Jon Amor to Take Up Sunday Residency at The Southgate

Featured images by Nick Padmore

I still remember landlord Deborahโ€™s face aglow some years back, when she told me Devizes blues legend Jon Amor was booked to play The Southgate. Heโ€™s made several appearances since, as solo and as frontman of King Street Turnaround, but today the Southgate announced Jon will take up a Sunday residence at the lively Devizes pub…..

It will be a quieter New Yearโ€™s Eve for the Southgate, there is no music booked and from Monday 3rd to Monday 10th January the pub will be closed. โ€œWeโ€™re keeping it simple on NYE, no live music, believe it or not!โ€ Deborah said. โ€œBut weโ€™re saving the best of the best until Sunday with a mega Blues/Funk/Rock gig to blow away the extended hangovers!โ€

With an awesome line-up on Sunday 2nd, as Jon is joined with Innes Sibun, Pete Gage, Jerry Soffe, and Tom Gilkes, I knew about this little marvel, and it has been up on our calendar for a while now. What I didnโ€™t know is this will build a new house band for the Gate, โ€œyes,โ€ Deborah delights to inform, โ€œJon Amor and friends are taking up residency! Sunday afternoon gigs, first Sunday every month for 2022.โ€

So expect to see King Street Turnaround with Jon and friends on the first Sunday of each month down the Gate, which is some great news!

The future is bright, the future is The Southgate! Reopening on Tuesday 11th Jan, with the absolutely awesome rock covers band Triple JD Band on Saturday 15th! Rock on!

Dave and Deborah at the Southgate

Meanwhile our event calendar is building up with choices for New Yearโ€™s Eve, do check it out for links, and have a great New Year; hopefully might catch you down the Southgate on Sunday, if Iโ€™m allowed out to play by the boss!

Billy Green (solo) @ The Hourglass, Devizes

Devizes Scooter Club NYE Party @ Devizes Cons Club

New Yearโ€™s Eve @ The Vaults

New Yearโ€™s Eve @ Massimos, Devizes

Rip it Up @ The Greyhound, Bromham

Sour Apple @ The Brewery Inn, Seend Cleeve

Six O’clock Circus @ The Talbot, Calne

The Roughcut Rebels NYE bash @ The Churchill Arms, West Lavington

New Yearโ€™s Eve Party @ The Green Dragon, Market Lavington

Illingworth @ the Waterfront Bar, Pewsey

Get Schwithty (Jamie R Hawkins & Phil Cooper) @ The Bear, Marlborough

80s, 90s, 00s NYE Party @ Wellington Arms, Marlborough

Deathproof Audio NYE Party @ the Vic, Swindon

Dubsouls & The Rumble-O’s @ The Bell, Walcott Street, Bath

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Pride Where Pride is Needed

Pride month finds me wondering if Pride events are actually needed more in our smaller market towns where awareness and acceptance is perhaps lesser thanโ€ฆ

After Ruby, Barrelhouse and RowdeFest 26

Images by Jess Worrow A busy late spring weekend across the county, with major events from Bradford-on-Avon to Swindon, but I’m bringing quality acts Iโ€ฆ

Paul Lappin & The Keylines Live at Pink Moon Studios

If you need a breather from the perpetual cycle of cliche Christmas song mush, do yourself a favour; Paul Lappin & The Keylines released a live EP last week, itโ€™s as โ€œname your priceโ€ on Bandcamp, and Iโ€™ll wager my Christmas stocking and all of its contents, youโ€™ll eternally thank me for the advice.….

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

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

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

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

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

Morish simplicity, man and guitar composition youโ€™ll crave it never ends, and I can honestly say, I donโ€™t think Iโ€™ve hit the replay button with such haste before! Paul is at his dreamiest, fluffiest and virtually subterranean in his deliverance of these masterpieces.

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

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


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Chatting with Ruby Darbyshire

There’s the story of one newfound fan who, after her performance, asked Ruby how many copies of her CDs she had, bought theโ€ฆ

Shindig Festival Goes Ahead, with Bob Vylan

After months of speculation, controversy, and local media bias, The Shindig Festival at Malmesbury’s Charton Park has been given the green lightโ€ฆ.. Despiteโ€ฆ

Wife Cooks Husband in Devizes!

A wife cooked her husband on Thursday evening in Devizes. I watched the whole thing unfold, but would have politely passed off anyโ€ฆ

Should Wiltshire Council Fly the Pride Flag?

Wiltshire Council will discuss granting itself permission to fly the Pride Progress flag outside County Hall and other Wiltshire Council offices during Prideโ€ฆ

Running with a Timid Deer

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

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

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


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

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M3G, De-Anchored

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

Ready for RowdeFest?

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

Time to Be Thinking About CrownFest 2026

Not just a pretty spiral church, there’s plenty for Bishop’s Cannings to be proud about. Evidence with the personal touch recently defeated a brazen landgrab,โ€ฆ

Old Habits of Treetop Flyers

Mega-retrospective bliss, this album from London’s Treetop Flyers, got me reminiscing…..

An expression of mixed emotions hung on my dadโ€™s face as he sauntered past my bedroom. โ€œWhat you listening to?โ€ he grumbly enquired. Heโ€™s joined the dots between my music listening habits and his diminishing record collection, โ€œyeah? I used to have that albumโ€ฆ.โ€

Property is theft for the anarchist, least this isnโ€™t even theft, just relocated within the same household, and Iโ€™d like to think, flattery and the notion his records were getting revitalised befell my father. Not my fault this was the mid-eighties, a void between creative post-punk electronica and house, when we, the youth, were fully aware the hit factories was mugging us off with a monotonous catalogue of samey bullshit. Finding good music prior to my own days was a must, and we hadnโ€™t YouTube, we just had these treasure chests of hand-me-down records.

Everything about Treetop Flyersโ€™ new album, Old Habits suggests I should despise it, yet nothing could be further from the truth. The divine retrospection delivered the aforementioned fond memory; close your eyes and you can see the Ronco logo revolving at 33rpm on a mahogany music centre. My mind even sees the autochanger arm hinged aside. The only gender neutrality in the seventies was hair length; ladies played singles, men albums, big, hairy men with chest rugs you could lose a prawn cocktail in. And Old Habits couldโ€™ve nested between those long-players, not looking out of place.

This is Old Habitsโ€™ follow-up to 2018โ€™s critically acclaimed eponymous album, which held a distinct American West Coast vibe, yet Old Habits moves away from this, guiding into the wonderous era of seventies British rock n roll pop; absorbing late mod soul, subtly hinting at psychedelia, but wallowing in Carnaby Street cool. Just like its influences, the Faces, Van Morrison, George Harrison, The Who, Ronnie Lane and Traffic, Treetop Flyers has produced a mellowed masterpiece now, which if it was recorded back then, would remain equally classic.

You will tingle akin to the saxophone riff of Gerry Raffertyโ€™s Baker Street throughout this absolutely spellbinding journey, that much I guarantee. Treetop Flyers were formed in 2013 by frontman Reid Morrison, Laurie Sherman and Sam Beer, who met whilst playing in other projects as part of the West London folk scene. I went in blind, this is their fourth studio album, I was unaware of them, I came out the other side overwhelmed with a sense bliss.

From the off, Golden Hour, the opening track sets the scene; drumbeat retrospectively sublime, the piano and guitar combo marries, vocals enchantingly cool, and the tempo of each following tune blends into another; youโ€™ll be tingling by the second tune, Dancing Figurines, hooked by the third.

If the horn-blowing Cool Your Jets is the most upbeat and beguiling, with essences of scooter culture, Castlewood Road calibrates the whole album and brings it to an apex. Itโ€™s dripping of Curtis Mayfield, or how youโ€™d like a later Weller song. The theme is a street on Stoke Newington which the bandโ€™s lead guitarist Laurie Sherman lives, and the accompanying video was shot in Laurieโ€™s house. โ€œThere have been many a British song about places where people lived or grew up and this is our kinda take on that,โ€ explains Morrison. โ€œWe spent a lot of time there over the years writing and chatting, drinking coffee listening to records etc and Laurie actually mixed the new album (Old Habits) in that house too. So, I guess itโ€™s a love song and thank you to those walls really.โ€

After a couple of listens Iโ€™m determine to dive deeper into this, and come out singing the songs; if you need me, Iโ€™ll be in a beige flowery shirt flowing across an oversized belt buckle, slouching in the corner of the front-room of a house party in 1976, next to the lava lamp, bellbottoms swishing, with headphones fit for Godzilla affixed, paying attention to nothing other than this absolutely gorgeous album.


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Vinyl Realm Settles Into New Home

A median haul of vinyl can weigh in, but thereโ€™s no longer a trek down Northgate Street for record collectors and musicians alike. Vinyl Realmโ€ฆ

Radium on Liddington Hill

Swindon-based adrenaline pumping five-piece Liddington Hill released their first EP for three years, and Radium is highly radioactiveโ€ฆ.. For most on the North Wessex Downs,โ€ฆ

The Life of Brian, in Rowde

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

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

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

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

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

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

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

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

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


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Serenโ€™s New Single; Worm

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The date is set for Imberbus 2026 !

We are pleased to start 2026 by announcing that this year, we are planning to run the Imberbus service on Saturday 15th August 2026 whenโ€ฆ

Barry Reviews Strange Folk at The Southgate!

Well, what can I say? They might lose a couple of brownie points for the singer continuously referring to me as โ€œBarry,โ€ but Somerset-Hampshire psych-folk rock four-piece, Strange Folk, who graced Devizesโ€™ Southgateโ€™s little magic box last night can afford to!

Aside an acoustic set in Crewkerne, it was their first electric gig post-lockdown, and the first time theyโ€™d played at Devizes answer to the O2, though some may cast their minds back to a brighter sunny day when they showed us what theyโ€™re made of at Pete & Jackie of Vinyl Realmโ€™s alternative stage at DOCAโ€™s street festival. It was on the grounds of this outstanding performance which summon me to the Gate, not forgoing the awe-inspiring tune they sent us for the Juliaโ€™s House compilation. Which, in turn wouldโ€™ve substituted any lost gold stars for the Barry banter!

A small price to pay to ensure they played Glitter the very song they kindly contributed, a request which took them by surprise, being recorded during lockdown, they were unprepared, and hadnโ€™t yet played it live. Still, as was the entire gig, they made a grand job of it, and Iโ€™m about explain why.

Itโ€™s David Setterfieldโ€™s sublime electric and acoustic guitarwork coupled with the awe-inspiring power of Annaliseโ€™s voice, which bounds their sound beyond the confounds of the usual gothic-folk rock genre. So soulfully captivating is this voice, and is the gifted guitar, at times thereโ€™s a natural nod to electric blues, particularly of the late psychedelic sixties sort. In fact, I was praising them to someone, Bran Kerdhynen, I believe, one half of the Celtic Roots Collective, by suggesting they remind me of โ€œWhite Rabbit,โ€ which they indeed later covered, along with the other Jefferson Airplane anthem โ€œSomebody to Love.โ€

If I could think of no other cover so apt for their particular and inimitable sound, covers of T-Rexโ€™s 20th Century Boy, Gold Dust Woman by Fleetwood Mac, and the Stones at their most enchanting with Gimmie Shelter, also fit the bill perfectly. Tainted Love being perhaps the outside chance, but very much based on Soft Cellโ€™s version, Iโ€™ll give them that too, for the goth perspective.

