural crime officer viewed the footage on the drone controller, and another officer from Chippenham Response also attended.

    The Rural Police Unit seized the drone containing vital evidence, but did nothing to stop the hunt, or locate the remains of the fox, disposed of in a bin bag, according to the sabs. The drone was returned to Wiltshire Hunt Sabs, following a weekโ€‘long campaign exposing the circumstances of its seizure. The evidence has now been posted to their social media platforms.

    This leaves me with little faith the new laws will do anything to stop this, if police do not act on them. Because, there was me thinking the objective of the police is to prevent crime, not just punish after a crime is committed? I asked the Wiltshire Hunt Sabs how they feel about these new rules regarding trial hunts, and if they think it will really make a difference?

    โ€œItโ€™s hard to say without knowing what the government will implement,โ€ a spokesperson told me. โ€œAny improvement is welcomed but this is our only opportunity to get rid of the loopholes – and the government must make sure it doesnโ€™t introduce new ones.โ€

    โ€œThe Hunt Saboteurs Association has produced a brilliant booklet detailing the key changes needed to ensure an effective ban on hunting wildlife with proper sentencing deterrents. Currently the Hunting Act allows only for a fine, which isnโ€™t a deterrent or punishment for fox hunters with deep pockets. Landowners and hunt management also need to be held accountable more often too; they are supportive of their law-breaking hunt staff. Trail hunting needs to be banned; it isnโ€™t an activity in itself, it simply exists only as a legal defence. Reckless clauses will certainly hurt them as every defence comes down to โ€œooops, it was an accident!โ€ Itโ€™s nigh on impossible to prove intent – as you canโ€™t hop into anyoneโ€™s mind, even though everyone knows when fox hunters hunt or kill foxes, itโ€™s 100% intentional.โ€

    The continuous scroll of comments on The Wiltshire Hunt Saboteursโ€™ social media posts show the overwhelming support for the organisation’s attempts to prevent this criminal activity, their anger this continues, and criticisms of the seemingly inactions of the Police. Myself? I call the Beaufont Hunt something which rhymes with hunt.

    You can follow Wiltshire Hunt Sabs HERE and support their work HERE.


  • Extended Lineup for CrownFest

    It was back in October when we revealed CrownFest at The Crown in Bishopโ€™s Cannings was returning this summer, and January when we last mentioned it, because the organisers Stone Circle announced that its proceeds will be donated to Wiltshire Hope & Harmonyโ€™s Dementia Choir. I like to tease you during those cold winter months, and get us looking forward to warmer days coming…..

    Now the time is nearly upon us; frosty starts but some glorious sunshine brings a sigh of relief, as spring has sprung. Time to remind ourselves of some of the local festivals on our horizon, but this isnโ€™t about simply regurgitating what weโ€™ve already said about CrownFest, because thereโ€™s been a few updates since, worthy of your attentionโ€ฆ..

    What is new, is that the music will be presented over two stages rather than the single stage. Acoustic acts will be in the marquee, while bigger bands will be soundchecking and warming up on the main stage. This is great news, for continuous entertainment, and youโ€™d have to wonder otherwise, just how theyโ€™d squeeze so many acts into just one day.

    And, before I waffle too far, that one day is the 4th July 2026; closer than you might think!

    Tickets available HERE. A standard adult is only ยฃ32, children are ยฃ10, and thereโ€™s a ยฃ75 family bundle option too.

    So, what Iโ€™ve already told you: Kinishaโ€™s renowned Simply the Best Tina Turner Tribute and Adam & The Ants tribute Ant Trouble headline, closely followed by Wiltshireโ€™s premier indie-pop favourites and winners of six Wiltshire Music Awards, Talk in Code. Purveyors of Irish & Celtic folk The Publicans will also be playing, along with Salisburyโ€™s rock cover band Innovator, rock covers band Tipsy Gypsies, the one and only George Wilding, Mother Ukes, and the blooming marvelous Lucas Hardy.

    And if all that isnโ€™t already enough, what you might not have noticed, is some fantastic additional acts recently added. Firstly, the sublime Ruby Darbyshire is now on the lineup, who is worth the ticket price alone! Young Calne singer-songwriter, Braydon Lee, is a name on everyoneโ€™s lips right now, we fondly reviewed his latest single, and heโ€™s coming too. Eighteen-year-old singer-songwriter, guitarist and pianist Dylan Bratley also made the team; a new name to us but Iโ€™ve just checked out his rather cool Noah Kahan cover on TikTok, looking forward to hearing him live.

    Lastly, is an upcoming Salisbury sixth form band, organiser Eddie Prestidge likened to Nothing Rhymes With Orange, called Five Nights at Adyans. The Salisbury Journal recently mentioned them playing Wiltshire Creativeโ€™s โ€œGlow with the Flowโ€ event for young musicians at Salisbury Art Centre. They revealed โ€œthe band is composed of four boys, Jasper Hill, Owen Morgan, Thomas Clark, and Toby Allen, who are all currently in Lower Sixth at Bishop Wordsworthโ€™s school, and have been friends since they were in Year Seven. The influence behind their name is a play on the famous video game โ€œFive Nights at Freddyโ€™sโ€, combined with the influence from their classmate called Adyan, whom they often bring up on stage.โ€ย 

    This kind of leaves me wondering what Adyan does, if heโ€™s like a young Bez from the Happy Mondays, and if he will show up at CrownFest! Adyan or no Adyan, CrownFest is getting better and better, the latest poster unusually puts the lesser-known acts above the headliners, showing a real dedication to upcoming performers, and thatโ€™s a great look! All roads lead to Bishops Cannings this coming 4th July…. get on one of them!


  • Vox Populi: New Album From Deadlight Dance

    The difference between punk and goth is that as a punk you reject society, as a goth society rejects you. Being society lives mostly online today, that’s probably why my spam filter assumes proposals from exiled middle eastern princes to deposit bitcoin into my bank, and machines to extend oneโ€™s manhood are of interest to a regional entertainment blog, but a local goth duo’s new album should be hidden in a spam folder.

    Algorithms now pressure me into having to rush this out, despite noting on social media, Deadlight Dance are releasing their third album, Vox Populi tomorrow (Friday 20th March), which they launched at The White Bear in Devizes last Sunday. Have Nick and Tim got in the humph with me?!

    They are Eurythmics-covering retro goths after all, who seem to be dealing with the apocalypse with new songs and a spot of gardening. I’ve always been nice about what they do and thought the feeling was mutual! Not at all; seems after a quick Facebook message, the glitch is real, and the email was discovered; and just like the issues Nick and Tim describe, โ€œthe populist rhetoric, the age of the oligarch where the rapid development of A.I. and deepfakery is upending reality, and โ€˜straight-talkingโ€™ chancers who claim to represent the majority are stoking the smouldering embers of fascism,โ€ these are the depressing first world problems which need addressing, and with them in mind, isnโ€™t it overdue to rekindle the era of the goth spirit?

    Recorded as usual at Mooncalf Studio with legendary purple-bearded producer Nick Beere, it feels at times as if Deadlight Dance are canvassing for compassion as humanity gears up to vote for the collapse of civilised society. โ€œItโ€™s dark,โ€ agrees Nick Fletcher, โ€œbut there is hope there. You donโ€™t talk about these things unless you want to do something about it.โ€

    โ€œLight and shade,โ€ says his partner in sound, Tim Emery. โ€œHopefully thereโ€™s something forย everyone. For some people, everything will be for them.โ€

    With all edgy synths blazing, Gloss opens Vox Populi, dramatically and attacking the beauty industry, its harmful lies and unrealistic standards in an era most pop stars are encouraging them. We reviewed this as a single last October, where I vowed to shave my eyebrows off and draw them back on with a Sharpie. The exploitative nature of the cosmetics industry, the first deep and eerie original song of eight, which speak of algorithmic existences; gaslighting by the elite, the paradox of โ€˜humaneโ€™ food production, identities and the preconceptions that can shape them, the corporatisation of the militaryโ€ฆ and gardening.

    โ€œThere are some important horticultural and botanical references,โ€ says Nick, reassuringly. The poisonous evergreen shrub Daphne odora, being an example, as the second tune, a poignant plodding shoegazer and followed by a surprisingly jocund ballad which gracefully reminds of the playful moments of The Cure.

    Red Flags warns of danger, but takes no prisoners, Lachrymal is as dismayed as Fields of the Nephilim, Glass Walls is uptempo, furious and robust by design, an enclosed space frameless and seamless, but perhaps not maximising natural light, for thatโ€™s simply not goth!

    The Theatre of Absurd thuds us back into the dark, with anticipatory anxiety and New Order beats. Followed by the first of two cover songs, Eurythmicsโ€™ Sweet Dreams. Deadlight Dance comforts you here with familiarity and reminiscence, but stamp their own authoritative pounce on this, and the second, Princeโ€™s When You Were Mine, both of which feature guest vocalist Sian and drummer Mike Dymond, the latter of whom first played with Nick and Tim when they were sixth formers.

    Thereโ€™s an underlying retro sensation with all that Deadlight Dance produces, that not all electronica was lost to Stock Aitken Waterman, and neither will it be with smug grinned Simon Cowell. And something wholly satisfying that post punk artists of yore inspired Nick and Tim to form a band, and, acne replaced by wrinkles, thirty years later, amidst a global pandemic and a growing whirlwind of social and political chaos, they felt that the time was right to continue the journey. But what is more, is that younger punk bands, like those gravitating towards DIY labels like Sketchbook, are continuing the theme, and, I reckon, would take Deadlight Dance with similar respect to the aforementioned post-punk artists who inspired Nick and Tim. At least they should if or when they hear this album.

    While there is always a coherent thought process behind them all, their previous releases, 2024โ€™s acoustic covers album The Wiltshire Gothic, and the literature-themed EP Chapter & Verse of the same year, held a running theme more rigidly. The dystopian or unnerving observations of the modern era subjects behind Vox Populi is subtler, and this feels like the fashion of their debut Beyond Reverence, only with the natural progression, experience and diligence of those three years. And it shows, this is a most excellent album, once again.

    Vox Populi is released worldwide to stream, and own as a CD, vinyl LP and download,ย through Ray Records on Friday 20th March. Check out details on their website HERE.


  • Kate X: Swindonโ€™s Best Kept Secret

    Youโ€™re young, stars in your eyes, and you live in Swindon; you are not alone, but you are, unfortunately, up against Kate X! Kate is independently producing contemporary pop RnB of international quality, and sheโ€™s riding it. Kate X should, and I hope and strongly predict she will be, a global success storyโ€ฆ..

    James Threlfall spins her tunes on BBC Introducing, comparing her with Sabrina Carpenter and Zara Larson, and I respect his professional judgement. Her singles No Tears and Touch have amassed over nine thousand streams on Spotify and her latest, fifth single, For One Night had over a thousand plays in the four days after its recent release.ย ย 

    Itโ€™s easy to understand why once youโ€™ve listened. Every element to a viable contemporary pop song is evident in Kate Xโ€™s tunes. Theyโ€™re sassy without being coarse, her mezzo-soprano vocals perfectly fit pop, and Kate has a natural flair for bringing acute hooks to the bridge. For One Night, in particular, has that driving RnB bassline, but as a collection, all of Kate Xโ€™s singles to date make for an impressive portfolio.

    Iโ€™ve been hooked on Touch since Peggy-Sue Ford introduced it to me on her Donโ€™t Stop the Music show on Swindon 105.5 last year, and it hasnโ€™t left my head yet! For One Night clearly shows a natural progression, with a familiar and timeless clandestine lover theme, akin to Dusty Springfieldโ€™s popular cover choice Breakfast in Bed, but a contemporary soul feel more Beyonce than Kylie.ย ย ย 

    She has 670 monthly listeners on Spotify, which for a local indie artist is impressive. She might suggest she can be the object of her desireโ€™s โ€œbest kept secret,โ€ but in my opinion, she should no longer be secret to mainstream media and a worldwide fanbase.ย ย 

    Okay, so there are occasions, and more often than not, when an aspiring wannabe’s judgement obscures the probable reality that theyโ€™re the needle in the haystack and unlikely to progress to stardom in the competitive music business. And someone has the unfortunate task of tying their feet back to the floor. It’s sad, but a common stipulation, and often manipulated by television talent shows for ratings. But when I listen to Kate X’s tunes, compare them to what the mainstream is putting out, and consider she’s independently creating and marketing, this is clearly not the case here. Kate has something really rather special, which is on par with the mainstream commercial output.

    All it takes is for word to spread, and maybe some crossed fingers and toes, but Kate X seems determined, and unquestionably has the potential to be the next big pop star.

    Kate, your songs are simply brilliant, remain steadfast to your goal, mentally prepare for setbacks, obviously, but I reckon, judging on this latest single, youโ€™ve got it in the pocket girl! And we wish you all best of luck with this positively facing journey.ย Follow her journey on Instagram, TikTok, or Facebook.


  • Shedricโ€™s Misadventures of Theodore Thump

    Just who is Theodore Thump? A wise pet rabbit? The mysterious sixth Beach Boy? This album newly released from Shedric, Swindon soloist and groovist of Thud, reveals nothing, but makes for a diverse and interesting listenโ€ฆ.

    The Misadventures of Theodore Thump was unwittingly released unto the cosmos earlier this month, and through title and cover art you might preconceive some psychedelic surreal nonsensical comedy akin to the Bonzo Dog Doo-Dah Band, and in a way thereโ€™s sombre and subtle nods to this direction, but thereโ€™s more than meets the eye to this masterwork of audio art.

    With wailing guitar it opens unexpectedly, plodding cosmic blues fashion. This swaps to a drifting jazzy folk with smooth Nick Drake styled vocals for the second song, and back to cosmic wah-wah for the intro and chorus for the third, while it settles for a jazz piano core. Still, fusions know no bounds here. Immediately Iโ€™ve the notion that this melting pot isnโ€™t by chance, and the experimentation is purposeful, played out by a genius of many influences and with the ability to cherry-pick and compose them in such a way you are on the edge of your seat, captivated, intrigued, and thoroughly entertained.

    It may all have been done before, but unlike this. Four tunes into this seven track marvel, Rosalie is a two-minute ethereal drumbeat and piano instrumental. Drifting lounge style, Scum is contradictory from subject to sound, whereas Lock & Key drives melodically classic RnB, Robert Palmer, and is likely the most commercially viable on this most excellent album. Thereโ€™s a finale, wonderfully written of feelgood sentiment.

    Shedric said, โ€œThe Misadventures of Theodore Thump has taken me an insane amount of time to make. The levels of procrastination have been almost as epic as the hours spent at my kitchen table mixing and tweaking.โ€ The dedication and effort shows. It has the experimental quality of Sgt Pepper or Pet Sounds, the coolness of Bookends, its jazzy elements range from Blue Note to prototypical Mark’s Keyboard Repair. At times itโ€™s blues, at others itโ€™s folk, but it always leaves you guessing, and certainly is one to dive into, discovering more intricate details you might have previously missed before; marvellous!


  • Chandra Likely To Go Boom!

    Buzzwords, like โ€œturbo,โ€ or โ€œsonicโ€ are cliche, overused trends which gain popularity because they sound impressive, even if they are empty of meaning. I avoid them, but you cannot call Chandraโ€™s releases just plain indie-pop; theyโ€™re turbo-charged sonic boom spearheaded empowerments of synergy indie-pop songs which prolifically arrive with an explosive boom! And, coincidentally, Boom is the new oneโ€ฆ..

    Seriously, thereโ€™s a glorious feelgood summer energy to this. You’d have to be having a really bad day to find fault with it. Love the bongo intro, and the subtle, tongue-in-cheek doowop backing, and the guitar riff bridge sits perfectly amidst the positive vibes the subject evokes in the singer.ย ย 

    โ€œThis song is a bit of a departure from the norm,โ€ lovable showman Chandra says, โ€œover the past two and half years we’ve never once written a song about love. We’ve always written about topics such as inclusivity, tolerance, compassion, faith and self confidence, but the one thing that ties it all together is we want to write songs that are upbeat, hopeful and empowering. We hope that this song does exactly that.โ€

    Observation double underlined, and box triple ticked.

    โ€œBoom is a very spiritual song about love,โ€ Bristolโ€™s power indie-pop virtuoso continues, โ€œsoul-mates and the miracle of finding that special someone in a vast universe full of empty space. It may take a moment; it may take a lifetime, but when you find that special person who makes you whole, the explosion is as powerful as the Big Bang. And yes… sometimes it’s really scary to open yourself up to the possibility of being hurt, especially if you’ve experienced something bad previously; something is coming, everything will be alright.โ€

    And thatโ€™s about as reassuring as the nature of the song too!ย  Boom launches into the universe on Friday 20th March. Thereโ€™s a BOOM Single Launch Party on Saturday 28th March, at The Queen’s Head in Box. Doors 7.30pm.

    Find all stuff you need to know about Chandra HERE


  • Marlborough School of Languages to Hold Second Fiesta

    Itโ€™s always nice to hear when an inaugural local event is successful, especially one as unique and original as Marlborough School of Languagesโ€™ annual Fiesta. Triple so when being bilingual to me means I can switch between English and gibberish!

    Marlborough School of Languages offers a range of services to suit language development at any age and stage, in small groups or one-to-one at their school on Marlborough High Street, and online. With regular Spanish, English, French and Italian lessons, bespoke workshops, exciting conversation, film, food and book clubs and sociable cultural drinks evenings, last year founder Maria Gonzalez decided to create their first language summer festival; conveniently the school abbreviates to SOL, the personification of the Sun in ancient Rome!

    ย โ€œWe are beyond excited to be launching the second edition of our Languages’ Summer School: Fiesta 2026,โ€ Maria explained. โ€œLast year we wanted to end the summer term with a special event that would inspire our students to continue their learning journey with us in September, and create something appealing for potential new learners.โ€

    โ€œDespite the heatwave, we delivered 15 hours of Spanish, Italian and EFL lessons, served five wonderful meals at La Bobina, The Marlborough Pub and at our High Street premises, and organised five afternoon activities, including Chinese calligraphy and a wine tasting led by some of the areaโ€™s most talented professionals from Thames Valley Wines.โ€

    This yearโ€™s Marlborough School of Languages Fiesta will take place on the 6th to 10th of July. Building on last yearโ€™s success, Fiesta 2026 promises another vibrant celebration of language, culture and community.

    Guests can look forward to a programme of engaging Spanish, Italian and EFL sessions in the morning, delicious meals shared in great company, at the best Marlborough High Street eateries, and a selection of inspiring afternoon activities led by talented local professionals.

    Above all, Fiesta is designed to bring people together in a relaxed, friendly atmosphere where learning, conversation and cultural discovery go hand in hand.

    Tutors in both Italian, Claudia Marin and Spanish, Maria Gonzalez along with English as a foreign language tutor Matt Gow, will take classes from 9:00 am to 12 pm, followed by lunch, and workshops in the afternoon. Some details still need confirming at this stage, but they anticipate the paella making workshops will be back, and there will be a theatre workshop where the three language groups will each prepare and perform the same short play in their respective languages.ย 

    For further details go to the Marlborough School of Languages website HERE.


  • Palooza Invited Back to Fatboy Slim’s All Back to Minehead 2026

    Right here, right now in Devizes, Palooza spawned and has become the fast-growing house music event brand in Wiltshire. They’ve beenย invited backย to perform atย Fatboy Slimโ€™s All Back To Minehead 2026, following a standout appearance at last yearโ€™s event. The highly anticipated festival takes placeย 6โ€“9 November 2026ย and brings together some of the biggest names in dance music for a full weekend of music, energy and unforgettable moments…..

    Joining an exceptional lineup that includesย DJ EZ, Erol Alkan, Horse Meat Disco, Simon Pegg, Sarah Story, Darren Emerson, Eats Everything, Kirollus, Olive F, Woody Cook, Elliot Schooling, Liam Palmer, Krafty Kuts, Dr Banana, Arielle Freeย and many more, Palooza will once again bring its signature blend ofย house, classics, anthems and underground soundsย to the iconic Minehead weekender.

    Known for itsย high-energy dancefloors and community-driven atmosphere, Palooza has built a strong reputation on the UKโ€™s underground scene, making its return to All Back To Minehead a significant milestone for the brand. The invitation back to the lineup reflects the impact of last yearโ€™s performance and the growing recognition of Paloozaโ€™s unique sound and vibe.

    โ€œWeโ€™re buzzing to be invited back,โ€ said Greg Spencer from Palooza. โ€œLast year was incredible, and to return alongside such a huge lineup is a real honour. Weโ€™re bringing even more energy this time.โ€

    All Back To Minehead continues to be one of the UKโ€™s most celebrated dance music weekends, combining world-class DJs with a unique holiday atmosphere and a packed schedule of activities across the resort.