Similarly, though, as I said about Freyโ€™s Beerโ€™s Beast album a few days ago, the professional finish and hauntingly alluring female voice, rather than the gritty vocals common with said genre, despite not being the black hair dyed and leather friendship bands type, I devoured, because Strange Folk sweep the arena of All About Eve, into System of a Down and Blind Melon, to blend Fairport Convention with Jethro Tull and Hendrix. And I was born out of time, loving to have hitchhiked to San Francisco with a flower in my hair.

Yet at times covers at the Gate last night felt pushed, as to appease a perceived audience, compared to their own original compositions; they were the icing on the cake and truly ushered you away on a petite mind-trip. The coupling of David and Annalise would be bare without the proficient bassist, Ian and drummer, Steve tucked in the back of the skittle ally, and they rocked through their own songs more so. For future reference, unlike many a pub gig, originals are encouraged here.

Talking of here, it was lovely to be back at the Southgate after gallivanting somewhat to bring news of other venues in our rural precinct, for while they do exist, for me, just like Norm Peterson and Cliff Clavin, sometimes you wanna go where everybody knows your name, except, it seems for the lead singer on this occasion! I mean, Barry, for crying out loud; do I really look like a Barry to you?! Rhetorical, you donโ€™t have to answer that.

The canopies over the beer garden have become locally legendary, a testament in our town, to upholding live music throughout this era, and Deborah and Dave have created this haven, where youโ€™ll see no drunken squabbles and feel no bad vibes.

Nice to hear their communal acoustic jams have respawned on Wednesday evenings, and next Saturday is the time for The Blind Lemon Experience, Billy and the Low Ground following on the 23rd October.

Meanwhile Strange Folk have three singles, an EP from 2014 called Hollow Part 1, and a debut promo EP from 2004, which are very worthy of your attention. Around our way again at B-O-Aโ€™s Three Horseshoes for Halloween, their sound is a gorgeous gothic-folk crossover professional enough to captivate even those with a passing interest in the genre.

ย 


Freya Beerโ€™s Beast

Driving my inner-goth, Iโ€™m comfortable with this, because London-based Freya Beerโ€™s voice is hauntingly alluring, similar to Nina Persson of The Cardigans, or more obviously, Siouxsie Sioux, rather than the gritty vocals common with arch art-rock. So, despite not being the black hair dyed and leather friendship bands type, I devoured this long-awaited debut album, Beast, with the emotive response it evokes, and thoroughly deserves cathedral-sized praise.

Beast is out today, 7th October 2021, via her own Sisterhood label. Iโ€™m going to nail it to a few words after only an initial listen prior to this review, lyrically it needs time to fully digest with the clarity it warrants, but I can appreciate the echoing expression and exceptionally grafted narrative of disheartening passion. Savour it, this is a keeper.

Itโ€™s perhaps the crashing drums, almost the Burundi style slued upon eighties post punk pop by Malcolm McLaren, through Bow Wow Wow and Adam & The Ants, added with Fuzzbox frenzy, which gives it this welcoming retrospective tangent, or the mainstay All About Eve feel of the aforementioned sublime vocals, like Kate Bush at her darkest moment.

Yes, Beast is all these things, yet a contemporary, calculated record of primal power and animalistic instinct, carnal; hence its name, I guess!

Expressing her joy at finally setting her first collection of songs free, Freya Beer said, โ€œit feels really exciting that Iโ€™ve released my debut album. I would never have been able to achieve the album without the incredibly talented people I met and worked with along the way. At my upcoming live shows, you can expect everything you hear on the album because my band is bigger now.โ€

Recorded between studios in Manchester and London, โ€˜Beastโ€™ features longstanding drummer Owain Hanford on percussion, Arnoldas Daunys on bass, and lead guitars from Peter Hobbs (The Boy Least Likely To), who also produced the album. Additional contributions come from Dave Fidler and Andy Hargreaves. The album artwork was photographed by Paul Johnson (Say Goodnight Films), accompanied by Jupiter – the Sphinx cat.

Swiftly following the albumโ€™s release, Freya will be embarking on a major UK tour throughout November and December 2021. Full dates and details on the website. Closest to us is The Lanes, Bristol on Wednesday 10th November, or on Sunday 5th December at The 1865 in Southampton.

It conjures visually like Hieronymus Bosch, literate, a tangle of Edgar Allan Poe, but through sensual masochism, felinely elegant but eerie, all unpromising, like goblins will materialise out of inimical misty woods to corrupt your most emotive moment, or, something like that!

Website: http://www.freyabeer.com

Facebook: @freyabeerofficial

Twitter: @freyabeer

Instagram: @freya_beer


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Don’t Click on Illegal Rave Rage-Bait!

The biggest risk for any media reporting negatively on illegal raves is that, in their youth, their fifty-plus target audience probably attended illegal raves themselves!โ€ฆ

The Makers Exchange; DOCA Call to the Creative

Thimbles on standby, Devizes Outdoor Celebratory Arts are calling all creative craftspeople and makers to their new project, The Makers Exchange. Itโ€™s a new craftโ€ฆ

Harmony Asia Can Do This

Itโ€™s a question Iโ€™ve asked Chippenham singer-songwriter Harmony Asia on each rare occasion I catch her for a chat; if sheโ€™s planning to capture aโ€ฆ

Sonny Vincent’s Snake Pit Therapy

Hereโ€™s me doubting using the phrase โ€œtraditional punk rock,โ€ because wouldnโ€™t punk castoff anything deemed traditional? Yet I feel the term punk is loosely thrown about these days, compared to its original ethos. Much of the sneaker and drainpipe crowd-surfing youngsters barely relates to the sound and attitude of the Pistols or Ramones.  

While Iโ€™m a little behind, and smell like one too, Svart Records released Snake Pit Therapy on 17th of September, legendary NYC rocker Sonny Vincent is something we have to mention, because itโ€™s loud, dangerous and pretty much nails the aforementioned oxymoron, โ€œtraditional punk rock.โ€

Born in New York City and raised on its streets and in its clubs, Sonny Vincent is infamous from NYC punk early fire-starters Testors, who from โ€˜75 to ’79 were attitude-laden fixtures on the CBGB and Maxโ€™s Kansas City scenes. An extraordinarily prolific artist, active since the late 60s, Sonny has released numerous albums collaborating with members of the Stooges, Dead Boys, The Damned, Husker Du, The Replacements, Rocket From The Crypt and releasing four albums with the Velvet Underground’s Moe Tucker. He recently collaborated with Pentagram’s Bobby Liebling in the new supergroup The Limit, whose Caveman Logic album was released in the spring.

Snake Pit Therapy maintains the rawness of real-deal blazing protopunk with heaps of psychedelia and hard rock, all taken to the edge with Vincent’s naked aggression, passionate voice and his trademark caustic guitar. Yet scrupulousness rides this razor-sharp rock n roll testament, because Vincentโ€™s life and antics are more than legend; they are real, as documented in his recent memoirs, bearing the same title as this very album.

In and out of homes for bad kids, committed to the psych ward for observation and forcibly conscripted into a tour of duty in Vietnam courtesy of the U.S. Marine Corp, Vincentโ€™s experience of wild and tough living has awarded his songs hardness with humanity. Sincerity without mawkishness, Snake Pit Therapy is glorious rock ‘n’ roll with an edge thatโ€™ll slice your finger clean off.

For this, Iโ€™ll say, at first it was a hard pill to swallow, blasting it straight in your face when I was in somewhat of a laidback mood, rather Snake Pit Therapy grows on me like a wart with each listen, and if youโ€™re looking for rage without clichรฉ or irrationality, youโ€™ve come to right album.

It was ten tracks into this fifteen-track indestructible primal scream when I was smitten, Japan Mofo, has the start stop of blues-riffed rock n roll, while retaining the ferociousness of previous tracks. Yet itโ€™s the earlier driving rock tune, The End of Light which is the first single released, Never Tired follows, which a heart-ripped-open chorus, is having it.

Note, if youโ€™re expecting it calm down, youโ€™ll be disappointed until the final song, Forest offers a slightly mellowed psychedelic tenet, in comparison with the rest, still though this is verging on metal at times, inline with his recently formed heavy punk-metal band The Limit, featuring Bobby Liebling of Pentagram, and garnering glowing reviews worldwide.

So yeah, while a tad weighty for me, I still see itโ€™s quality and know thereโ€™s a lot of people who are going locally whoโ€™ll love this, and I do too, when Iโ€™m in the raging like of mood, which has been known to happen for anything as long as thirty seconds! In the past, I reached for Iggy Pop, he now will have competition.


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How it Feels for a Bluebeard!

The first time I heard the name Bluebeard and the Desperate Hours, I presumed their sound might be folk or blues inspired. Judging a bookโ€ฆ

Extended Lineup for CrownFest

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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

Captain Ricoโ€™s Forgotten Memory of The Beaches

As much as I enjoyed Django Unchained, I’ve not seen the other Tarantino spaghetti western pastiche yet, but I think I should cap it until such a time ol’ QT hires Captain Rico and the Ghost Band to score it.

Echoes of a gothic Ennio Morricone in his darkest hour shudder through this epic instrumental album, transporting you to an alternate reality where The Shadows came after Hawkwind.

A realm where rock history is suffering the same fate as Benjamin Button, created as Britpop, slowly working its way back to rock n roll, and we’re about halfway; USA in the mid-sixties, hardcore surfing with the Beach Boys. Indeed, the sound of The Forgotten Memory of The Beaches,โ€™ which was unleashed last Friday on Spider Music, is inspired by the classic surf-rock sound, pioneered by the likes of The Shadows, The Beach Boys, and The Ventures, yet itโ€™s heavier, man, like vintage psychedelia heavier.

For this, I have to say, amidst sonic blasts, flares of garage fuzz and dark post-punk drumming undertones, there’s nothing really definable as in-your-face heavy metal here, more Chuck Berry’s Gibson ES-355 taken for a journey by Dave Murray, and for this it’s completely unique; a warlockโ€™s cauldron in which he adds a tablespoonful of Duane Eddy and a pinch of The Cramps.

This incredible sound of sixties Southern California has been recaptured and reshaped by a trio based in the South of France, guitarist Damien Ricaud, Yves Manceau on percussion, and bassist Ludovic Timoteo, and itโ€™s a breathless race. Given the psychedelic swirls of space rock at the beginning, you assume youโ€™re in for a mellow trip, assume as Pink Floyd, there will be peaks and troughs, but through a magnitude of twelve relentless three-to-four-minute tracks, it rarely comes up for air.

Neither does it poke a standalone track at you, given itโ€™s completely instrumental, without the hint of sampled spoken word, it flows right through as one masterpiece of mind-blowing nuanced mayhem, causing you wonder what the heck to listen to, or even do next. But for me, makes it tricky to nail a few direct words about it, to pick it apart, reason enough to love it.

On our local circuit, guitar heroes Innes Sibun jamming with Ruzz Evans might come somewhere close to capturing something similar. Should they choose to, because despite these sixtiesโ€™ surfer influences cited in its press release, The Rivieras, for example, wouldโ€™ve reacted like the crowd at the Under the Sea Dance scene in Back to the Future, when Marty blasts Johnny B Goode, or in reality, the impact Hendrix had on music. Captain Rico and the Ghost Band really are, this exciting.


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

Featured Image by Clair McAllister

Little doubt Frank Turner is the top of his game, the prolific indie-rockerโ€™s ninth studio album, โ€œFTHCโ€ is highly anticipated….

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

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

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

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

Image: Clair McAllister

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

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

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

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

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


WIN 2 TICKETS HERE

Trending…..

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

Whatโ€™s Happening in September?