    For full lineup details, tickets and event information, visit:
    ๐Ÿ‘‰ย www.allbacktominehead.com


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

Sound Affects Find the Ley Lines

Make no mistake, we love Swindon folk-rock duo Sound Affects here at Devizine. Ergo Iโ€™m prepped with some fond words and in high expectations prior to listening to their new album out today (13th Dec) Ley Lines. Itโ€™s been over two years since reviewing Everyday Escapism, their previous nugget of wonderful. And if I praised them for the honest folk songs then, Ley Lines is an immense enhancement for acute subject matter, and is lyrically grafted with more passionate prose. The result is sublime, as I anticipated, but that smidgen more.

From the off Gouldy and Cath compose with significance, and these eleven tunes donโ€™t simply drift over you aimlessly with acoustic goodness, though they have that. They stand as testaments to the tenet of injustices of modern social and political issues. Upon faced with the political reformist opening song, One Man Army, you know thereโ€™s an aim to reinforce the lost ethos of political standing in a song, as is the direct influences they often cover as their band, The Daybreakers; of power-pop, new wave post-punk, eighties garage and mod. Though as a duo, Sound Affects are strictly folk-rock, only maintaining the ethos of their inspirations in lyrics.

The second tune projects like a musical of an Alan Bleasdale play, thereโ€™s certain bitterness in the broken dreams and prewritten fate of folk in the decay of modern poverty, and Gouldy nails it akin to Ken Loach, with No Means to Pay. What follows is a Kafkaesque, revolutionary dream, but if you felt this is all liberal point-scoring, King for a Day has more acquitted associations similar to the drifting and euphoric sounds of Everyday Escapism.

Windmills drifts similarly, gorgeously, and is naturally Edenic. While shards of the aforementioned bitterness are subtle now, replaced with an idyllic moment, you consider if theyโ€™re losing the edginess of the opening tunes. Then Cathโ€™s flute takes us back to a tender era with Giving Something Back, and Gouldy sings, perhaps the most simplistic chorus, but genius song here, it opens a clear nod to his love for the narrative of Irish folk; itโ€™s a working-class ideology, and you can effectively visualise the labours leaving for home on a dark winterโ€™s eve, with the backdrop of a cold red-bricked factory. Thereโ€™s something acutely Levellers, but a sprinkling of Springsteenโ€™s Nebraska about it.

Typically, romance with a twist is a not forgotten subject, but played well, in Say it to my Face, and it returns with ponderings of conspiracy and dogmatic hierarchy. Unanswered Questions has overtones of a missing girl, without mentioning the McCann family, thereโ€™s connotations of a similar tragedy, and itโ€™s heartbreakingly candid. Yet throughout any dejection in theme, Sound Affects always ascertain a joyful euphoria through the sublimeness and effortlessness of their sound; acoustic guitar and flute, fiddle; tried and tested formula to hold a pub gig spellbound, as they recurrently do.

Together what you have is a numinously uplifting, wandering and softened euphoric album which drifts on rancorous and sometimes acrimonious subjects many modern musicians might steer away from. Itโ€™s folk alright, but with a bygone bite and righteous morals. More importantly, itโ€™s so damn good, itโ€™s essential.

Skates & Wagons EP

Fashionably late for the party, this Oxford duoโ€™s self-titled debut EP was released on White Label Records at the beginning of the month; what can I say for an excuse? Glad to catch up though, as Skates & Wagons are well worth it.

Thereโ€™s retrospective grandeur on offer here; even down to the bracketed song titles, as was common at the time, of these four diligently composed tunes of sixties-fashioned mod psych-pop. Itโ€™s as if weโ€™d not progressed from the era of The Kinks or Small Faces, The Spencer Davis Group and The Troggs at all. And to hear this makes one wonder if it was ever progress anyway.

Yeah, the dawn of the beatnik epoch, developed from the blues and soul inspired pop of Merseybeat is formulated, tried and tested, and anyone who mimics it is dependant on the only element left to ensure it’s respectable, the quality. Skates & Wagons set such a benchmark, taking a big chunk of the influence from this aforementioned style, but with a fresh approach rather than a shoddy and aged tribute, paling by comparison to its original.

Weโ€™ve seen this youthful blast of retrospection recently with the awesome blues detonation of Little Geneva, least to suggest this is more the pop of the fab decade, it also expands to classic electric rock, and is immediately beguiling via its wonderful musings. Skates & Wagons have long established themselves on the live circuit in Oxfordshire and beyond, but the EP is something precured over time like a fine wine. Initially they started working on it as far back as 2011, and completed it earlier in 2020, a testament to that old adage, you canโ€™t rush art.

Opening borderline glam, Just Because you Can (Doesnโ€™t Mean you Should) is possibly the most progressive, early Genesis fashioned, and vocally thereโ€™s harmony parallel to Gabriel and Collins. Itโ€™s as if Skates & Wagons regress through time as it goes on. Spin my Wheels is decidedly backdated in sound from the opening song, mid-Kinks period of their โ€˜66 album, Face-to-Face.

A nuanced approach to sixties-indebted structures, all four songs drip with instant fascination, as if you mayโ€™ve heard them on a classic radio show. The third tune is perhaps the most sublime, Tender (is the Night) is affectionate acoustic guitar-led emotive mellowness, to slip into a Who rock opera unnoticed. Itโ€™s an epic, seasonal-spanning romance themed masterpiece.

Yet, the final tune, Law As I Am True plays-out with the thump of pre-psychedelia sixties pop, but itโ€™s got the kick of how The Jam re-enacted the sound, and itโ€™s catchy because thereโ€™s subtle hints and swirls of the imminent next move to flower-power. Together hereโ€™s four memorable tunes which would have undoubtedly sailed to the Top of the Pops during that golden era, yet somehow completely original and uniquely fitting for the now.

If weโ€™ve seen a relived trend with scooterists and mod culture recently, these guys are a hot contender to front such a movement. Though I caution them, thereโ€™s often a dispelling, or more, overlooked aspect with the current trend, in the interesting and natural progress to the late-sixties beatnik and flower-power movements, and while thereโ€™s nothing so โ€œway-outโ€ as Zappa on offer through Skates & Wagons, it does reflect those initial, optimistic changes of the mid-sixties. And in this notion, is what divides the duo from the bulk standard; yeah, fab, love it!


Tankus the Hengeโ€™s Luna Park

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

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

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

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

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

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

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

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

https://www.tankusthehenge.com


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.

     


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

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

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

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

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

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

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

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

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

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

PRE-ORDER HERE: Facebook: Twitter:


My Darling Clementineโ€™s Country Darkness

My Darling Clementine’s new album Country Darkness vividly reimagines twelve hidden gems from the Elvis Costello repertoire, in the duetโ€™s definitive, dark country-soul fashion with original Attractions keyboardist, Steve Nieve.

As a ska DJ youโ€™d be forgiven for assuming the Two-Tone 7โ€ rarity, I Canโ€™t Stand up from Falling Down, would be my introduction Elvis Costello & The Attractions. Rather embarrassingly, the one-shot liable recording which was given away at his gigs was not, rather the one true comedic genius of Hi-Di-Hi was. Sue Pollard stood flustered but ever-spontaneous with odd shoes behind the stage at Live Aid. Interviewer Mark Ellen asked her if sheโ€™d seen Elvis. An expression of shock overcome her, as Ellen expanded with the performers surname. โ€œOh, I thought you meant Presley, I was gonna say, poor thing, resurrected!โ€

I found this amusing a kid, as most of her witticisms were. Yet, I didnโ€™t know much about the man in question. Like a DC Thompson artist unable to sign his comic pages, I never knew who did R. White’s Secret Lemonade Drinker Elvis impersonation; Costelloโ€™s father, and young Elvis, or then plain olโ€™ Declan, as backing. Was it this which swayed Stiff Recordsโ€™ Jake Riviera to suggest he used Elvis as a forename?

However it did come to pass, if his renowned namesake is the king of rock n roll, Costello surpassed him in at least one avenue, diversity. Beginnings as a new wave punk Buddy Holly, Costello stretched beyond pigeonholes and always strived to cross the streams, and country music was a mainstay. Take the derisive warning on his 1981 country covers album Almost Blue; โ€œthis album contains country and western music, and may cause offence to narrow minded listeners!โ€

As new wave as you thought he was, an American country ensemble residing in England, Clover, would attend his backing for the debut album. Members later joined Huey Lewis and the News and the Doobie Brothers. Costello would go onto record many a country cover and use the genre as a blueprint for his own song writing. His obvious love of country is bought to an apex by a new release today, 6th November, from My Darling Clementine, of which Royal College of Music dropout, Steve Nieve joins with familiar husband-wife pairing, Michael Weston King and Lou Dalgleish to vividly reimagine twelve hidden gems from the Elvis Costello repertoire, in the duetโ€™s definitive, dark country-soul fashion.

But for want of prior knowledge of the songs, note, Steve Nieve dropped out of college in 1977, to join the Attractions as pianist. The man was there when Costello released his first major hit single, โ€œWatching the Detectives.โ€ Why is he called Nieve, pronounced naรฏve? Youโ€™d have to have asked Ian Dury.

While the first single released from Country Darkness, The Crooked Line is taken from the album, Secret, Profane & Sugarcane, Costelloโ€™s later folksy-era, the adaption is surprisingly electric and upbeat, a tantalising precedent for an album typically leaning more toward country, even if the track being revised is not originally inspired from Costelloโ€™s country passion. This intricate then is interesting, while My Clementine has judiciously measured the retrospective repertoire, taken on hidden gems throughout Costelloโ€™s career, including tracks from his Imposters and Attractions eras, solo efforts and his collaborations with the likes of Paul McCartney and Emmylou Harris, it doesnโ€™t mean all tracks were selected because of their closeness to country.

While his Heart Shaped Bruise from the Imposters album Delivery Man, for example, is acoustic goodness the country tinge is slight, the Darling Clementine version leans heavier on the genre, is more gothic americana, outlaw folk. Whereas That Day is Done almost rings gospel on the original, thereโ€™s something definitively Nashville about this version. In such, you need not be a fan of Elvis Costello to relish the country splendour on offer here, rather a Tammy Wynette devotee.

The album is sublime, without doubt, akin to an artist stripping back to accentuate the attention of song-writing ability, the nimble expertise of narrative which flows through a country legend, like Wynetteโ€™s or Partonโ€™s, can be seen, full-colour within Costelloโ€™s writing. Yet through the eyes of another, there is even more scope for alternative angles and interpretation.

โ€œMaking these recordings took me back to my 19-year-old-self,โ€ Michael Weston King explained, โ€œout buying a copy of โ€˜Almost Blueโ€™ during my lunch hour. It was Elvis and Steveโ€™s making of that album which set me, and I think many others of my generation, off along a country path to discover more about this form of music previously only viewed with suspicion. For me it became something of a pilgrimage, a vocation, even a โ€˜career.โ€™ So, this feels like the completing of a musical circle of sorts; to record a selection of some of mine and Louโ€™s favourite EC country songs with the added thrill of performing them with Steveโ€.

Steve Nieve

The award-winning partnership of King and the awe-inspiring vocals of his wife, Lou Dalgleish is prevalent, theyโ€™ve scored four albums previously, co- written a stage play/audio book with best-selling crime writer Mark Billingham, played over 800 shows worldwide, and collaborated with a wide variety of major artists including Graham Parker, Kinky Friedman, The Brodsky Quartet, and Jim Lauderdale. Their harmonies reflect the strength of this rรฉsumรฉ, making this a win-win for country music fans and Elvis Costello fans alike.

The Country Darkness album compiles all the tracks featured across a set of three EPs, released over the last year, with a bonus track called Powerless, of which I can find no reference to the original. To web-search Elvis Costello Powerless is to find recent articles plugging his latest album, in which he offers โ€œI was trying to make a rockโ€™nโ€™roll sound that wasnโ€™t like anything Iโ€™d done before,โ€ and comments how he was โ€œpowerlessโ€ to prevent his young children viewing the horrors of news broadcasts. Yet they paint the picture of the once new wave, angry performer who rampaged through his youth, sardonically mocking imperialistic politicians, despotic fascists and firing expressive verses at punk fashionistas, as a now suave jazz and country music raconteur. But here with My Darling Clementine, the country side to Costello is bought to a western American mountainy summit.

My Darling Clementineโ€™s Country Darkness will be available on CD and digitally on 6th November 2020, via Fretsore Records. https://mydarlingclementinemusic.co.uk/store/


Talk in Codeโ€™s Secret

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

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

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

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

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

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

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

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

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

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


The Revelation Games of Phil Cooper

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

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

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

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

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

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

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

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

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

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

Details on Phil Cooper and These Revelation Games, here.


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

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

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

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

20200816_1734461456463698776563761.jpg

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

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

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

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

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

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

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


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Paul Lappinโ€™s Broken Record

A cracker of a single from Swindonโ€™s Paul Lappin this week, a Britpop echoing of Norwegian Wood, perhaps, but tougher than that which belongs on Rubber Soul. Broken Record is an immediate like, especially the way it opens as crackling vinyl and the finale repeats the final line into a fade, as if it was indeed, a broken record.

Shrewdly written, the venerable subject of a passionate breakup metaphors the title, โ€œignore the voice of reason, leave the key and close the door, do you think youโ€™re ready, to become unsteady, like a broken record, you have heard it all before.โ€ Paul does this frankly, with appetite and it plays out as a darn good, timeless track.

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Itโ€™s head-spinning rock, intelligent indie. Harki Popli on tabla drum and Jon Buckettโ€™s subtle Hammond organ most certainly attributes to my imaginings of a late-Beatles vibe. Yet if this is a tried and tested formula, as I believe Iโ€™ve said before about Paulโ€™s music, he does it with bells on.

For less than a chocolate bar, download this track from Bandcamp, it doesnโ€™t disappoint.


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Sunset Remedy with JAY

Is it still fashionable to be late for a party, or are we conversant enough to realise this refined art is solely perpetrated by egocentrics pretending to be too popular to be punctual? Rather, Iโ€™m am obsolete slob who can only apologise to Jay and Wise Monkey for my delay in reviewing his debut single featuring the vocals of Ben Keatt, but what excuse can I give? Hereโ€™s where fatherhood comes in handy, being too candid to be vain, least I can blame it on my kids and their perpetual school holiday! That said, Iโ€™ve gained some experience on Minecraft and, if I really try, I can do more than two keep-me-upsies.

Sunset Remedy is the track, released last Friday. Jay, Bathโ€™s first external artist of Wise Monkey Music is a producer and instrumentalist, defined as โ€œa bright shining light in the future of DIY and Bedroom Pop,โ€ and I can only but agree. In the fashion of the classic neighbouring Bristol downtempo sound of Massive Attack and Portishead, it came as a surprise to note the soulfulness beats of this sublime track, as it melodically traipses with funky guitar, poignant lyrics and an uplifting air.

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If Pink Floyd came after Morcheeba, they might have sounded a little something like this; neo-soul, the kind of song you wish was physical matter, so you could pluck it out and give it a cuddle! Itโ€™s breezing with nu cool, with a melancholic plod and would blend between tracks on Blue Lines unnoticed, save for perhaps this backdrop guitar riff, providing scope of multi-genre appeasement. Benโ€™s vocals are breathtakingly touching and accompanies the earnest lyrics and smooth beats perfectly. Yeah, this is a nonchalant chef-d’oeuvre, crossing indie pigeonholes and one Iโ€™m going to be playing until I hear more from Jay.

And don’t run away with the idea I’m singing it’s praises simply because of the delay in getting to reviewing it! So not me. You trust I speak my fractured mind, and anyway, time is an illusion to this aging hippy. If punctuality was money I’d be happily broke; procrastination rules, ok. No, I urge you grab this beauty, and show some love to Jay’s Facebook page.


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Three Times Better; The Lost Trades @ The Southgate

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

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

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

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

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

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

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

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

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

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

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Atari Pilotโ€™s Right Crew, Wrong Captain

Only gamers of a certain age will know of The Attic Bug. Hedonistic socialiser, Miner Willy had a party in his manor and wanted to retire for the evening. Just how a miner in the eighties couldโ€™ve afforded a manor remains a mystery; but that erroneous flaw was the tip of the iceberg. In this ground-breaking ZX Spectrum platform game, the Ribena Kidโ€™s mum appeared to guard Willyโ€™s bedroom, tapping her foot impatiently. Touch this mean rotund mama and sheโ€™d kill you, unless youโ€™d tided every bit of leftovers from the bash. Turned out, months after the gameโ€™s release, one piece, in the Attic, was impossible to collect. Until this glitch became public knowledge, players were fuming as an intolerable bleeping version of โ€œIf I was a Rich Man,โ€ perpetually looped them to insanity.

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I swear, if I hear that tune, even some forty years on I cringe; the haunting memory of my perseverance with the impossible Jetset Willy. Music in videogames has come a long way, thank your chosen deity. Yet in this trend of retrospection I terror at musical artists influenced by these cringeworthy clunky, bleeping melodies of early Mario, or Sonic soundtracks; like techno never happened, what are they thinking of? It was with caution, then, when I pressed play on the new single from Swindon band โ€œAtari Pilot.โ€ I had heard of them, but not heard them. I was pleasantly surprised.

For starters, this is rock, rather than, taken from the bandโ€™s name, my preconceived suspicion I would be subject to a lo-fi electronica computer geekโ€™s wet dream. While there is something undeniably retrospective gamer about the sonic synth blasts in Right Crew, Wrong Captain, it is done well, with taste and this track drives on a slight, space-rock tip. Though comparisons are tricky, Atari Pilot has a unique pop sound. No stranger to retrospection, with echoey vocals and a cover akin to an illustration from Captain Pugwash, still this sound is fresh, kind of straddling a bridge between space-rock and danceable indie. Oh, and itโ€™s certainly loud and proud.

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A grower, takes a few listens and Iโ€™m hooked. Their Facebook blurb claims to โ€œchange the rules of the game, take the face from the name, trade the soul for the fame…I’m an Atari Pilot.โ€ After their debut album โ€œNavigation of The World by Soundโ€ in 2011, a long hiatus took in a serious cancer battle. But Atari Pilot returned in 2018 with an acoustic set at the Swindon Shuffle. The full band gathered once again the following year with live shows and a new set of โ€œSongs for the Struggle.โ€ This will be the title of their forthcoming follow-up album, โ€œWhen we were Childrenโ€ being the first single from it, and now this one, โ€œRight Crew, Wrong Captain,โ€ is available from the end of July.

Its theme is of isolation, โ€œand defiance, after the ship has gone down,โ€ frontman Onze informs me. Thereโ€™s a haunting metaphor within the intelligent lyrics, โ€œyou nail yourself to the mast and you pray that everything lasts, you just want to know hope floats, when the water rises, coz it’s gonna rise, take a deep breath and count to ten, sink to the bottom and start again.โ€

Thereโ€™s a bracing movement which dispels predefined ideas of indie and progresses towards something encompassing a general pop feel, of bands Iโ€™ve highlighted previously, Talk in Code and Daydream Runaways, Atari Pilot would not look out of place billed in a festival line-up with these acts, and would add that clever cross between space-rock with shards of the videogames of yore, yet, not enough to warrant my aforementioned fears of cringeworthy bleeps. Hereโ€™s hoping itโ€™s โ€œgame overโ€ for that genre. That said, thinking back, when you bought your Atari 2600, if you recall, oldie, you got the entire package of two joysticks and those circler controllers too, as standard; could you imagine that much hardware included with a modern console? Na, mate, one controller, youโ€™ve got to buy others separately.

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So, if decades to come we have a band called X-Box or PlayStation Pilot, Iโ€™d be dubious, but Atari gave us quality, a complete package; likewise, with Atari Pilot!


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The Big Yellow Bus Rocks The Gazebo

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

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

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

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

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

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Acenda (image by Eric Hobson Photography)

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

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Six Lives Left

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

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Joili & The Souls

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

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

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NervEndings For The People

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

Weโ€™re countless gigs in now, the band, with bassist and secondary vocalist Rob McKelvey, still tight and raucous. Iโ€™m glad thereโ€™s a six-track album doing the rounds on the streaming sites, as by way of a meanderingly drunken tรชte-ร -tรชte with Luke down the Gate, an album in the pipeline was one of the random topics breezed over, but so was the debatable aggression levels between Welsh and English badgers too, so I only held hope itโ€™d see the light!

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โ€œFor The Peopleโ€theyโ€™re calling it, then, out last week. Itโ€™s got the kick I now predicted, with that surprising blues element to boot, particularly in the opening track, Infectious Groove. Yet the Muddy Puddles single weโ€™ve reviewed in the past follows, and sets the ball really rolling; it takes no prisoners, yet, for its catchiness, contains a slither of something very sixties; imagine pre-Zeppelin metal.

Emo, to audaciously use an unfamiliar genre, Iโ€™d best describe Colour Blind; smoother, drifting indie rock. And in that, Fighting Medicine is more as Iโ€™d supposed, guitar riff rocking like a driving song and Mikeโ€™s brainy lyrics, with added profanity to describe the drunken hooligan spoiling for a rumble. You know the bloke, thereโ€™s always one.

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With themes of non-pretentious indie, Chin up continues this ethos, forget the attempts to conform to expectances, itโ€™s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, itโ€™s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isnโ€™t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Hereโ€™s Jimi Hendrix covering Blurโ€™s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the clichรฉ indie sound, it works on my level too.