Thatโ€™s it, one big blowout of a bank holiday weekend and August is kaput. Nights drawing in, the fall will be here before you can say โ€œwas that it, summer?โ€ Given last years blazing heatwave, while we were couped up, this summerโ€™s been comparatively damp, you couldโ€™ve have made it up. There were lots of great things to do, and that doesnโ€™t show signs of slowing through next month.

So, check in and scroll down to see whatโ€™s happening this bank holiday, whereโ€™s thereโ€™s more than enough just in Devizes alone to keep us busy. Awesome, firstly, to see Swindonโ€™s indie-pop stars, Talk in Code will join our favourite Daydream Runaways, for the first Friday night of music down at The Southgate. Then the town goes festival crazy, for three solid days! Full-Tone Festival hits the Green, Saturday and Sunday, and Monday you have to get down to the Market Place for our wonderful, Devizes Street Festival and the Colour Rush.

September 2021Once youโ€™ve gotten over that, September then, hereโ€™s the highlights:

Running now until the 4th, Four artists exhibit at Trowbridge Town Hall. A selection of 2D and 3D works by local artists Deborah Clement, Sonja Kuratle, Jennie Quigley and Jane Scrivener.

It was in August 1979 that arguably Swindon’s greatest-ever band, XTC, released their first commercially successful album, 42 years on, original drummer Terry Chambers pays tribute as EXTC, at Swindonโ€™s Victoria on Thursday 2nd.

Following night, Friday 3rd, the Pink Floyd-Fleetwood Mac double-tribute act, Pink Mac will stand on the same stage, at the Vic, while The Wiltshire Blues & Soul Club presents an evening with Sloe Train at Owl Lodge in Lacock, and Corshamโ€™s Pound Arts has comedy with the brilliantly titled โ€œRescheduled Rescheduled Rescheduled Time Show Tour 2021โ€ by Rob Auton.

Burbage celebrates their the 24th Beer, Cider and Music Festival, with Humdinger and Kova me Badd.

Saturday 4th and thereโ€™s a Greatest Showman Sing-a-Long with the Twilight Cinema at Hillworth Park, yet it will be loud down Devizes Southgate, with a welcome return of NervEndings, Fangs & The Tyrants sound equally as loud, theyโ€™re at Swindonโ€™s Vic. For a more chilled evening, Cara Dillon plays the Neeld. An extraordinary, captivating Irish singer Mojo magazine claims to be โ€œquite possibly the worldโ€™s most beautiful female voice.โ€

It is also good to see the Melksham Assembly Hall back in the biz, they have Travelling Wilbury tribute, The Unravelling Wilburys! And thereโ€™s a unique blend of melodic folk-pop blowing out from Trowbridge Town Hall as Bristol band Sugarmoon come to town.

One to overshadow the lot, is The Concert at the Kings at All Cannings, happening over the weekend. Great line-up for Rock against Cancer, as ever, with Billy Ocean headlining Saturday and 10CC on Sunday, albeit they seem completely unresponsive to messages from us. While I accept the strength of booked acts alone means they need no local press presence, itโ€™s a shame they wonโ€™t care to respond; it would be great to cover this.

Ah well, Sunday rocks anyway, with an incredible booking by The Southgate, mind-blowingly awesome US blues outfit of Well-Hung Heart, with a local twist, Beaux Gris Gris & The Apocalypse play. Not to be missed. Westwards, Schtumm presents Will Lawton & The Alchemists with support by Hazir at the Queens Head, Box, and north, Syteria play the Vic, with Adam & The Hellcats and Awakening Savannah.

Oh, and The Lions Clubs of Trowbridge & Westbury have their White Horse Classic & Vintage Vehicle Show on Sunday 5th too!

Second weekend of September and things just get better, from Thursday to Sunday, the place to be is Swindon. The free roaming festival is back, with a line-up across too many venues to list, see the poster. The Swindon Shuffle is truly a testament to local music, everyone who is anyone will be there, in the words of Zaphod Beeblebrox.

Itโ€™s time for Jesus Christ Superstar to magically appear in Devizes, as the Wharf Theatre showcases the retro musical, opening Friday 10th, running until 18th.

A hidden gem in the heart of the Wylye valley, the Vintage Nostalgia Festival begins too, running until Sunday at Stockton Park, near Warminster. Sarah Mai Rhythm & Blues Band, Great Scott, Shana Mai and the Mayhems all headline, with those crazy The Ukey D’ukes and our favourites The Roughcut Rebels also play. Lucky if youโ€™re off to the Tangled Roots Festival in Radstock, all sold out.

Closer to home though, Saturday 11th sees the Stert Country House Car Boot Sale, for Cancer Research, the Corsham Street Fair, Women in Rock at the Neeld and The Rock Orchestra by Candlelight at Swindonโ€™s MECA. Eddie Martinโ€™s solo album launch, Birdcage Sessions, at the Southgate, Devizes and the awesome Will Lawton and the Alchemists are at Trowbridge Town Hall. Two Tone All Skaโ€™s play Chippenhamโ€™s Consti Club.

Staying in Trowbridge, Rockhoppaz at the Park for an Alzheimerโ€™s Support Gig on Sunday 12th. Meanwhile itโ€™s Hillworth Proms in the Park with Devizes Town Band, and the incredible homegrown guitar virtuoso, Innes Sibun is at The Southgate. ย 

Third weeks into September, find some jazz with Emma Harris & Graham Dent Duo at Il Ponte Ristorante Italiano, in Bradford-on-Avon. By Thursday 16th, The Derellas play the Vic, and a welcomed reopening of the the Seend Community Centre sees our good friends Celtic Roots Collective play on Friday 17th.

Also Friday, in Swindon, Road Trip play The Vic, and Hawkwind, yes, Hawkwind at MECA!

Itโ€™s Dauntsey Academy Scarecrow Trail and thereโ€™s a Happy Circus in aid of Nursteed School in Devizes on Saturday 18th, and the welcomed return of Devizes Long Street Blues Club, with the Billy Walton Band. People Like Us are playing The Churchill Arms in West Lavington, ELO Beatles Beyond at Melksham Assembly Hall, and the amazing Onika Venus is at Trowbridge Town Hall.

Sunday 19th sees the Rock The Rec for Macmillan Cancer Support, free fundraiser at Calne Recreation Club.

On Thursday 23rd Antoine & Owena support the The Lost Trades at Komedia, Bath, Steve Knightley plays the Neeld, and thereโ€™s โ€˜An autobiographical journey of a deaf person trapped in a hearing worldโ€™ calledLouder Is Not Always Clearer at Pound Arts.

Tom Odell is at Marlborough College Memorial Hall on Friday 24th, and Fossil Fools play the Vic in Swindon.

Sat 25th sees the opening of the Devizes Food & Drink Festival, with the market. A Full Preview of everything happening at HERE. The HooDoos do The Southgate.

Meanwhile, Melksham Rock n Roll Club presents Johnnie Fox & The Hunters, Juice Menace play Trowbridge Town Hall. Wildwood Kin at Christ Church, Old Town, Swindon, and, this will go off; Talk in Code, The Dirty Smooth & The Vooz at the Vic, while tributes to Katy Perry vs Taylor Swift @ MECA.

Award for the most interesting thing to do this Saturday goes to Pound Arts. Sh!t Theatre Drink Rum with Expats is a production which contains distressing themes, images covering topics including migration and political assassination, plus a dog onstage; make of that what you will!

By the end of the month things look a little sportier, with bookworms, Sunday 26th is The Hullavington Full Marathon & 10K, travel author and TV presenter Simon Reeve talks at Dauntseys on Wednesday 29th, Thursday sees the opening of Marlborough Literature Festival.

But this list is by no means exhaustive, stuff to do is coming in all the time, making it near impossible to keep up, you need to regularly check our event calendar. Help me to help you by letting me know of your events, and if youโ€™ve the time, write us a preview or review, I canโ€™t be everywhere at once, and sometimes get so overloaded I just want to slouch on the sofa watching Netflix!

Have a good September!


Trending….

The Munster Returns to Slam-Dunk Wiltshire Council Budget!

Well, I admit, the Black Dog Crossroads has reopened with shiny new traffic lights and looks pretty groovy, as far as road junctions look groovy. But I will forever be flabbergasted how the Wiltshire councillorโ€ฆ

Big Ones: The Major Events in Devizes This Year

No one knows why, apparently, but fish are dying in our canal; everyone says wait for the EA report, except for the fish. A town full of road works, burnt out buildings and roads whichโ€ฆ

Devizine Steps Down From Organising Wiltshire Music Awards

After much deliberation, Devizine is to pull out of any further organisation of the Wiltshire Music Awardsโ€ฆ.. It has not been an easy decision, and I remain super-proud of what Ed and I achieved lastโ€ฆ

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 often supported by local partners like the Black Swan Hotel, whichโ€ฆ

Shindig Festival Announces Bob Vylan as Headliner

The celebrated Shindig Festival at Malmesbury’s Charton Park announced their headline act for May bank holiday 2026, and being that it’s Bob Vylan, it is bound to open debateโ€ฆ. London based grime rappers Bob Vylanโ€ฆ

Jesus Christ Superstar at The Wharf

With Jesus Christ Superstar coming to Devizesโ€™ Wharf Theatre, Iโ€™m pondering, just how outrageous was it at the time, and how has adaptations and satires of biblical stories become more acceptable? ย 

So yeah, from what I remember, knee-high to a puppy at the time, he came down from heaven on a Yamaha, pulled a skid, killed a kid, trapped his balls in a dustbin lid.

Other rhymes circulated school playgrounds nationwide, but all the variations of the Jesus Christ Superstar theme were considered on the topper-most level of naughtiness, most likely because we figured it lampooned Jesus. When in all actual fact, above the tittering of school children, had the damage not already been done by the very thing we were parodying?

In a competitive era when the concept album had come of age, so rock musicals and rock opera were becoming fashionable, one had to raise the controversy bar in order to get noticed. With Joseph and the Amazing Technicolor Dreamcoat already under their belts and bugging religious zealots, Andrew Lloyd Webber and Tim Rice knew blasphemy long before Madge frolicked with an ethnic Jesus in Like a Prayer.

Cover story was, by twisting the Easter story into modern terminology and themes, it reached out to a new generation, but many didnโ€™t see it that way. Banned briefly by the BBC for being sacrilegious, Christian and Jewish orders despised the album alike, and the musical was banned in South Africa and Hungary.

Such was the narrative, focussing on Judas rather than Jesus, his fears the compassionate movement had become a cult, Jesusโ€™s declarations being besmirched by his followers, and this was a dangerous game which would attract the attention of the Romans, not forgoing it was condoning the common assumption Mary Magdalene was a prostitute, it might seem an unusual choice for the Wharf Theatre in Devizes. Yet, if anything, the degrading in offensiveness of Jesus Christ Superstar, is symbolic of how far weโ€™ve progressed and become more accepting towards biblical adaptations and ret-cons.

After all Monty Pythonโ€™s Life of Brian was only eight short years away, and today we live in a world where Homer Simpson prays for doughnuts, Trey Parker and Matt Stone depict Jesus in a boxing match with Satan or else hosting a call-in chat show called โ€œJesus and Pals,โ€ and even locally where The Boot Hill All Stars sing a song about a โ€œtiny Jesusโ€ crucified on a hot cross bun!

For extreme retroactive continuity of the character of Judas, though, Iโ€™d highly recommend the self-published series by author Roy Bright, whereby, punished by God with immortality and banished to Earth, Judas rights his wrong by becoming a super-heroic, Hollywood-fashioned action hero!