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Nicely done, and, double-whammy, Mike has forced upon me this streaming inclination which defies all my generation stood for when collecting music. Our parents called us by name when shouting up the stairs to turn the music down, not โ€œAlexa!โ€ Ah, it needed to be done and Iโ€™m grateful, in a sense. โ€œSend me a download or something,โ€ I pleaded, โ€œI donโ€™t understand this Spotty-Fly thing!โ€ But it only met with the reply, โ€œitโ€™s on all the streaming sitesโ€ฆ.โ€ Iโ€™m of the generation who tried to turn over the first CD they got, to listen to the B-side, and only just got the hang of downloading. Now Iโ€™m causally informed downloadingโ€™s sooo millennial.

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

So, cheers, Mike. Hopefully this will help me surpass the โ€œnoobโ€ label my son has tied to me, which, Iโ€™m told is a word for both a novice and an insult in one. Honestly, I feel like my grandad, who, when he came over once, stood staring at our new LCD television and asked, โ€œwhereโ€™s your tele?!โ€ For the People needs to include the older people too, as I reckon many would either love it, or give this trio a ruddy good clip around the ear, which is maybe what they deserve for being so damn good; they’d have me talking emoji next.


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A Cracked Machine at the Gates of Keras

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

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

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

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

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

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

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

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

Mr B & The Wolf come out of The Mist

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

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

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

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

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

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

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

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


Mr B & The Wolf Website

BandCamp for the album (ยฃ3.50)

Find Mr B & The Wolf on Spotify

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Donโ€™t, Ryan!

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

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

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

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

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

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


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Indie Networking and Long Coats

If social media is the rearguard in musicโ€™s battle against the Coronavirus lockdown, thereโ€™s plenty of battalions networking at this last stand, and physical location is no issue. A virtual realm is borderless, and for this reason, while Devizine is concentrated on content local to Wiltshire, there are many avenues worthy to waiver the rule for. So, expect us to cover some bands and artists without borders, ones Iโ€™ll connect with through social media, such as the Facebook group Iโ€™m here to mention, as is the groupโ€™s tenet.

That said, Ollie Sharp is a young performer from within our geographical catchment, Bath, who recently set up said Facebook group for indie music, called, aptly, The Indie Network. Its welcoming and dynamic attitude is gaining attention. I joined, they cast a thread of introductions; made me feel old! Funny cos itโ€™s true, pipsqueaks by comparison. Young enough to have to Google my antiquated phraseology, like cassette tapes and Danny Kendal. Some poor guy confessed he was older, at 43, at which he faced compassionate reassurances such as, โ€œitโ€™s only a number.โ€ I knew then to keep my gob shtum, so I stated I was โ€œold enough to know better, too old to care.โ€ Least itโ€™d do no good for our Kieran from Sheer Music, who also joined, to grass me up as an old skool raver, historical to those barely an itch!

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Though weโ€™ve jested before about the era of yore where never the twain would indie kids and ravers mingle, Mr Moore and I, and come to the conclusion Iโ€™m exempt on account of my eclectic taste. Let it be known now, I like the sound of Ollieโ€™s recently formed band The Longcoats, and itโ€™s just the sort of thing which allows Kieran to win the genre argument! Itโ€™s breezy, placid indie, acceptable on a larger scale than predecessors, much least my aging preconceptions, bit like what our Daydream Runaways and Talk in Code are putting out; and I like them. I even refer to them as โ€œour,โ€ see, like a northern working-class family. Shoot, pass my Smiths tee Mr Moore, Iโ€™m an indie kid! (kid used here in its most unlikely definition.)

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

โ€œUsed to Being Usedโ€ is the single I was sent, the earlier one of two on their Bandcamp page. It follows a blueprint of indie-pop, thereโ€™s a trudging guitar riff, a theme of dejected ardour, yet itโ€™s done with skill, catchiness and promising aptitude. The latter single, Drag, which came out in March takes a similar tempo, and cool attitude; there is no need to be angry in an era which accepts the genre, so ever with edge but only enough, The Longcoats create a beguiling and entertaining sound to appeal wide.

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

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There is nothing about this Bath four-piece indie-pop-rock band here, Iโ€™ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Hereโ€™s one to watch, with their debut EP โ€˜Octoberโ€™ in the pipeline, hereโ€™s hoping itโ€™ll reach us before the month of its namesake.

But itโ€™s not so much about the individual band here which maketh this article, rather the conscious efforts to unite and network, thus creating a scene. Even through this era of wishing for a live gig, the networks thrive, perhaps even more so. Ollie also created Wise Monkey Music, a multi-media music and events promotion company based in the Southwest, of which we look forward to hearing more of; attention, the like Facebook group The Indie Network is likely to bring. They even let this aging raver in, dammit; though my white gloves and whistle must be in a box in the loft somewhere, itโ€™s a deceased stereotype, of which Iโ€™m glad.

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I do find though, as someone who glued and photocopied zine after zine, aside the mass media driven pop tripe, the underground thrives as it ever did, the internet only creates an easy route in. Just like the bands of the now, such as The Longcoats and others rapidly joining the group, whatโ€™s not to like about it?

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Talking Gravity, and other things, with Daydream Runaways

With some images used by Nick Padmore

How professional of me to create a to-do-list of outstanding subjects for articles, but then spoil said professionalism by dithering to the Daydream Runaways boys about the nineties rave-indie divide and becoming a grandad. The sensible members of the band promptly left the group chat, save guitarist Cameron Bianchi who stayed to endure my inane waffling up as far as the Madchester scene.

Prior to this though we had a great heart-to-heart early in the week, but if the title of this article is misleading, I should add the subject of Sir Isaac Newton never came up, rather Gravity is their latest single, hot off the streaming sites yesterday. Itโ€™s quality, as expected, going on their three previous releases, blinding reviews and an appearance on BBC Wiltshire.

It does indeed, as the press release states, โ€œdeliver on their brand of retro-modern indie rock,โ€ but while maintaining an emerging signature panache, it pushes firmer towards a heavy rock division. A hasty grinding atmospheric intro with a pause, then the spiralling sonic guitar takes no prisoners. If the last tune, Closing the Line bore topical sentiment with a theme of the townโ€™s Honda Plant closing, Gravity is perhaps more general, but even more powerful. This imminent Swindon-Devizes four-piece really have dug into an emotional slant with Gravity.

The combination of Ben Heathcoteโ€™s idiosyncratic vocals, said sonic guitars and class production value, this belts across as a rock anthem to not only scare The Darkness but fight a Foo. They say it comes from โ€œa time of turbulence and explores the burden of life’s toughest decisions.โ€ If I predicted the air of gloom surrounding the era would produce some intensely expressive songs, here is the all the proof you need, if indeed itโ€™s a product of the pandemic. Iโ€™m going to find out.

So, Iโ€™m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, โ€œit was done in February, in Swindon, with an engineer from Westbury.โ€

I explained my reasoning, โ€œit sounds heavy, rather darker than usual. So, I wondered if it was a result of the lockdown. Is there a drive to take it that route, I mean slightly darker and heavier, or is just the mood of this particular track?โ€

Cameron replied โ€œI think it was just the mood of the track. Everything kind of centres around the experience Benโ€™s lyrics are speaking about. In fact, Benโ€™s probably the best person to about the story behind the song. But we definitely made a conscious effort to push ourselves on this on to do the song justice.โ€

It certainly does. โ€œIt doesnโ€™t hang around,โ€ I pointed out, โ€œand the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that Iโ€™m calling you immature, you understand?!โ€

Bradley responded, โ€œnah, I get that. I think we gained confidence and are more unified about this sound.โ€

Cameron interjected, โ€œI think itโ€™s important to all of us to keep pushing ourselves with each release and not churn out the same number. Iโ€™m not saying weโ€™re the Beatles or anything, but you know give it some time. Weโ€™re still young!โ€

Bradley bantered, โ€œare you, Cam?!โ€

Cameron added, โ€œwell, some of us are still young…โ€ Laughing emojis are added, but Iโ€™m getting paranoid.

โ€œOkay,โ€ I opposed, โ€œspring chickens; donโ€™t rub it in!โ€ But even with any such change, such as the edgier component of Gravity, thereโ€™s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. โ€œIs that important,โ€ I questioned, โ€œto be instantly recognisable?โ€

Cameron said, โ€œI think it helps that Ben has got a very distinctive and powerful voice. I suppose weโ€™re starting to find our sound as well. Ben & Nath wanted to go a bit heavier with this track but Iโ€™m not a massive fan of heavy guitar. So, I opted for a more chimney yet overdriven guitar style that suits me, but also packs a punch. Plus, I got to flex my inner Graham Coxon/Jonny Greenwood with the effects heavy solo part!โ€

Brad covered this shot too, โ€œI would say so, yeah. Itโ€™s good to build a sonic trademark, all the greats have that! Itโ€™s a good thing when people can still recognise you, even when you change things. Shows that youโ€™re using that style but without losing the integrity of what you are.โ€

At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. โ€œThereโ€™s always going to be differing opinions,โ€ I pondered, โ€œBit like marriage!โ€

Cameron replied, โ€œno relationship comes without some disagreements, a band included. But weโ€™re all good at finding a compromise, which is good!โ€
Throughout the interview Iโ€™m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, itโ€™s now or never! โ€œI wasnโ€™t sure, though wanting to ask, if I should bring it up again!โ€

Cameron delegated, โ€œBradley…over to you on the album talk!โ€

I interjected with the proposal before he did, โ€œI think you should, but accept I’m not thinking about current climate in the music industry, rather an old fashioned ideal.โ€

Bradley answered, โ€œthere was a plan. However, the coronavirus has impacted that. Not going to say itโ€™s completely gone but weโ€™ll wait and see what happens. You canโ€™t really make any plans at the moment.โ€

Cameron expressed, โ€œitโ€™s not a matter of if but a matter of when is probably all weโ€™ll say for now!โ€

Brad added, โ€œIโ€™d say doing an album is all dependent on what genre youโ€™re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound weโ€™ll go down that route.โ€

It did bring us onto these strange times, and my deliberations on whatโ€™s the best approach for artists on how to continue, continues. โ€œWhat’s best for musicians,โ€ I asked them for their tuppence, โ€œthe live stream is simply not the same as a gig, and while charging for it is a bit cheeky, itโ€™s difficult to know where to go to get some revenue for the work you put it. In short, must be a bitch. Let’s not say the word again!โ€

I couldnโ€™t argue with Bradโ€™s comment, โ€œsome bands I follow have rejected the idea and directed people to supporting more pressing causes.โ€

Meanwhile, Cam elucidated his feelings about the lockdown. โ€œWhilst you really miss that immediate response from a crowd, and the fact youโ€™re in a room where you can play loud and really get into it, theyโ€™re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still havenโ€™t forgiven him for that!โ€

โ€œSpringsteen did one! But not before you!โ€ I supplemented.
Bradley was proud to say, โ€œwe were the first UK band to do a self-isolation livestream. There, I said it; Let the feud with Chris Martin begin!โ€

The topic continued for a while, this dilemma between fan etiquette and revenue for artists. But I wanted to notify how much I enjoyed theirs, โ€œyeah, good it was too. Saw that! Right now, I guess, it’s all we have. That’s the point I cleared with Kieran at Sheer. Itโ€™s never going to be the best plan. I think it’s time to get down and write some killer songs, agree?โ€

Cameron agreed with a feel-good quote, โ€œdefinitely, but now is also the time to look out for each other, even though weโ€™re all apart. If we can reach out to people with our music or it helps them get through their day, then thatโ€™s amazing.โ€

Bradley approved too, โ€œyeah, and thereโ€™s never been a better time to write. Technologyโ€™s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.โ€

It always amazed a younger me, that Paul Simon could collaborate with the South African musicians on Graceland, back in the late eighties, and it sounded like they were playing in harmony in the same studio. It is possible to edit parts and stitch together. Must bugger up the flow of it though, make it sound mechanical or manufactured.โ€

Bradley replied, โ€œwell, if the band records the parts individually themselves and lays off the editing itโ€™s possible to get that organic feel. I wouldnโ€™t be surprise if we start seeing artists jump on this idea and release original tracks.โ€

It was at this point Ben Heathcote joined us. โ€œIt seems like the boys have covered the questions quite well! As Cam said, Gravity comes from a place of uncertainty and pain from circumstances and the decisions triggered from them. A crossroad of the mind. And yeah, lockdown wise weโ€™re hoping it makes people see the value in their freedom before and hopefully will bring out further support when pubs, clubs and entertainment reopen.โ€

I see Benโ€™s clarification reflected in the cover art too. With a kind of โ€œstairway to heaven concept,โ€ an impressionist character is looking lost, pondering which road to take. Itโ€™s apt for the song.โ€

Ben welcomed this, โ€œyou got it. And again, the artwork is something were really proud of. Provided by ezra.mae.art. We also enjoyed working with Reloopaudio on the production, a friend who we will be working with again. We love this song and we’ve loved the whole creation, writing and everything about it. It’s nice to have developed it from the live sound too.โ€
For Benโ€™s benefit, we found ourselves back on the subject of Gravityโ€™s edgier side, โ€œI think it will please the hardcore indie fans, and those which come from a heavy rock side, which is good, thereโ€™s a majority of them locally.โ€

Ben replied, โ€œas you mentioned earlier, with the style sounding fresh, but still us. This is something I’ve always been hot on since the band formed. I’ve never wanted us to be doing the same thing every time. The aim was, and continues to be; to write and produce fresh sounds with hints of varying styles that is still recognisable as us, allowing it to not be boring or repetitive; kind of inspired by many of our favourite artists who keep developing their sound.โ€

I take off my hat to this, โ€œI might come across pop or soul-ish but I had my day, and do still listen to bands like Zeppelin and Floyd etc. I think Gravity will be boss with that crowd.โ€ With which I asked for their influences, and if they mutual.

Ben reacted, โ€œIโ€™d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.โ€

Cam agreed, โ€œyeah, I donโ€™t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.โ€

Laughing emojis made a reappearance, when I teased, โ€œEd Sheeran it is then!โ€

Keen to take it back, Brad nods at my sixties psychedelic citations, โ€œFloyd and Zeppelin are timeless though. Prefect example of bands that pushed themselves overtime.โ€ And the Daydream Runaways can relate to that with this progressive new release.

Ben said, โ€œI think before we produced the track, we all knew in our head how it should sound.โ€ Itโ€™s definitely a belter. I thank them for their time, with one last question before we headed into our tangent about the rave-indie divide of the nineties! Where do the Daydreamers see themselves in five years?

Ben suggested in five yearsโ€™ time he would like them to have a steady schedule, โ€œplaying to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.โ€

Cameron felt theyโ€™d have โ€œan album or two under our belt, playing to crowds in our favourite venues. Having a slot on The John Peel Stage at Glastonbury is a bit of a dream of mine!โ€ Ah, thereโ€™s the source of my waffling, started with seeing Oasis at Glasto but, unbeknown to me at the time, I paid them little attention.

Daydream Runaways though, worthy of your attention, hereโ€™s the Spotify link to Gravity, like them up on the book of face, and cross your fingers and toes weโ€™ll be seeing them live soon, if not the John Peel Stage at Glastonbury!


ยฉ 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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Phil Jinder Dewhurst at the White Bear

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

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

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

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

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

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

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

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


ยฉ 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Live Album at the Louisiana with Ruzz Guitar’s Blues Revue

A cheetah can achieve motorway speeds, but not long enough to get off the slip road; worthless trivia, unless youโ€™re an antelope. I like to think cheetahs listen to rock n roll; no, hear me out. Akin to this feline fact, those RnB and rock n roll classics are one short burst of energy. Fortunately for the artists the 78rpm record lasted a maximum of five minutes, and for radio play theyโ€™d cut it to little over three, any longer they surely risk congestive heart failure.

As the era passed to late sixties, psychedelia stretched recorded music to live and extended dimensions Little Richard could never maintain. Mellowing tendency matured rock, but arguably robbed its dynamism. Ah, come the eighties twelve inch single and the mega-mix, prompting the question; why didnโ€™t Glenn Close choose the Jive Bunny to boil?

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Image byย 
Jerry Tremaine Photography

Rare then it is, to hear a frenzied traditional rock n roll sound encompass ten minutes; welcome to Ruzz Evansโ€™ world. Embodiment of Johnny B Goode, Ruzz can pick guitar like heโ€™s ringing a bell, for an astounding period too. Due for release on 10th February, but available for pre-order from December 1st, Iโ€™ve been adoring this album recorded live at the Louisiana in Ruzzโ€™s hometown of Bristol.

Forgive me for sustaining the rock n roll pigeonhole, for Ruzz has the quiff and is photographed in a teddy boy drape jacket. With backing from an incredible band including drummer Mike Hoddinott and upright bassist Joe Allen, the panache of Ruzz Guitar’s Blues Revue straddles rock and its namesake blues. Since 2016, when they added an awesome horn trio to the roster, we can add big band jazz to their style. Thatโ€™s my thoughts while absorbed in this, of what Miles Davis did to jazz, or Pink Floyd to prog rock, Ruzz does to traditional rhythm and blues come rock n roll; the result is breath-taking.

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Bearing in mind his voice isnโ€™t growling Tennessean, yet neither was Gene Vincentโ€™s, rather quirky Bristolian, the vocals are sporadic, instruments reign. Thereโ€™s an amusing conclusion to โ€œUnder Your Spell,โ€ where 10 minutes of detonating electric blues is broken by a genuinely surprised thank you from Ruzz in said accent. This often amuses me, pondering, no, thank you, mate, I just clapped, youโ€™ve just held me spellbound for ten minutes, the pleasure is all mine!

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In this instance Iโ€™m not even there, merely listening on my headphones, but still entranced. While theyโ€™re Bristol based Ruzz and his Guitar’s Blues Revue are no strangers here, and you can catch them at the Southgate (Nov 30th), White Swan Trowbridge (tonight 9th Nov) at the R&B bar in March at Devizes Sports Club. Iโ€™m quivering, ashamed after hearing this that Iโ€™ve not caught them live yet; an offence I will rectify, you would too if you hear this.

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Live at the Louisiana explodes from the off; the two, Hold It and Baby Please Come Home, for starters envelope all Iโ€™ve said, lively jump blues come big band rock n roll. Catchy, youโ€™ll be lindy hopping before your first sip. Yet if Movin On groovily notches to allegro moderato, Back Home to Stay boogie-woogies again, and Sleepwalk is as dreamy as it suggests. The last two tunes, Sweet as Honey and the aforementioned Under You Spell embrace all weโ€™ve so far said, making this release, I reckon, a treasure; fantastic!

With two self-released studios albums already under their big rockabilly buckles, and opening for Dr Feelgood, The BlockHeads, Kirk Fletcher and Bill Kirchen and Darrel Higham, theyโ€™re stamping an authority of quality worldwide. Ruzz has been honoured by being officially endorsed by Gretsch Guitars, and thatโ€™s what I perceive of him, the kind of obsessive guy who will turn any conversation to his labour of love, but when itโ€™s this proficient, you cannot help but take heed. Iโ€™m off to find out what they can do in the studio, but with such a formula I think this live album captures the spirit perfectly.


ยฉ 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Rock Hopping in the Free Rowde

When apathetic to galivant to a gig, and not for want of staying in my village, thereโ€™s always the Cross Keys in Rowde. Hum, been a while, historically had its ups and downs. Last report I did here things were looking up; food-wise, a few craft fairs and various goings-on. But itโ€™s changed hands again, and the one thing it lacked other than the sporadic Splat of the Rat, live music, has returned to the agenda by the new landlord.

Arm twisted, Iโ€™m back in the watering hole where I had my wedding reception and the kidโ€™s christening parties. Little visually has changed, punters included. No bad thing, village hub. The landlord tells me theyโ€™ll be renovating the restaurant area, but if it isnโ€™t broken. For the functional the main pub is perfect, aesthetically itโ€™s apt. Although the change for the evening is the pool table area, where guitars and drums swim amidst wires and foot pedals. Devizes band Rockhoppaz are due to kick off a season of performances here. This is good, heard of but not seen these guys yet.

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Holding a preconceived idea, largely based upon the name, I was mistaken to assume Iโ€™d be knocked over by rock verging on metal, which though not my cuppa, Iโ€™ll endure to support live music in my village for sure. Pleasantly surprised then to hear this matured four-pieceโ€™s repertories, though while varied, were largely based on rock and punk-mod classics.

Tuning teaser being Johnny B Goode, the age range of songs went from contemporary back to rock n roll. Commencing with the Kaiser Chiefs, we heard Dandy Warhols and Primal Scream covers, we were cast rearward to Buzzcocks and The Jam, and plopped into a pinnacle of Rolling Stones and Kinks. It was this era where I thought the band reigned, with an awesome Brown Sugar. Yet the range was achieved in its entirety with equal passion and skill, but when lead singer, Jim Smith rolled out an adroit version of Neil Youngโ€™s Rockin in the Free World, I changed my mind.