Still, the revival of the controversial musical is trending, which through the aforementioned hullabaloo, took best part of decade to alter from rock opera album to the stage in London, and only because of its success in the USA. A new production was staged at the Stratford Shakespeare Festival, in Ontario, in 2011, and by the 45th anniversary of its run, on Broadway, it returned to London at Regent’s Park Open Air Theatre.

Whether you were intrigued or outraged at the time, or if like me, too young to form an opinion further than the amusing notion of Jesusโ€™s nad-sack caught in a dustbin lid, to see it now might cast a different perspective on the synopsis than how it was perceived at the time, and you can do exactly that, a stone throw away.

A rescheduled performance from last year, The Really Useful Group Ltd presents Jesus Christ Superstar at Devizes Wharf Theatre from Friday 10th to Saturday 18th September. The strapline runs, Jesus must be stoppedโ€ฆ.  which is tricky to say the least, I mean, on a Yamaha and all!

It will, at last, be open to a full house, after restrictions have reduced capacity of our lovely theatre, and Devizine wishes it well. โ€œIt has been a long hard wait,โ€ expresses publicity manager Karen, โ€œas we were due to stage this just days after the first lockdown was announced.โ€ And further to this, plans are ahead for the Christmas panto, Dick Whittington, with auditions on Wednesday next week, 18th August.

The box office is also open for the adaption of The Navy Lark, a classic radio comedy which originally featured Leslie Phillips, Dennis Price, Ronnie Barker and Jon Pertwee, on 2nd October, and Just Like That! The Tommy Cooper Show on the 16th.

The end of October sees an hilarious farce play, based on the true story of Florence Foster Jenkins, dubbed โ€˜the worst singer in the worldโ€™ in 1940s New York, running from 25th to the 30th of October, and a one-off on the 16th November, Dan Clews portrays Paul Simon in The Paul Simon Story.

Wharf Theatre

Tickets can be purchased by ringing 03336 663 366; from the website Wharftheatre.co.uk and at the Devizes Community Hub and Library on Sheep Street.


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

Roughcut Rebels Hit Trowbridge

If I was ever to be privileged to interview Bruce Springsteen, which I doubt I would be, Iโ€™d like to ask him of his thoughts now heโ€™s 71, of penning a song called Growinโ€™ Up at the tender age of 23. Similarly, Iโ€™d probe Pete Townshend, only a year young than the Boss, over lyrics of My Generation, which go, โ€œhope I die before I get old!โ€

Yet, despite its title, I view My Generation to be less about a specific generation, and more about the attitudes of youth, and with this in mind, it could easily be placed into any subsequent generation. The Oasis cover aside, for this opens another Pandoraโ€™s Box Iโ€™m not willing to go down (Iโ€™ve a gig to review here,) itโ€™s fair to say, akin to any song of the โ€œmodโ€ genre, itโ€™s timeless.

To believe the โ€œmodโ€ is wrapped in sixties nostalgia is only partly factual, Londonโ€™s emerging mod-girl sweetheart, Emily Capell sports a beehive hairstyle, but often sing-raps, like Kate Nash, and collaborates with Dreadzone. Similarly, the age demographic of Devizes-based mod cover band, The Roughcut Rebels spans generations, particularly now young Finley Trusler fronts it; still, he stands, belting out a vigorous and eloquent cover of My Generation.

Itโ€™s my reasoning for trekking to Trow-Vegas, keen to finally scrub โ€œmust see Finley fronting the Roughcutsโ€ off my to-do-list. He got the job with two gigs before lockdown, thankfully bookings are returning for the band. For through his musical journey, started in the Devizes School boy band 98 Reasons, which branched off to duo Larkin with Sam Bishop, and still works with cousin, Harvey, as the Truzzy Boys, his cool demeanour stage presence and exceptional talent has to been celebrated. Query being, how would this fair with a proficient, yet older mod cover band?

The answer; very well indeed, thanks for asking. I jested with Fin outside the pub, asked him if he had to learn the songs senior to him, and he replied โ€œnot really.โ€ This, and their dynamic performance, of course, proved my โ€œmod is timelessโ€ theory. In an explosive manner and highly entertaining show, they rocked Mortimer Streetโ€™s The Greyhound, and could do the same for any given venue.

Think of the eras the term encompasses, from The Beatles, Stones, Kinks and Spencer Davis through to The Jam and Purple Hearts, onto Ocean Colour Scene, The Stone Roses, to Britpop, Oasis and Blur, and modern times like Jake Buggโ€™s Lightning Bolt, The Roughcut Rebels got them all covered, and, loving every minute of it, they took the slight crowd with them.

To blend A Hard Dayโ€™s Night into a set with A Town Called Malice, swiftly move onto Park Life, or The Day We Caught The Train, and return with the Kingsmenโ€™s Louie Louie, displays their ability and keenness to incorporate and fuse epochs, and they do it with certain ease. Grant Blackmanโ€™s expert drumming and John Burnโ€™s bass played upfront gives it oomph, while Mark Slade adds the succulent and memorable rhythms, topped by Finelyโ€™s accomplished vocals, accompanying guitar or else showy tambourine timekeeping like a young Jagger giving it Jumpinโ€™ Jack Flash. Roughcut, huh? Yeah, they are a cut far above the average cover band on the circuit.

As for the venue, The Greyhound, I like it, in the shadow of The Pump, a long-bar town pub unexpectedly clean and tidy, with hospitable staff and drinks cheap as chips. Without so much as a blackboard, it couldโ€™ve done with promoting its live music event, as a regular told me he was unaware of it and only popped in because he heard the music. Consequently, the crowd was slight, and all-male (ladies, if you want to bag yourself a drunken Trow-Vegas native in a cheap polo shirt, this place is for you) but through the excellence of the Rebelโ€™s music, all were up dancing.

Hereโ€™s a great local covers band which will pull in an age-spanning crowd to your pub, and spur them to spend at your bar; because thereโ€™s an anthem or ten for all generations, and itโ€™s lively, accomplished and entertaining.


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

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.


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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

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.


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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

St John’s Choir Christmas Concert in Devizes

Join the St Johnโ€™s Choir and talented soloists for a heart-warming evening of festive favourites, carols, and candlelit Christmas atmosphere this Friday 12 th Decemberโ€ฆ

For Now, Anyway; Gus White’s Debut Album

Featured Image: Barbora Mrazkova My apologies, for Marlboroughโ€™s singer-songwriter Gus Whiteโ€™s debut album For Now, Anyway has been sitting on the backburner, and itโ€™s moreโ€ฆ

Butane Skies Not Releasing a Christmas Song!

No, I didnโ€™t imagine for a second they would, but upcoming Take the Stage winners, alt-rock emo four-piece, Butane Skies have released their second song,โ€ฆ

One Of Us; New Single From Lady Nade

Featured Image by Giulia Spadafora Ooo, a handclap uncomplicated chorus is the hook in Lady Ladeโ€™s latest offering of soulful pop. Itโ€™s timelessly cool andโ€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

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Large Unlicensed Music Event Alert!

On the first day of advent, a time of peace and joy to the world et al, Devizes Police report on a โ€œlarge unlicenced musicโ€ฆ

Winter Festival/Christmas/Whatever!

This is why I love you, my readers, see?! At the beginning of the week I put out an article highlighting DOCAโ€™s Winter Festival, andโ€ฆ

Devizes Winter Festival This Friday and More!

Whoโ€™s ready for walking in the winter wonderland?! Devizes sets to magically transform into a winter wonderland this Friday when The Winter Festival and Lanternโ€ฆ

Snow White Delight: Panto at The Wharf

Treated to a sneaky dress rehearsal of this year’s pantomime at Devizesโ€™ one and only Wharf Theatre last night, if forced to sum it upโ€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.


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Chatting With Burn The Midnight Oil

Itโ€™s nice to hear when our features attract attention. Salisburyโ€™s Radio Odstock ย picked up on our interview with Devizes band Burn the Midnight Oil andโ€ฆ

The Lost Trades Float on New Single

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

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


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Barrelhouse are Open for Business with New Album

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

Ruzz Guitar Swings With The Dirty Boogie

Bristolโ€™s regular Johnny B Goode, Ruzz Guitar Blues Revue goes full on swing with a new single, a take on The Brian Setzer Orchestraโ€™s 1998โ€ฆ

Joyrobber Didn’t Want Your Stupid Job Anyway

A second track from local anonymous songwriter Joyrobber has mysteriously appeared online, and heโ€™s bitter about not getting his dream jobโ€ฆ.. If this mysterious dudeโ€™sโ€ฆ

Devizes Chamber Choir Christmas Concert

Itโ€™s not Christmas until the choir sings, and Devizes Chamber Choir intend to do precisely this by announcing their Christmas Concert, as they have doneโ€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


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Steatopygous go Septic

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

The Wurzels To Play At FullTone 2026!

If Devizesโ€™ celebrated FullTone Festival is to relocate to Whistley Roadโ€™s Park Farm for next summerโ€™s extravaganza, what better way to give it the rusticโ€ฆ

DOCAโ€™s Young Urban Digitals

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

Jol Roseโ€™s Ragged Stories

Thereโ€™s albums Iโ€™ll go in blind and either be pleasantly surprised, or not. Then thereโ€™s ones which I know Iโ€™m going to love before theโ€ฆ

Vince Bell in the 21st Century!

Unlike Buck Rogers, who made it to the 25th century six hundred years early, Devizesโ€™ most modest acoustic virtuoso arrives at the 21st just shortโ€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.


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Deadlight Dance New Single: Gloss

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

Things to Do During Halloween Half Term

The spookiest of half terms is nearly upon us again; kids excited, parents not quite so much! But hey, as well as Halloween, here’s whatโ€ฆ

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.


  • Pride Where Pride is Needed

    Pride month finds me wondering if Pride events are actually needed more in our smaller market towns where awareness and acceptance is perhaps lesser than in larger towns where diversity is tolerated more, but Prides are already established. Then I ponder deeper, if that’s even an accurate statement, and if it is, why many small town Prides seem to barely bathe a little toe in the water, or fizzle out after they doโ€ฆ..

    From Bronski Beat’s poignant Small-Town Boy video to Little Britain’s โ€˜only gay in the villageโ€™ running joke, culturally there’s always been a consensus that anyone LGBTQ+ could fair a better life, even safer, in an urban environment. Ergo, while Prides may thrive in cities, in the sticks it’s harder to organise them effectively.

    Add to this the economic downturn causing an increasing risk for any free event, the terrible notion with a rise of far-right philosophy infiltrating our councils, with negative tendencies towards Pride, pushing through permissions and gaining support for Prides might sadly lessen, particularly in sparsely populated areas with a minority of LGBTQ+.ย 

    While Pride in Bath is relatively new, and like Swindon Pride, happens in August, Salisburyโ€™ Pride has events every weekend in June with a family gathering at Sloan Park on the 6th and Juneteenth on the 20th at The Bell Tower Green. However, Swindon Pride began promoting their events in June, this year seeing an inclusive virtual walking challenge. Pride is changing everywhere and offering alternatives to a carnival-style event.

    Influenced perhaps by former mayor Declan Baseley, Chippenham holds very elaborate Prides, this year over the 13th-14th June weekend. But Nathan of Trowbridge Pride explained they were forced to reduce theirs to bingo evenings and pop up stalls. โ€œWe are in need of new volunteers to help bring our planned full sized festival to our town park,โ€ he said.