I questioned this namesake preconceived idea to the band during their beer-break, pointing out drummer, Ian โ€œTefโ€ Martinโ€™s AC/DC tee-shirt. Oh yes, I was told, theyโ€™ll be playing an AC/DC cover in the second half. What ensued was a potentially everlasting musical trivia conversation, indicting their passion was their motivation, and herein lies the spirit of Rockhoppaz, I feel.

Theyโ€™re not the next big thing, just a bunch of guys satisfying an appetite on the pub circuit, but as far that notion travels, lead Jim Smith, aforementioned drummer Ian Martin, guitarist Chris Downing and โ€œBigโ€ Ben Robinson bassist pull to its bumper, and would do your function a huge favour, for their thirst and talent rubs off on the audience; punching above the average pub circuit bandโ€™s weight.

In various incarnations theyโ€™ve been around for a while, previous band names being more profane, they say, causing me to think they once had a punk vibe about them. Theyโ€™ve played the Opportunity Centre charity fundraiser at Wadworth Brewery, The Yeoman, The George in Frome, Melkshamโ€™s Pig & Whistle and our trusty Southgate, theyโ€™ve gigged the Midlands, Windsor and Bath. The Cavalier, Devizes has them on November 2nd, their next local gig.

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As for the Cross Keys, I hope itโ€™s the first of many, and with the great pub-grub and Sunday roast menu retained, I wish them all the best. The landlord calls for more, monthly, with local mod-rockers, Cover Up appearing next. Iโ€™d like to see some local heroes with some original acoustic booked too, happy to recommend the usual suspects. There is a notion cover bands will undoubtedly satisfy the regulars at The Cross Keys, but said originals will bring others in. Itโ€™s not a long walk from Devizes, I do it the other way many weekends, and thatโ€™s uphill, pal! That said though, getting a bit autumny innit, so nice to know live music has extended out to Rowde.


ยฉ 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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The Relevance of Mike Barham

After a โ€œknackering weekendโ€ Devizes music sceneโ€™s gentle giant rests up, prepping for All Roads Lead to Frome on Saturday, where heโ€™s one of twenty acts to be thrown onto the Cheese & Grainโ€™s stage. He sends me Relevance, new single, out tomorrow (30th August) telling heโ€™s โ€œbeen sitting on it for like, two years, never got round to recording it, and over the summer hols I just thought; you really should give this a go, otherwise itโ€™s just a stopper in the pipe.โ€

Have to rub some stubble, yes, literally have a number of them myself. Often apposite to stockpile ideas, but creative tend to doubt them the longer they linger. Yet every now and then, your scrapbook is worth browsing, dust off a rough and finish it.

โ€œExactly,โ€ Mike agrees, โ€œitโ€™s one of those things I just needed to get off the mental shelving you know? Not a clear-out, because itโ€™s no good, but more like; stop resting on my laurels and progress!โ€

Pardon the pun, but relevance to that conviction, doubled with the notion he confesses nerves writing, recording, mixing and releasing this solo single by himself for the first time, Relevance is not only Mike on his best behaviour, itโ€™s a prodigious single, emotive and fuller than anything you may previous have heard from Mr Barham.

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Image by Nick Padmore

Maintaining those grating bluesy vocals, for those familiar with his fiery debut album, Altitude with Attitude, expect later, acoustic tracks Signal Fires or Short, Never Forgotten rather than the blast of Bowserโ€™s Castle or The Cider Song. Yet, think more evocative and shadier, a ripened Mike Barham, perhaps, after all we were talking about last week down the Southgate too, Mr B!

โ€œItโ€™s a bit of a mellower direction,โ€ he describes, โ€œreflective but no less direct lyrically I feel, sort of a City and Colour/Death Cab for Cutie vibe, very simplistic with just vocal, acoustic and one electric for texture.โ€ It works for me, I envision Phil Cooper tipping his porkpie hat to its expressive maturity, and Jamie R Hawkins nodding approval at its narrative too.

Alongside working with his band Nerve Endings on some recorded material, hereโ€™s a poignant solo single which stamps Mike firmly on scene. If it’s with Nerve Endings, or solo, Mike Barham will entertain a crowd, undoubtedly, but here’s something with more universal appeal. Least I reckon, you’ll have to hear it for yourself.


ยฉ 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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Back on the Saddle!

Tipsy suggestions to those Saddlebackers at their gurt lush day festival at Devizes Sports Ground were poo-pooed from the off! With this yearโ€™s line up rolling out across social media, itโ€™s easy to see they took my expansive notions as nonsensical dribble. A dance tent; yeah, right, circus and performing arts acts; get outta town, even a reggae stage is not to be. Feasibly, they know what they like!

With seemingly no plans to overinflate or cater for revellers outside their chosen target audience, this yearโ€™s Saddleback Festival drives surely on quality not quantity, and if good olโ€™ rock and blues music is what you want, and face it, itโ€™s the most desirable around these backwaters, then it looks like Saddleback return to deliver.

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Deliver they intend to, on 20th July, at a busy time with The Full Tone Orchestra promising a free event on the Green and Melkshamโ€™s Party in the Park on the same date, Devizes Carnival, Trowbridgeโ€™s Once Upon a Time in West Fest and the Swindon Shuffle the weekend prior, the Beer Festival and Devizesโ€™ first scooter rally at the beginning of the month, perhaps itโ€™s a reasonable move for Saddleback to stick with the working formula of previous years.

No extra acoustic stage for local acts has been announced, like the โ€œbolt-onโ€ last year. While being just that, it was at least a presence for them. Itโ€™s all focus on whoโ€™s performing main stage then, and tribute acts seem to feature predominantly. The longest running, full-time professional tribute to Led Zeppelin, Whole Lotta Led headline; and we all like a lotta Led.

Significant changes to their original line-up from 1996, six years ago, has seen considerable progress with the Whole Lotta Ledโ€™s customary two- and half-hour shows, receiving international acclamation from Zeppelin fans. With over 1,300 shows under the belts, theyโ€™ve performed Stairway to Heaven more than any other band in the world, interestingly, including Led Zeppelin!

To truly dedicated fans who witnessed the real McCoy at their prime, Whole Lotta Led avoid wigs, costumes, and look-alike paraphernalia to focus on recreating the music to an astonishing level of accuracy. Theyโ€™ve recreated some of Led Zeppelinโ€™s legendary live shows; 2001 they performed the โ€˜Bath Festivalโ€™ set, in 2003 staged the โ€˜Earlโ€™s Courtโ€™ tour, in 2005 they recreated Zepโ€™s last shows in England with the โ€˜Knebworthโ€™ set, performed the live CD โ€˜How The West Was Wonโ€™ in 2006 and in 2008 they completed the โ€˜2007 O2 Reunion Showโ€™ tour.

In a similar fashion, Creedence Clearwater Review are the UKโ€™s premier tribute to Creedence Clearwater Revival, capturing the feel, sound and atmosphere of the short-lived late sixties American band. With audience involvement, singalongs and plenty of rousing choruses the Review promise an authentic and power packed tribute to the Creedence legacy, sticking as closely to the album tracks as possible. Thereโ€™s also a nod to John Fogertyโ€™s solo career in the show.

To concentrate on original acts, most are Bristol-based, like Elles Bailey is that wonderful hard-blues chick weโ€™ve covered on Devizine before. With a prolific and authentic blend of country and blues, Elles is the UK dynamite on the scene.

The second name to continually popup locally is Ruzz Evans, who since 2014, with drummer Mike Hoddinott and Joe Allen on upright bass make up Ruzzโ€™s Guitar Blues Revue. The trio house a powerful, soul-injected mesh of Blues, R’n’B and Rock’n’Roll of retrospective energy. The opportunities to open for some class acts, from Rockabillyโ€™s the Delta Bombers and the Rhythm Shakers from Vegas to Dr Feelgood and The Blockheads. Plus, the newly released studio album, Burn Out, which features Pete Gage from Dr Feelgoodโ€™s band, certainly shows enthusiasm, skill and passion; this one is going to get lively.

 

Also booked is four-piece blues/funk outfit, The Will Edmunds Band, who perform interpretations of classics from the likes of Robert Johnson, BB King, Albert King and The Meters. Their sound promises to be tight and fresh, yet retaining old-school mojo!

And thatโ€™s what weโ€™ve been told so far. No mention of Jon Amor; surely, heโ€™ll drop in, wouldโ€™ve thought? Ah, one step ahead of you. The Friday before , 19th July, heโ€™s at the pre-festival event at the Sports Club, where for a tenner youโ€™ll get Saddleback favourites Innes Sibun and Jon, with Mike Hoddinott of Ruzzโ€™s Guitar Blues Revue and whatโ€™s worth the entire weekend price-tag in my humble opinion, for all itโ€™s worth, the awesome UK-USA blues conglomerate, Beaux Gris Gris who weโ€™ve reviewed a night of before.

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A further tenner means you can camp for the weekend, from 5.00pm Friday 19th July, with campers asked to leave the site by 10.30am on Sunday 21st July. It may be whacking the total from ยฃ25, for a main ticket, to ยฃ45 for the whole shebang, and in all honesty the mods may have it cheaper than the rockers this year, the Scooter Rally tallying to ยฃ25 for the whole weekend with free camping, but a considerable donation of Saddleback is off to chosen charities Juliaโ€™s House and Care If, and going on the sturdy and reliable security, strategic setup and organisation that went into last yearโ€™s event, together with an awesome line-up, Saddleback will not go unnoticed, even if promotion of it seems somewhat lessened this year.

 

Here’s last year’s snaps to get you in the mood; all images by Nick Padmore

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Half a Review from The Southgate: Soapbox and Patrick Goodenough

Yeah, I knowโ€ฆ..

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Whatโ€™s Devizine coming to when I back out of a full night of live music? But with jam-packed weekends ahead, general fatigue and, like Suggs, sometimes I like to stay in and watch TV now and then, please allow my lethargy some slack, people. Britainโ€™s Got Talentโ€™s non-offensive new look of letting every idiot through was wearing thin by the second act, and I ventured off for a pint. Wasnโ€™t a great deal to wet this lightweightโ€™s appetite anyways, save George Wilding down the Owl, and of course, if youโ€™re ever stuck for a weekend eveningโ€™s entertainment, the Southgate is the guaranteed safe bet in the Vizes.

Yet itโ€™s walking up that Dunkirk Hill which drains enthusiasm, so steep Churchill pulled the troops out. Fine, it is, to roll back down at the end with a bellyful of cider navigating me off-route down Browfort, as it did last weekend, and perhaps it was this occurrence which avowed the need to drive.