    My concerns for rural Prides stemmed from a Facebook post on a Marlborough group, gauging interest for a Pride there. Well, Pewsey held a Pride for a few years, but a spokesperson for it told me it’s now reduced from a โ€œfull dayโ€ to a drag cabaret night, which is on 12th September.ย 

    While Calne have maintained theirs, and it’s this weekend, I cannot find anything on one in Melksham, and though Devizes held a few in previous years, due to the operation now running with one solo person, Oberan told me large-scale events are on hold. Itโ€™s great to note, though, this saddening trend is bucking on the canal, as boater community Floaty Boaty offers a Pride Parade & Picnic at The Bradford-on-Avon Wharf on June 20th.

    Motivation might also be a factor for Prideโ€™s decline. It must be disheartening to arduously labour over an event where the attraction for it is in the minority and organisers worry it cannot escape its niche. Whilst heterosexuals with an open mind might feel welcome at a Pride, I consider they’re lesser living rurally, compared to those who really need to reconsider their views on the matter. The numerous social media reactions to our article on if Wiltshire Council should fly the Pride flag suggested there’s many locally who do.

    Comments flooded in on it, either airing views that they shouldn’t, generally using reasoning that whilst they’ve nothing against homosexuality, it’s not for councils to condone it, and counter arguments accusing them of homophobia. In fairness, aside from the irrelevant but expected patriotic flagwaving comments, in some suggestions where they didn’t want โ€œtheir face rubbed in it,โ€ conveys they’re either unaware of their ingrained homophobia, or they have the necks of giraffes, for how else could you rub someoneโ€™s face into a flag atop of County Hall?!

    But our Pewsey Pride spokesperson provided a surprising alternative, saying โ€œI have actually found that some of the gay community in our village are the ones who oppose it the most. They say they donโ€™t need a “day” or “event” to celebrate who they are, and they just want to integrate into the community.โ€ย 

    If Pride is subjective, even for the LGBTQ+ community, and, I feel, in many circumstances itโ€™s doubtful some leopards can change their spots, it is also clear many wish to celebrate the progress made, and being itโ€™s taken the best part of 500 years to move from hanging gays, through imprisonment and from post illegality riddicle and hate, to an era where no one bats an eyelid to see same sex parnters on a TV game show, but social media holds a smoking gun for a gradual regression, I think itโ€™s worthy of celebration. But, we know progress can often be slower in rural areas.

    Does this make Prides in rural areas even more essential than urban areas? Or would it be better for those in rural areas to put their efforts and resources into assisting in larger townsโ€™ established Prides, or forming collectives to host Prides each year in a different town within their group?

    โ€œI think combining prides is a great idea,โ€ our spokesperson for Pewsey Pride agreed, โ€œas itโ€™s really hard to maintain our biggest issue; we are only a small village and finding the funding/sponsorship is really hard. We can’t put on events without it.โ€ Although they praised a partnership with Pewsey Carnival, โ€œthey help with liability insurance, etc, which can get frowned upon, that we aren’t solely a Pride event, but we couldnโ€™t do it without their help.โ€ย 

    For encouraging other organisations to assist, especially those with a majority of straight members, a starting point could be to confirm Pride is inclusive, express the reasons for having Pride, and if any take precedence over the others. The conflicting two intentions must surely be: is Pride’s celebratory element paramount above raising awareness and attempts to cause heterosexuals to think differently? The former might cause criticism that itโ€™s not inclusive for all, even though it is, and this, shamefully, answers the latter.

    For heterosexuals, if attending a Pride allows them to walk in anotherโ€™s shoes, itโ€™s surely valid. Being straight, pondering all this found me reflecting personally, recalling a time that I did experience something akin to what it might feel like to be gay in a tight community complete with homophobes; the impact of isolation when I moved from suburban Essex to a Wiltshire village at thirteen. I was not made to feel welcome by many, because I was different. Culturally I was an outsider, and often treated with mistrust or ridicule, even threatened.

    It may have been only a taster, not nearly as serious as issues gays have to deal with daily. Being Iโ€™ve integrated, I could shrug it off as tribal immaturity, call it water under the bridge, but in consideration, if it continued till this day, I must suppose it would affect me psychologically.

    As (mostly) adults, urbanites might bellow out homophobic abuses unperturbed, as itโ€™s a built up area youโ€™re less likely to be known, whereas country folk in smaller communities might be more selective in mannerisms, to their face, but hold deeper and darker negative values bottled up and only exhausted privately between those likeminded.

    Then I wonder if talking behind your back is possibly more upsetting, humiliating and damaging than someone throwing abuse directly at you? Either way, it’s why we need Pride, and we need Pride, in some format, be that wellbeing seminars and community building workshops rather than an all out carnival, in our rural areas equally, if not more.ย 


  • Devizes Arts Festival Reviews: Steve Tuffinโ€™s Have-A-Go Workshop on Memoir-Writing, Anthony Horowitz โ€“ โ€œA Life In Murderโ€, and Becky Greyโ€™s โ€œHow I Became A Ghost Writerโ€

    Itโ€™s All In The Writing

    Andy Fawthrop

    The Devizes Arts Festival is now in its 40th year and, as ever, seems to be in robust health.ย  Marking the anniversary with 30 wide-ranging events across two weeks in several venues in and around the town, hereโ€™s yet another example of D-Town continuing to punch well above its weight in the area of the Arts…..

    Whilst there are lots of big, headlining events (see link below to DAFโ€™s website), thereโ€™s lots of other more intimate, and interactive, things going on too.ย  Because itโ€™s not just big bricks you need to build a wall, itโ€™s the quality of the mortar to bond those bricks into something really solid.ย  The theme, if there is one, of many of these smaller events is about getting involved or โ€œhave a goโ€.ย  Well Devizine, as you lovely people well know, is always up for a bit of a challenge, so I thought Iโ€™d pitch in to three literary-type events this week.ย  Being no stranger to the publishing world myself, I decided that, apart from listening to one of the UKโ€™s most prolific fiction and screen writers, Iโ€™d cast an eye over two things Iโ€™ve previously had a go at myself โ€“ memoir-writing, and ghost-writing. What could possibly go wrong?ย  You never know โ€“ I might actually learn something.

    First up on Monday was Bath Spaโ€™s Steve Tuffin, who led a very practical class on how to go about writing a personal memoir, or indeed how to approach any form of creative writing.ย  Surrounded by some wonderful sepia-tinted historical photos on the walls of the Cheese Hall (plenty of subject-matter there), Steve led an engaging session. In what could have been a dry, dusty and boring subject (rather like my good self), Steve presented a very lively, interesting and, yes, absorbing couple of hours.ย  Apart from some great tips, techniques and tools, there was plenty of good discussion and three different short practical writing exercises.

    One of the interesting debates, especially in the light of modern politics and celebrity โ€œvoicesโ€, concerned the cross-shading between factual/ absolute โ€œtruthโ€ and the personal/ relative viewpoint of โ€œmy truthโ€.ย  The stories weaved by Trump and his cohorts, Raynor Winnโ€™s โ€œThe Salt Pathโ€ and the Harry/ Meghan psycho-drama, are all evidence enough that โ€œmemoirโ€ and โ€œmemoryโ€ can often be poles apart, thus melding the different worlds of fact and fiction.

    Steve cantered through a number of techniques (starting small, finding your voice, controlling the speed, being brave, reading out loud, finding a way in etc), but the key lesson that came out time and time again was the need to โ€œpostpone perfectionโ€: get what you want to say down on the page as quickly as possible, then re-draft (many times), edit, and polish. Clearly a technique that we at Devizine have already (ahem) been practising for many years!

    Later on Monday evening, the venue switched to much larger Corn Exchange, where a lively audience of about three hundred turned out on a rainy night to hear Becky Grey interview the prolific and versatile author and screen-writer Anthony Horowitz.ย  Responsible for writing scripts for Midsomer Murders, Foyleโ€™s War, as well as the Alex Rider teen spy series, two modern Sherlock Holmes novels and three James Bond continuation novels, Horowitz is no stranger to hard work and all the tricks and tools of fiction writing.ย 

    Becky didnโ€™t have to work too hard to get the man talking: Horowitz proved to be a loquacious and captivating raconteur. He had plenty of anecdotes and examples to give, peppering his replies with humour and witty asides. Having known he wanted to be an author since the age of ten, discovering that he had both the right skills and a vivid imagination, he was soon set upon the career which has now made him famous. Declaring himself a great fan of Agatha Christie and her skill at plotting, by planting the clues to the โ€œsolutionโ€ but without giving away the answer before the very last twist, and deliberately laying false trails, Horowitz showed himself to be entirely engaged in, and engrossed by, the techniques of the popular fiction-writer.

    His line on the use of AI was that it was a useful, but a clearly limited tool, to be employed with care and discretion, and to understand its limits.ย  He said that he used AI simply as a research assistant, a search engine to fill in the gaps, simply to save time on researching factual background information, but never to do any actual โ€œwritingโ€ that could end up in any of his books or scripts.

    And that knotty subject that had emerged during the earlier session in the afternoon, the frequent non-alignment between โ€œmy truthโ€ and factual reality, came up again for some more analysis.ย  The Trumpian world-view, together with a brief commentary of the recent Sturgeon/ Murrell embezzlement fandango were subjected to some light-hearted, but laser-sharp, critique.

    Horowitz revealed that he had no set daily โ€œroutineโ€ for his writing, that he was useless at reading his own work (for audiobooks), that โ€œcosy crimeโ€ was a misnomer (because murder is too horrible to ever be cosy), that he canโ€™t write poetry or romance (his wife had told him that he could never write about a subject that he had no experience of), and that over his career he had systematically killed off every single character who had ever been nasty to him (well, their fictional personas at least!).

    After the 45-minute session, Becky opened the floor to audience Q&A for twenty minutes, after which there was plenty of action out front at the book-signing session.ย  Overall, a very entertaining and engaging evening from an author at the top of his game.

    Finally (on Tuesday afternoon), to complete the final layer of this sandwich of literary delights, I turned to BBC Sportโ€™s Becky Grey herself.ย  In an event sponsored by Wadworth, and held in the wonderfully historic surroundings of Devizes Museum, she spoke about how she had started her career in ghost-writing books and newspaper columns for celebrity sports stars. And the answer was โ€“ almost by accident. She zig-zagged her way towards it until, like Anthony Horowitz the previous evening, she suddenly discovered that she had a flair for writing, and that her subject-matter (sports and sports-people) was totally engaging. She seems to have never looked back.

    Becky talked of the various sports personalities sheโ€™d worked with, and took us through the steps and techniques for tackling that kind of work.ย  Interestingly she hit many of the same themes and techniques that Steve Tuffin had mentioned the previous day (including just getting the first draft down on paper, refining and editing, picking out the real story etc).ย  In answer to questions, she also talked about handling the tricky โ€œfactual truthโ€ versus โ€œmy truthโ€ debate (by challenging, and with a lot of tact!), payment models, red lines, and copyright.ย 

    And finally โ€“ yes youโ€™ve guessed it โ€“ there was a short exercise, another chance to โ€œhave a goโ€.ย  And, of course, a book-signing. Another engaging and interesting session.

    So there you have it – three events over two days, vastly different in some ways, but nicely inter-connected in others.ย  And did I learn anything?ย  Ah โ€“ that would be telling!

    Anyways, onwards and upwards, with still plenty of great stuff to come over the next ten days, both ticketed and free.ย  The Devizes Arts Festival continues until the night of Sunday 14th June at various venues around the town.ย  Tickets can be booked at Devizes Books or online at www.devizesartsfestival.org.uk

  • PREVIEW: Bullshot Crummond [*], Rondo Theatre, Larkhall, Bath June 17th – 20th 2026

    by Ian Diddams

    images by Josie Mae-Ross

    If you have been fortunate enough to have experienced the four hander parody version of “The 39 Steps”, “North By Northwest” in similar vein, Michael Palin’s “Ripping Yarns”, “The Comic Strip Presents”, and the likes of the vaguely straight but ridiculously over the top “Dick Barton – Special Agent”, as well as the rah-rah, gung ho exploits of “Biggles” and “Sexton Blake” then there is one show that is a must see coming to the Rondo Theatre, Larkhall very soon.

    *Trigger warning – This play contains scenes of utter stupidity.

    And if you have never enjoyed such slapstick daftness crossed with ridiculously ardent patriotism, then its about time you jolly well did Sir/Madam! (delete as appropriate)!

    (stands back, raises an eyebrow and sucks on pipe, whilst wearing a velvet smoking jacket and silk pajamas).

    The evil Otto Van Brunno and the dastardly Lenya are up to no good. Having kidnapped a Professor for their nefarious purposes, itโ€™s up to the dashing Bullshot Crummond to save the day! A riotous parody of 1930s adventure stories and stiff-upper-lip heroics, The Rondo Theatre Company presents Bullshot Crummond by Ron House and Diz White- a fast-paced, gloriously silly send-up of British pulp fiction. Expect moustaches, maniacal villains, damsels in distress, and a lot of quick changes โ€” all delivered with a wink and a perfectly polished accent. Think Indiana Jones meets The 39 Steps meets Blackadder, but with even less sense and a lot more fun. Come and see “toxic masculinity”, femme fatale spies, henchmen, stupid policemen, mobsters, evil foreign johnnies, incredible and seamless special effects, a car chase, a falcon, a deadly tarantula and a phenomenal sword fight, all in under two hours and see if you can spot the multi role acting as masters of disguise bamboozle each other and the audience. Is there no beginning to their talents?

    And overall and most importantly, where BRITAIN triumphs over those dashed HUN!!! (leans back, hands on hips, raised eyebrow, smoking a pipe)

    The production’s proceeds will help support “Man Down”, a local male mental health charity; Charlotte Howard, director of this magnificent piece of lunacy provided her rationale for choosing this play and this charitable support :

    “I’ve loved the film ever since my friend, Milly, introduced it to me 18 years ago and I was thrilled to discover there was a play five years ago. I love how it takes me to a gentle nudge at blind nationalism and the patriarchy!” She went on to add why this play in particular – “Because this is the puerile unadulterated, childish comedy that this world needs right now. It’s worth the ticket price alone to watch Matt Nation as Bullshot wrestle a giant spider. We wanted to do something that was pure fun, a real escape; Bullshot Crummond is completely ridiculous, and thatโ€™s exactly the point. But by linking it with Man Down, weโ€™re also acknowledging that some of those old ideas about what it means to โ€˜be a manโ€™ still linger. If we can make people laugh and support a brilliant cause at the same time, we hope that feels like a good balance.โ€

    “Bullshot Crummond” is performed at the Rondo Theatre, Larkhall 17th-20th June. Tickets for this brilliantly funny production can be purchased here https://www.ticketsource.com/rondotheatre/bullshot-crummond/e-loqmyj

  • โ€œNothing Rhymes With Orangeโ€ at Cursus Festival, May 24th, 2026.ย 

    by Ian Diddams

    images by Ian Diddams

    Though now based out of Bristol, at university studying Music and sharing digs together, NRWO (as they are colloquially known) began life in Devizes School not so very long ago. An early gig in the Corn Exchange in July 2023 saw me, Gail of Devizes, Jemma of FTO and a few mums and dads watch them thrash out a full set, to a large crowd of mid-teens, predominantly female โ€ฆ I was aware I was conspicuously the only adult male in the audience aside from parents and must have looked the biggest perv going so I stood next to Jemma for some credibility!

    Fast forward a few years and here I was again watching NRWO but this time at Cursus Festival, at Cranbourne Chase Cider, in the early afternoon as the temperatures reached over 30 degrees Celsius in the shade. The lads still looked young, but now sported some noticeable stubble as befits their advancing years. There were far fewer teenage girls present, and a lot more middle-aged men; I felt less conspicuous as a result which was just as well because Jemma was elsewhere with the FTO in Cheltenham!! However, so much for feeling inconspicuousโ€ฆย  the bandโ€™s merch merchants – the bassist Sam Briggsโ€™ mum and dad! – ย identified me on sight. My reputation clearly precedes meโ€ฆย  the power of being a Devizine journalist!

    Way back then in that Corn Exchange gig the lads were raw, nascent, even naรฏve in their music. What it maybe lacked in roundedness it more than made up for with huge energy and BIG chords. Here the music has become more mature though still full of energy and noise (thatโ€™s a good thing!). Less angst, more controlled youthful arrogance and verve.

    The band displayed plenty of indie/rock/punk tropes โ€“ leering, leaning, feet on fold back speakers from Elijah, broodingly aloof lead from Fin, insouciance from bassist Sam and shirtless, beanied drumming from Lui โ€“ all to add to the excellent delivery of their set.

    And speaking of set, oldies but goodies
    Shear Waterย https://www.youtube.com/watch?v=nsVWELRWUZo
    Pedestalย https://youtu.be/YXHuk-Po698

    were provided along with non-online tracks
    TGE
    Soulgiver
    Starlift
    The Flowers
    Horlix
    Red

    Some of which are on the bandโ€™s latest limited release EP โ€“ there were at last count seven left in Sound Knowledge (Marlborough) and thereโ€™s a reorder of a hundred to come for those that missed out first time around so get your hands on a copy soon! Available then from their merch link on their website.

    https://nothingrhymeswithorange.co.uk/merch/

    Of course you could do far worse than catch that band as they close out the 2026 Devizes Arts Festival, at the Corn Exchange, Devizes โ€“ tickets a bargain at ยฃ12 (ยฃ10 concessions) on Saturday 13thย June at 8p.m. They lads return to their roots to showcase their advances to a home crowd and while their original fan base, like themselves, are now peripatetic it provides a fantastic chance for those to return for the band, and for late comers to NRWO to pick up on this home-grown band doing good.

    https://www.ticketsource.com/whats-on/devizes/corn-exchange-devizes/nothing-rhymes-with-orange/2026-06-13/20:00/t-oejrjoe


    See ya there!

  • Make Music This Summer Launches at Wiltshire Music Centre; 19 Days of Musical Activities for Children and Young People

    Wiltshire Music Centre is launching the Make Music This Summer programme, a vibrant 19-day programme of musical activities for children, young people and families…..

    Designed for ages 0โ€“21 and their parents and carers, it offers a wide range of inspiring, accessible and high-quality experiences throughout the summer holidays. From rock bands and musicals to music production and LEGO stop-frame music videos, Make Music This Summer brings together creative opportunities for all interests and ages, From the 25th July to the 30th August 2026.

    Delivered in partnership with local practitioners from across Wiltshire, the
    programme offers young people a chance to explore music, creativity and performance in a welcoming and supportive environment. The programme includes three strands: workshops, concerts and screenings, giving
    families flexible ways to take part during the holidays.

    Hands-on workshops invite participants to try new skills, build confidence and
    collaborate with others, whether forming a band, taking part in a musical or producing their own tracks.

    Family-friendly concerts provide an accessible and relaxed introduction to live music, while screenings of popular musicals are paired with interactive singalong sessions led by choir leader Fliss Courage.

    โ€œMake Music This Summer is all about opening the doors to music-making and live performance for children, young people and familiesโ€, says Cassie Tait, Head of Creative Learning and Community Engagement. โ€œBy offering a mix of workshops, concerts and screenings, we hope to inspire creativity, build confidence and create memorable first experiences of music at Wiltshire Music Centre.โ€

    With activities running across 19 days, Make Music This Summer invites families across Wiltshire and beyond to discover, create and enjoy music together. Early booking is recommended.

    Kid Carpet & The Noisy Animals: Jack & The Beanstalk (Sort of)

    Musical In a Week

    Lego Stopframe Animation

    Rock Band Workshop

    Rock The Tots Summer Party!

    Drama Tots Summer Sessions

    Bubble Bach

    Little Piccolos Sunshine Sessions

    Beats & Bars: Make a Track in a Day

    Maltilda Screening Singalong

    Princess Dance Party

    Wicked Screening Singalong

    Musical In Three Days


  • After Ruby, Barrelhouse and RowdeFest 26

    Images by Jess Worrow

    A busy late spring weekend across the county, with major events from Bradford-on-Avon to Swindon, but I’m bringing quality acts I find elsewhere on my adventures into my village. Rowdefest was, again, a great success, if I do say so myselfโ€ฆ..

    Being close to Devizes, where the Arts Festival kicked off this weekend too,ย Rowde might not gain the traction of events in villages further away from a town, such as The Urchfont Scarecrow Festival. I believe this makes the case for a village fete even greater.

    In part we’ve modernised a fete with music, but with community spirit in mind, we retain traditional elements of village fete within Rowdefest. And the fruits of our committee and volunteersโ€™ labour paid off; this year proved it wasnโ€™t beginnersโ€™ luck, it’s become a beloved and tremendous annual occasion.

    As social media posts gather many aim at my already overinflated ego, claiming I’m the responsible adult of this baby. I confess I played a part, from organising the music to poster design, and, 6:45am found me partially resembling Wurzel Gummidge, as I lugged fifteen hay-bales from the gate to the middle of the field. Thanks for coming, if you did, but you must’ve looked around?!

    From our youngest volunteer stringing up bunting to our eldest guiding traffic in and coordinating stalls. From the Parish Council helping erect the tent, and Simon, our sound engineer, going above and beyond his job, to our wonderful committee sorting red tape, legalities and other boring musts, like every event, Rowdefest takes colossal amounts of hard work from many volunteers, and the ones undertaking the most unseen tasks usually don’t receive the credit they deserve. I just attend the odd meeting to ease their biscuit quota.

    Yet, aside from my biscuit munching, it was all these elements from so many which made the day. For the first year we had a sheep shearing show, alongside rides and stalls children were catered for, and at St Matthews we had tea and cake for our eldest attendees. With a raffle, tombola, and teenagers raising funds for Camp International adventures, The Mind Tree Cafe ran an affordable bar, along with Woodland Pizza and Boigers dishing out the tucker. What we find now is an annually returning audience, whoโ€™ve felt safe in the knowledge this will be a memorable day for everyone in the family.

    Last year I crammed music acts in, appreciative of the many offers to play Rowdefest. This time I reduced the slight changeover chaos it caused with lesser acts. On reflection, with gaps to fill, I think, if budget allows, we should push for three acts next year. But once our wonderful Devizes Jubilee Morris Dancers had done their thing, back by popular demand, and our councillor and chair of Wiltshire Council Laura Mayes kindly opened our event in glorious sunshine, Ruby Darbyshire walked out playing her bagpipes, and I was comforted by the notion, while lesser in quantity, the quality was assured.

    If thereโ€™s any similarity between Ruby and our headline band, Barrelhouse, itโ€™s that no matter how many times I see them perform, (which I have,) I remain in awe of them. Ruby held another crowd spellbound here in Rowde, MP Brian Matthew was among many who came to me to acknowledge his amazement at how talented this young singer-songwriter is, and after an absolutely sublime two-hour show, Ruby left to do it all again in Bradford. Just wow, Ruby, you were truly perfection.

    If the landscape of MantonFest abruptly populating when Barrelhouse appears has become a tradition in Marlborough, the institutionโ€™s baby sister festival Park Farm and heady nights at our Southgate are securing a similar pattern in Devizes. And this makes sense to me, for Barrelhouse are all about the blues, Devizes loves the blues, but aside those aficionados, Barrelhouse deliver blues with lively universal appeal. And that was my pitch to the committee, way back in the winter months.