I knew Nerve Endings were booked; knew they had a support, and still I epically failed, but was impressed with what I did perchance to witness, and thus prepared to draft a little something about that. Yep, the Southgate rocked again, and I know, you know, Mike, Luke and Rob will make a grand, and loud job of it. On bass and vocals, Rob McKelvey and brilliant drummer from the valley, Luke Bartels really add the extra dimension to Mike Barham, if he ever needed one; shame I shirked it.

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But Patrick Goodenough, who kicked off the proceedings with a solo debut of stripped back songs from his band, The Compact Pussycat, was indeed more than good enough, as his name suggests. There was emotion and sentiment in his performance, and popping his solo act virginity, with added banter of band-member Jack Moore floating around, he should be highly commended.

Following this, Salisbury three-piece, Soapbox came to kick-ass. Proclaiming it was their heaviest song to date, they blasted out an introduction called โ€œProblems,โ€ and thus was the general theme of these lively and edgy, punk-inspired, rock n roll originals.

Acutely written shards of anarchy and virtue, they packed attitude and were delivered ferociously yet responsively, a tune called Rollercoaster, for example, clichรฉ life metaphor perhaps, but delivered with passion and enthusiasm. There was an acceptable Iggy Pop in them, The Rabbit Ear perhaps the most poignant, and the final lambast, Shut the Fuck Up, the most direct.

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I nodded approval as the bass player packed away, telling me though theyโ€™d sporadically been together as a band in the past, this incarnation has only been on the circuit a year. With this in mind, excusing myself doing the need-a-wee dance, Soapbox is defo one to watch out for. Good choice Mr B, apologies for my slackness!

 

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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.

 

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.

 

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Saddle Up! Devizes Most Prestigious Festival Steps Up Their Game

Your creative sorts usually appreciate music, but, stereotypically, entertainment for โ€œsporty-typesโ€ would rather be waving fists and hurling abuse at a team projected to them via a widescreen TV, seemingly oblivious; television is a one-way communication devise. Itโ€™s not until someone puts โ€œEye of the Tiger,โ€ on a jukebox, or Bonnie Tyler croaks sheโ€™s holding out for a hero, that they get all sweaty, and start flexing biceps in a dance comprising of getting friends in a headlock and rubbing knuckles atop their cranium.

 
It couldnโ€™t be further from the truth for the Devizes Sports Club, and anyway, my generalising just a witticism in hope the ladyโ€™s rugby team might fulfil my daydream and chase me down the street! The Sports Club, enthusiastic for the remaining month before their Saddleback Festival, are serious about presenting the town with an exciting and professionally organised festival.

 

Itโ€™s the music festivalโ€™s second innings, after the sun-drenched blues event last year, and theyโ€™re determined to up their gameโ€ฆ..not a lot, no point in running before they can walk, but enough to make this, in my opinion, our most anticipated event of the year.

 
For starters, theyโ€™ve dropped the โ€œbluesโ€ tag from its title, making it less specialised. While the concentration on blues music still sturdy, itโ€™ll be joined predominantly with rock, acoustic and folk.

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Certain other moves are to be introduced, Iโ€™m at the British Lion, having a pint with organiser, Mirko Pangrazzi, to find out what they might be.

 
I suggest they could drop the โ€œmusicโ€ label too, add a comedy tent, or possibly street theatre. Mirko considers, but stops at the idea of a โ€œdanceโ€ tent. Their chosen genres equate to a family-styled event. A mass of fledgling โ€œraversโ€ descending brings its own issues.

 
Thereโ€™s an air about the conversation which leads me to believe the organisers value quality over quantity, with no intentions of expanding to Glasto proportions. We laugh as Mirko recalls people last year leaving, only to return with chairs in which they would switch the angle of to face their chosen stage; that is sooo Devizes and surely associates this family ethos.

 

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Jon Amor

Mirko is keen to show me a list of activities theyโ€™ve organised for children; a fun bus, inflatables, face painting, a bungee run, Striker game, slot machines and of course, a sweet stall, to name but a few. Plus, it goes without saying itโ€™s at a sports club with abundant space to kick a football till you drop.

 
For hereโ€™s a thing, Iโ€™m convinced no one is to get fleeced at Saddleback, the food stalls enter freely, organisers only asking for a donation to chosen charities; Juliaโ€™s House, Wiltshire Air Ambulance and others, while punters get value with a wealth of talented acts for a reasonable twenty-five quid, and their kids under 13, well, they get in for FREE and for 13-17 itโ€™s just a fiver.

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Mirko introduces me to John, a newcomer to the committee but with a wealth of experience on the festival scene. What John doesnโ€™t know about coordinating a festival could be written on the back of a matchbox, with diagrams, pie charts and a few dirty doodles on the bottom.

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Mollie Marriott

Having worked on littler-known events like, say, Glastonbury and Boomtown, John is a welcomed asset to provide a fully professional team, determined to make this work wonders. Thereโ€™s more than meets the eye to arranging such an event, a note others need take heed of in these clichรฉ days of any Tom, Dick, Harry, or Harryโ€™s pet dog attempting to hold one. Theyโ€™re delighted to have halted construction plans for a new pipeline running through the site, due bang on the 14th July when Saddleback takes place. For when music promoter Mirko and Sports Club owner Rick get going on a project, theyโ€™re the sort who work tirelessly to make it the very best they can.

 
It didnโ€™t matter of the success of last yearโ€™s, though Mirko was pleased with the result, theyโ€™ve assigned themselves to this ongoing project and intend to make it an annual event.

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Marcus Bonfanti

So, the second major change is camping. People will be able to set up a tent this year, from Friday to Sunday, for a tenner, or just fifteen smackers to bring their campervan on site. This will add an extra dimension to the ambience, with visitors able to mingle with locals. Add this to the real ale and cider bars, prosecco, Pimms, wines, soft drinks, and craft beer from Devitera, merge it with a wide assortment of food stalls, such as Happy Hog Catering, Asian cuisine, obligatory barbeque and a tea/coffee and crepe bus, I think theyโ€™re building the perfect recipe for a blinding day which will go down in Devizes history and will firmly put our town on the festival map.

 
Notwithstanding an unforgettable line-up, with blues singer, songwriter and guitarist, Marcus Bonfanti, rockers Bad Touch, ballad-esque pop-rockette, Mollie Marriott, daughter of Small Faces and Humble Pie singer and guitarist Steve Marriott, Devizes-own blues/alternate rock deities The Jon Amor Band, Bradfordโ€™s legendary John Verity, Blues/Rock guitarist Innes Sibun and Aveburyโ€™s own George Wilding.

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George Wilding

If you need further proof of the authenticity of my recommendation, bear in mind it was a great thing when George Wilding won his place at the festival at the Battle of the Bands earlier this year and said heโ€™d do it, if the other contestants could have the opportunity to play too. But itโ€™s an even greater thing when Rick and Mirko took heed, and before we knew what was what, a third โ€œacousticโ€ stage was added, introducing local heroes and heroines Mike Barham, Jamie R Hawkins, Alex Cash, Sally Dobson and Clare, who was coincidently serving at the British Lion at the time!

 
She smiled when we chatted, not realising who I was she said, โ€œbut Iโ€™ve known you for years!โ€ That is whatโ€™s special about Devizes, that is what Saddleback will adhere, and that is also whatโ€™ll make Saddleback a knockout.

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So, donโ€™t miss out, leave a comment on a local Facebook group, giving it, โ€œwhats that wonderful music I can hear from my garden?โ€ – thereโ€™s tickets on the gate, or in advance, here.

 

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Emma Langford and the Quiet Giant

Ever had the awkward scenario where a acquaintance posts a song with a caption, โ€œthis is my daughter singing,โ€ you feel obliged to listen, humour their parental pride and bend the truth that you reckon itโ€™s awesome?! This was NOT one of those occasions.

 

Iโ€™ve been an online friend with Des for many-a-year; we share a love of comics and cartoons. Heโ€™s an exceptionally talented artist and sign-writer; his cartoon frescos adorn his hometown of Limerick, in school playgrounds and on shop windows. I was honoured when Des contributed a cover for my charity-based anthology book, โ€œI am not Frazzle;โ€ it became an iconic image in Devizes.

 

Never more apparent that creative talent filters through the generations; from the moment I clicked on that link and heard Emmaโ€™s voice, I was in love with her music. Renowned in Limerick, Iโ€™m dedicated to switching as many as I can onto this, Iโ€™d shout it from the highest mountain, if we had any here; the folk-rock pop of Emma Langford is simply sublime.

 

So while I couldโ€™ve approached this by hiding our friendship to promote Emmaโ€™s latest album, Quiet Giant, and try to find a tenacious link between her and Wiltshire, not to unhinge the tenet this website is of locally produced talent, Iโ€™d rather be honest. Plus, in this era of YouTube, you can judge for yourself from the couple of videos below; I ainโ€™t a fibber.

 

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Akin to Andrea Corr or a young Kirsty McColl, Quiet Giant is Emma Langford, refined to perfection; nothing here is left to chance. Released on the 18th October, I confirm a crashing symbol and delicate piano opens ten tracks of absolute gorgeousness. All songs are written by Emma with a sophisticated, evocative narrative. It eases you in with certain grace, a couple of earnest mellow songs; the folky title track and smooth jazzy Sandman insure youโ€™ve made the right choice for your listening pleasure.

 

Then Peter Hanaganโ€™s Double bass and fiddles by Tadhg Murphy up the tempo for Closed Book, a storming tune skilfully separating honourable people from the general, ostensibly an effective running theme throughout Quiet Giant which makes its hauntingly nimble quality so endearing.

Emma Langford and her accomplished collective, aforementioned Peter and Tadhg, plus particular prestige for Cellist Alec Brown and pianist Hannah Nic Gearailt, insightfully have produced something special; Quiet Giant is a suave survey of dignity and passionate despondency with uplifting string arrangements and traditional Irish folk values, all wrapped in the wonderful cover art of Jacob Stack; youโ€™d be sorry to have missed it.

 

When I heard Emma had a gig in Bristol and was looking for another date in London a few months ago, I attempted to hassle known local music promoters into booking her for a gig in Devizes, hoping itโ€™d be a halfway house. But Emma explained she only had two days here, still she seemed keen to visit us. The promoters were in awe, told me she really needs to head for London for maximum exposure, โ€œsheโ€™s too darn good for Devizes,โ€ I was told!

So then I worried I was being selfish, trying to hook her into our tiny market town just so I can hear her live when they were right, she needs, and she did play a gig in London. Next time itโ€™s bookmarked; Iโ€™m bunking the next day off work!

 

Order the pre-release of Quiet Giant here on Bandcamp; out on 18th October.

Like her Facebook page for more information and updates.

 

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