    Understandable was their initial concern, blues is perceived as melancholic, and they wanted lively. Grateful I therefore remain, that they took my word for it, and the proof was in the pudding, as the wide demographic ignored the temperature and got up and danced in much the same fashion as is the Mantonfest “tradition,” to Barrelhouseโ€™s infectious sound.

    A grand finale by an excellent local band, firing on all cylinders, and mirroring last yearโ€™s epic hoedown by Burn the Midnight Oil. I appreciate feedback on the chances of bands returning, Talk in Code was one, but I assure you, Iโ€™ve more tricks up my sleeve too! What 2027 will bring is undecided, but, with support from the community through the rocky road of maintaining a free event like this, this yearโ€™s fantastic and trouble-free event was so pleasant and positive, I hope Rowdefest will remain as it is, and I will continue to place my efforts into making it so, just like our wonderful committee.ย 


  • Sir Tony Robinson, Nigel Planer, Tโ€™Pau, and Timmy Mallettโ€ฆ and More at Frome Festival in July

    Tickets are now on sale for Frome Festivalโ€™s silver anniversary year, taking place between the 3rd โ€“ 12th July, 2026. Three hundred events are scheduled in 58 venues in and around Frome during the 10-day community arts festivalโ€ฆ..

    Frome Festivalโ€™s programme offers music to suit all tastes – from classical, folk, pop, jazz and world music to hard rock, punk and techno. In a special programme, Frome-based Irish folk singer Cara Dillon will perform songs from across her acclaimed catalogue alongside Sam Lakeman, while also reflecting on the town they call home.

    The Bob Morris Lecture is delivered this year by Sir Tony Robinson discussing his life and love of history. Other history talks during the festival include Three Remarkable Women by David Heath, The Bayeux Tapestry organised by Frome Society for Local Studies, and Emily Hauser reassesses the often-mythologised women of Ancient Greece in Mythica. Closer to home, Rosie Eliot will deliver Frome Festival President and Founder Martin Baxโ€™s talk on Celebrating Frome Festivalโ€™s Origins with some enjoyable stories and memories to mark its 25th year. This is one of numerous free events, with booking advised.

    There is a strong line-up of literary events, led predominantly by Frome Writersโ€™ Collective who have relaunched Words at Frome Festival. Highlights include prizewinning novelist and biographer Nicholas Shakespeare discussing Spies & Lies at the Merlin Theatre. Another favourite literary event, The Crysse Morrison Prize for Poetry, will see winning poems presented alongside an open mic. Submissions for the poetry competition are open until the 14th June.

    A special anniversary gala launch performance of the acclaimed musical King of Fools will open the festival at the Merlin on Thursday 2nd July. Written by former Frome Festival Director Martin Dimery, the production forms part of a wider fundraising initiative in support of the festival for its 25th anniversary.

    Other highly anticipated plays featured in the festival are Frome Drama Clubโ€™s adaptation of Jean Genetโ€™s The Maids and Really Truly Theatreโ€™s Your Move. Dance lovers can enjoy a flamenco performance by celebrated dancer Maria Vega at the Merlin Theatre with Xuefei Yang on Spanish guitar. This is preceded by a flamenco workshop as a separate event.

    Frome Festival offers an eclectic mix of hands-on workshops, from several literary and singing opportunities to Silver Jewellery Making, Carve a Green Man in stone, Softcover Bookbinding, Introduction to Bell Ringing, a Perfume Masterclass, Mongolian Overtone Voicing, Morris Dancing, Flamenco, West African and Afro Salsa dance workshops, Medieval Tile Making, a Tibetan Workshop with the Tashi Lhunpo Monks, a Mindful Photography Walk, Singing Bowl Workshops, and a Family Pond Dip for younger children. John Hegley is also running a creative workshop for โ€œanyone who has been seven years old!โ€

    The comedy headliners are Taskmaster favourite Phil Ellis presenting Bath Mat, and Nigel Planer, best known as Neil the hippie from The Young Ones. Timmy Mallett will also be sharing his love of cycling, painting and the landscapes of Britain and Ireland in his own inimitable way.

    Art exhibitions have long been a cornerstone of the Frome Festival, with the Frome Open Art Trail showcasing the work of artists and makers in studios and shared venues throughout the town. Independently, the Pedestal Gallery will present ceramics by comedian Johnny Vegas alongside works by Peter Hayes and Emma Rodgers, following the showโ€™s return from the Venice Biennale.

    The Food Feast, another favourite free event, will be taking place on Saturday 4th July from 5pm. Visitors can expect great live music and entertainment alongside delicious international food, with many traders offering a low-price tasting menu for the first time this year.

    Fromeโ€™s Hidden Gardens from Friday 10th to Sunday 12th July is also trying something new by extending the Friday opening hours to 7.30pm in the evening. Guests can discover beautiful spaces when the air is cooler before Frome Festivalโ€™s evening events.

    With the sought after Frome Tunnels Tours on 7th July and various free events, walks, talks, quizzes, a Cacao Ceremony and Sound Bath, the return of the sensonic crew’s dance music night with cutting edge visuals under the name Synaesthesia, and a childrenโ€™s Wildlife Parade heading through the town centre on Sunday 12th, audiences of all interests are catered for.

    Frome Festival Director Adam Laughton shared, โ€œAs Frome Festival celebrates its 25th birthday this year, weโ€™re delighted to see Fromeโ€™s remarkable arts scene reflected in events of all shapes and sizes. With 300 events, including 160 that are free and up to ยฃ5 per ticket, in 58 venues across the 10-day programme, there really is something for everyone.โ€ย ย 

    BROCHURES detailing all events are available to pick up from the Cheese & Grain, local libraries, information points and many other locations across Frome and the surrounding area. An online version of the brochure is available here. Publicity photos can be found here.

    Tickets are on sale now via www.fromefestival.co.uk and the Cheese & Grain box office.

    FESTIVAL HIGHLIGHTS – NOT TO MISS!

    King of Fools โ€“ GALA LAUNCH Thursday 2nd July / 7pm / Merlin Theatre

    Celebrating Frome Festivalโ€™s Origins (Martin Baxโ€™s talk presented by Rosie Eliot)

    Afriquoi x BCUC

    Kiki Dee & Carmelo Luggeri

    The Monochrome Set

    Food Feast

    Kanekt in Concert

    Frome Tunnels Tours

    Haydn Jeugd Strijk Orkest

    Tony Moore

    Buena Bristol Social Club

    Jackie Oates & Belinda Oโ€™Hooley

    Heathen Apostles

    Flamenco Dance Workshop and Xuefei Yang & Maria Vega performance

    Spafford Campbell

    Tโ€™Pau

    The Cabinet of Dr Caligari (1920) with live organ improvisation

    Timmy Mallett

    Nicholas Shakespeare โ€“ Spies & Lies

    Sam Sweeney & Grace Smith

    Sea Shanties with the Hotwells Haulers

    Silver Anniversary Concert โ€“ Duke Ellingtonโ€™s Sacred Concert

    Hidden Gardens of Frome

    Cara Dillon & Sam Lakeman

    Sura Susso & Amadou Diagne + workshops

    Synaesthesia

    The Wildlife Parade

    Mells Summer Opera

    Boubacar Samake & Aloka

    Eliza Carthyโ€™s Songs of Martin Carthy

    Phil Ellis โ€“ Bath Mat


  • โ€œWe Will Rock Youโ€ at St. Augustine’s, Trowbridge, May 27thโ€“30th, 2026

    by Ian Diddams

    images by Trevor Porter & Claire Borovac

    Juke box musicals tend to be little more than a string of hits, loosely linked together by a fairly weak storyline, and it must be said โ€œWe Will Rock Youโ€ breaks no moulds in this regard. However, Queenโ€™s wonderful music provides a joyous couple of hours wrapped around a tale of a dystopian future where real music has been replaced by a totalitarian approach to manufactured music allied to an oppressive state a.k.a. Globalsoft, where a bunch of outcasts and renegades run a guerrilla style existence hunted by the security forces on a renamed earth โ€“ now iPlanet. A sort of melange of Ray Bradburyโ€™s โ€œFahrenheit 451โ€ meets โ€œ2112โ€ by Rush in a โ€œRobin Hoodโ€™s Merry menโ€ saga with Star Warsโ€™ vibes topped with a King Arthur reference, all vaguely linked by Freddie and friends. It must also be mentioned, and applauded, that the references and jokes have been kept contemporary since its initial scripting twenty-five years ago.

    It’s a challenging show to undertake โ€“ firstly the iconic status of the music, and the unique styles of Mercuryโ€™s voice wrapped up in what is really a tribute act turned into a stage show. Secondly Ben Eltonโ€™s acerbic wit as the jokes, knob gags, and satire come thick and fast. And not to omit, in this glorious heatwave we are enjoying at the moment, thirdly the cast, band and crew sweltering away during the show! But Trowbridge Musical Theatre (TMT) with their typically large cast of almost forty members deliver the show at St. Augustineโ€™s this week with style, energy and smiles galore, directed by Petra Schofield and produced by Maria Matthews.

    The set (โ€œBrightโ€) is simple but effective providing multiple height levels and stage depth; sound and lighting (Harry Sandford, Chris Sealy & Harry Weissenbruch, and Ryo Rosemann) provided top effects and follow spot, and the standard excellence of the back stage management and crew (Chris Isaacson, Nicky Runyeard-Hunt, Cameron Runyeard-Hunt, Bernice Hudson, Stewart Langford) kept everything smoothly ticking along; the sign of a good back stage crew is that you never know they are there โ€“ plaudits to them. Costumes, hair and make-up are an โ€œunseenโ€ team, although their input is critical to a showโ€™s success and Karen Grant, Sandra Tucker, Lucy Adeney and Lyn Taylor deserve kudos in this area.

    As a jukebox musical of course the band are an all-important and integral part of the show, so step forward Musical Director (Helen Heaton), keyboards (Helen Heaton and Sian Noctor), guitars (David May and Ben Jones), bass (Owen Heaton), drums (Alex Kemp) and percussion (Helen Altoft) who delivered the Queen โ€œsoundโ€ โ€“ how marvellous to have a guitarist named May ย in the band too! All too often a bandโ€™s volume can overpower the voices especially as in this case when the band is between the stage and audience, but levels were delightfully placed to support but not drown out the singingโ€ฆย  though during the big instrumentals, the lead guitar and drums could have been louder to just give thatย OOOMPHย we have all come to love from Brian May and Roger Taylorย ๐Ÿ˜Šโ€ฆ But then again that may (ba doom tish!) just be me who likes his musicย LOUD!!!

    No musical theatre show is ever complete without a wonderful ensemble and as ever with TMT shows, these ensembles were a highlight with tight choreography and slick background singing and stage presence. Its not realistic to mention the nigh on thirty ensemble members all individually, and its possibly unfair to just single one of them out, but I do have to say Yvonne Paulley shone throughout with her happy, smiling face, clearly enjoying herself to the maximum (and that is no slight on all the others either of course!). Regarding the choreography, Dani Fuke has clearly worked tirelessly with the entire cast, and especially the ensemble, to create such seamless excellence – bravo BRAVO!

    Andrew Curtis plays the role of โ€œBuddyโ€ which for story purposes acts as a sort Greek chorus, providing the context and background to various key plot information. โ€œBuddyโ€ because his character is named after Buddy Holly though Andrew skilfully provides at times a Ben Elton lookalike as well as Buddy Holly during the show to provide an homage to the scriptwriterย ๐Ÿ˜Š

    Ryan Chown as Brit (Britney Spears) and the ever excellent Daisy Woodruffe as Oz (Ozzie Osbourne) combine with Buddy to set the scene and bring the early plot along as a loving couple intent on fulfilling their innate desires to rebel against Globalsoft, and Chris Howlett provides one half of the oppressive Globalsoft dictatorship ย as Khashoggi, the head of secret police with distinct Gestapo overtones.


    The other half of the evil empire, the supreme leader of iPlanet, Killer Queen, is superbly played by Keeley Guyan in her TMT debut. Her strong vocals and stage presence shine through and she totally makes her solos her own.

    That just leaves us with Carisma Dolphin as Scaramouche and Noah Heard as Galileo; both are excellent in their characterisation and delivery, Carisma especially as her portrayal of the uber sassy, girl power confidence imbued heroine of this piece.ย  Their on-stage chemistry as a couple grows throughout the show in line with their charactersโ€™ relationship, quite wonderfully done, and their duets were simply perfect. Now โ€“ itโ€™s a tough call for anyone to take on songs by Freddie Mercury, and not even George Michael could fill those huge boots, but both Noah and Carisma had clearly worked hard to emulate some of Mercuryโ€™s intonations and delivery. Chapeau!

    I began with a comment about jukebox musicals being just great songs and a weak storyline, but it is only fair to add that amongst this daft storyline, there are some real connections to historical and contemporary issuesโ€ฆย  dictatorships, rebellions, oppression, the struggles of minorities, bread-and-circuses state control and so on; maybe unsurprising given Ben Eltonโ€™s past as an irony heavy stand-up comic and satirical author. So, while this is a light hearted show nonetheless it does deal with some genuinely terrible concepts beneath its surface and it is worth a moment of reflection.

    โ€œWe Will Rock Youโ€ is performed by Trowbridge Musical Theatre at St. Augustineโ€™s Catholic College, Trowbridge from May 27th until 30th, at 7.30pm with a Saturday matinee at 2.30pm.

    Tickets are available fromย https://www.ticketsource.co.uk/trowbridge-musical-theatre

  • Devizes Wharf to Edinburgh; Whose Play, and The Sh!t They Don’t Tell You in Books!

    Images: Chris Watkins Media

    May seemed so far away back in Feb when we ran a preview of two plays which will see a Devizes acting company debut at the Edinburgh Fringe. Beforehand, they’re staged at their base, the Wharf Theatre. I’ve had a sneaky peak already, you can tooโ€ฆ.

    Acting coach Lou Cox, director of The Wharf Acting Company, wrote and devised both shows. Whose Play is it Anyway is showing at the Wharf Theatre on Friday 29th and Saturday 30th May, before heading north, but the second, Having a Baby and the Sh!t They Donโ€™t Tell You in Books is only on Saturday.

    Firstly, and undoubtedly the easier to summarise is the interactive comedy Whose Play is it Anyway? Name-spin upon improv show Who’s Line is it Anyway, but more a general parody of low-budget TV quiz shows of the seventies, thirteen actors of the group perform eighteen scenes from various plays and it’s up to audience to call out which decade, genre or play it is, according to the question set by the grandstanding host, Barry Ruffles.

    With no fourth wall Ruffles, played with diligence by Gavin Rand, tempts the audience to be the quiz show crowd with offers of carrot-on-a-stick prizes. But the utmost comic element is his impertinent relationship with his superficially glitzy assistant, Jenny Flannel, played with such absolute perfection and improv timing by Danielle Cosh, youโ€™d think you regretfully picked her up in a Wetherspoons in Romford.

    A unique angle, yet the greatness of this show is in the contradiction between the sombreness of the scenes against the comical game show concept, and in turn, the scenes make for an interesting display of the diversity of theatre throughout the ages. For the theatrophile it might act as a boastful test to their knowledge, but for someone less culturally aware it has the potential to be a fun clipshow sampler. Being the latter, there were several encapsulating scenes which made me think, you know what, Iโ€™d like to see that play in full?

    Itโ€™s originally quirky, bottom line, ideal for the Edinburgh Fringe but also with a degree of universal appeal. What was most fascinating, and also a testament to the skills of the actors, similarly to its namesake Whose Line, thereโ€™s a genuine improv component in the order the scenes are played out. Governed by a deliberately tawdry bingo ball machine, the order is genuinely random, even if youโ€™d be forgiven for assuming it was fabricated. โ€œIt keeps us on our toes,โ€ one actor, Matt Dauncey jested, โ€œand makes the show different each time.โ€

    The others, as follows, Laura Deacon, Dion Smith, Karen Payne, Brigid Maude, Laura Bartle, Rhiannon Fitzgerald, Isla North, Jamie Whatley, Jenni Prescott and Lisa Smith all need to be highly commended too, for the immense amount of preparation undertaken to develop this, and their readiness to randomly jump into any of the various characters and styles of play. The team also fondly remembered member Andy Bendell, who recently passed away. This was fun and intriguingly original in equal measure, and (in joke) more a waste of Haribo than a waste of your time!

    Only similar for contrasting comedy against tragedy, Having a Baby and the Sh!t They Donโ€™t Tell You in Books I was treated to next. Lou has performed this one-woman show before at The Wharf and elsewhere; Helen Robertson reviewed it for us, causing me to want to see it myself.

    Committed to taking a โ€œmanlyโ€ perspective to one with their knickers at their ankles chatting about their vagina, which is usually blushing and smirking like Finbar Saunders, I found equal heartfelt emotion and gulp in this unbridled masterwork.

    Iโ€™m reminded of a podcast interview with Adrian Edmondson, hardly recognising his voice, a voice I should know only too well. He was crying over thoughts of the passing of his comedy partner Rik Mayall, and I reasoned, because Iโ€™d never heard Adrian cry, only ever laugh. What happens to the funny person when the funny runs out?

    I marvel at writers like John Sullivan, with his knack of creating loveable character relationships, like Del-boy and Rodney, who can switch the comedy narrative to the most sombre and touching moments. But if this takes genius, itโ€™s a whole other ballgame to take a monologue twisting comedy from tragedy to the stage, when it comes from the heart of personal experience. What begins as part stand up routine, part PowerPoint presentation, ends with the most unfeigned emotional piece of theatre youโ€™re likely to witness.

    Lou runs off a frank and quite brilliant stand-up routine akin to a most alternative, brutally honest and graphic guide to pregnancy, and while keen to state each case is different from any other and many women like to talk about their experiences, she describes the stark revelations of mental and physical changes due to her own maternity, with comical precision. This self-observational comedy would be plentiful for a trip to Live at the Apollo, and whilst this is impossible to summarise without spoilers, the conclusion to her story is not bathed in the glory of childbirth, nor amusing anecdotes of post-natal activities.

    Until this point, you ride it with Lou, especially parents with a story to tell themselves. But, due to lack of oxygen during a traumatic birth, Louโ€™s daughter Hattie was left severely brain damaged, and only managed five days. Lou reflects on her tragedy honourably but with understandable criticisms to faults made and how they were dealt with, abruptly halting the jokes, and twisting the direction to finalise with a tearful poignant message so powerful youโ€™re at loss for a suitable expression to account for such grief.

    I asked Lou if this was her way of dealing with it. โ€œFor my show itโ€™s certainly cathartic,โ€ she replied, โ€œbut more importantly Iโ€™ve been able to raise so much money previously under Hattieโ€™s name. Also having had to be silent during the legal case I feel I can finally tell my story in the hope that I can raise awareness and promote change in maternity services.โ€

    You can donate to Hattieโ€™s Fund here, but sympathy, try as you might, the show is a glimmering reality horror not calling for it. Only commanding you to walk in those shoes for a moment, causing it to be breathtakingly brilliant, but hard to review, words will fail you, dammit. Easier to present to it a deserved award; itโ€™s something you have to see for yourself.ย 

    Which you can do, HERE, before they see it in Edinburgh. Of which we wish them all the best for, and being clips of multiple plays, suggest they break more than one leg!


  • Phil, Jamie and Tamsin Return to The Fold

    With duty calling in the wee hours of each Saturday, itโ€™s got to be something special to drag me off the sofa on a Friday evening, and whilst Iโ€™d rather not provide only half a gig review, this has to be said. Phil Cooper invited some friends along to The Fold in Devizes yesterday, a Canadian friend, multi-instrumentalist singer-songwriter, arranger and producer called LG Breton, who would accompany Philโ€™s headline set, and two supporting acts, Jamie R Hawkins and Tamsin Quinโ€ฆ..

    Something of a reunion and homing for the original trio of The Lost Trades. This backroom of The Lamb served as the foundation of Kieran Mooreโ€™s Sheer Music, where, by the end of the last decade it hosted ninety percent of their gigs. Both Tamsin and Jamie cut their teeth here, and Josh Oldfieldโ€™s project to receive the venue saw them both return to their roots, to play some new and some old songs, and tell a tale or two about it.

    Jamie began. A remaining member of the Lost Trades, he suggested playing solo was rare for him these days, yet a wonderful outpouring of his sentimental muses exhausted from The Fold, like it had never faded. If acoustically singing self-penned songs is like riding a bike I wouldnโ€™t know, but it certainly felt this way when Jamie did his thing, as sublimely as he ever did.

    If the narrative of his stage patter was reminiscent, with backstory, it reflected the reunification ambience, and there was always time for a reset, as the banter between all three of them developed over years of working together. In such, Jamie would play bass for following Tamsin, and Phil jumped in on cajรณn for her finale; just magical!

    Though doubtlessly assured Phil would naturally see this through to a masterful conclusion, Iโ€™m sorry I couldnโ€™t stay; beauty sleep a stipulation prior to another symphony, the dawn chorus. Donโ€™t get me wrong, I love the dawn chorus entertaining me whilst I work, and it was a particularly spectacular one this morning. But hey, itโ€™s got a bit of a โ€˜Heart FMโ€™ about it, in so much as those birds repeat the same songs every morning! Tamsin Quin and Jamie R Hawkins (solo) on the other hand, Iโ€™ve not heard for what seems like an age, they had some new songs to sing, and the evening was of equal magnificence.ย 

    Being separately these three were the backbone of subjects when Devizine started out nearly ten years ago, coupled with the notion itโ€™d been a while, I couldnโ€™t miss them, could I? Philโ€™s was the first album I reviewed, Tamsin fundraising for her debut album was the very first article, and Jamie bleeped on my radar shortly afterwards. And now, since Tamsin left the Lost Trades, and took a break from music, it was perhaps her in particular I was so enthralled to see again, performing like two years hadnโ€™t passed us by.

    There were a few songs I knew, Tamsinโ€™s 2019 single Scandal, and Jamieโ€™s delightful solo rendition of Petrichor, the title track of the Tradesโ€™ second album though rarely played, but mostly, and more valuable was their new songs, which followed suit with their individual styles; Jamie with those sentimental looping narratives, and Tamsin with her barefoot timekeeping, hippy-chick odes to life and love.

    The crowd was comfortably communal; better numbers than past trips to the Fold. I do hope it gains some traction, another good reason to attend was to check that progress, because we really need an honest grassroots venue supporting original live music in Devizes. Phil, Jamie and Tamsin in one shout, a trip down memory lane, a must and so wonderfully executed; I love โ€˜em, I love โ€˜em, I love โ€˜em. As for the dawn chorus though, yeah, those birds also perked me up about not staying until the end. Those bottles wonโ€™t deliver themselves you know!ย ย ย ย ย 


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.

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

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

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

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

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

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

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


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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)
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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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