Paul Lappin’s Broken Record

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

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

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

For less than a chocolate bar, download this track from Bandcamp, it doesn’t disappoint.


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Sunset Remedy with JAY

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

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

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

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


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Tanya Continues her Campaign; Promised Meeting with Danny Kruger

The protest at Downing Street due to happen today has been postponed, but Tanya Borg has been working tirelessly to raise awareness of her campaign since we reported on it, a fortnight ago. So, a quick update on its progress and how you can help this Pewsey mum fight to get her children home.

Tanya’s two daughters, Angel and Maya were abducted by their father five years ago, and taken to Libya to live with his family. After being granted full custody in both nations, Tanya travelled to Libya to rescue them, but Tanya explains when they tried to get away, they were bundled in a car and driven away. She hasn’t seen or had contact with them since.

I’m glad to have received a reply from our email to Danny Kruger on the issue. He stated “I share your concern for the awful and distressing position of this family. Please be reassured I am in contact with Ms Borg and with the Foreign Office, and of course I share your belief that the British government should do everything it can on behalf of British citizens.”

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Although Tanya expressed, she has had a reply from Danny, forwarding the response from the African representative, “it’s the same response I got two years ago saying they can’t help, but also that Danny Kruger can offer me a meeting.”

A glimmer of hope must go a long way for anyone involved in such a heart-breaking situation, as Tanya awaits a date for this meeting, “but it could be interesting,” she says.

Meanwhile there is an important petition you can sign, here. Please do.

Here is the Go Fund Me Link, if you can help.

There is also a tee-spring hoody, and tote bag with printed logos of the campaign, and all the money raised will go to the fund, here. Join the Facebook group for further updates, here.


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Hero Wayne Cherry Back in Action!

You may recall hero, Wayne Cherry of Rowde, standing for a hundred hours in remembrance at the top of the Brittox in Devizes during November 2018, to honour those lost in the First World War.

For this year’s 75th VE day celebrations, self-isolating never stopped Wayne, he pledged to stand in his garden for 75 hours, raising £1,272 for the NHS fund.

Now Wayne is back, and he has decided to raise funds for SSAFA the Armed Forces charity, for VJ Day in August by completing a 75-mile trek around the Devizes area.

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Under the banner, “Not Forgotten,” Wayne explains his reasoning, “treatment of allied prisoners of war by the hands of the Japanese army in Asia during WW2 was without question, barbaric. Those who survived struggled to come to terms with their experience and many would never talk about it. 15 August 2020 is the 75th anniversary of the end of the war in Asia and one that I shall be marking with respect.”

I asked Wayne how many days he planned to take over it. “I will have to start on Friday 7th,” he replied, “looking to average ten miles a day, which in reality is a push with a knee replacement and diagnosed with Polymyalgia Rheumatica, which is painful hips and shoulders.” The walk will end on Friday 14th August. “I just grit my teeth and get on with it,” he continued, “nothing compared to those who have paid the ultimate price for the freedom we enjoy today.”

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Wayne will start his route each day leaving from Wadworths 10am. He will head towards the Market Place on Northgate St, through the Little Brittox, along the High St following Long St, to Southbroom Rd, and continuing onto Sidmouth St to Maryport St, through the Brittox, and back through the Little Brittox into the Market Place, up to Snuff St, along to New Park St and finally, heading back towards Wadworths. That’s approximately a 2-mile circuit, 5 times a day.

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“It would be very much appreciated,” Wayne expressed, “if anyone would like to accompany me for as little or as long as you wish, I will be carrying a collection bucket each day for anyone who may wish to make a donation.” Alternatively, if you join his Facebook group, here, you can follow and support him, and find bank details, if you would like to contribute this way.

I’d like to take this opportunity to wish Wayne the very best with his astounding effort, and congratulate him on the amazing fundraising he has done to date already. I know the people of Devizes and the surrounding area will rally to support him, as they have done in the past. Go Wayne Cherry, you are an inspiration to us all.


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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 “Babyface” Nelson, there’s so many Americana mythologies and folklore veracities apropos in the Cohen Brother’s “Oh Brother, Where Art Thou?” I could draft a lengthy essay. One I’m reminded of last Sunday down our trusty Southgate, was the scene depicting the Carter Family singing “Keep on the Sunny Side” at a governor’s election rally. Reason; there’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 I’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, we’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 I’d be catching up with The Lost Trades in due course; couldn’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 we’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 wasn’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 Heads’ “Road to Nowhere.” This was followed by my favourite track from Tamsin’s album Gypsy Blood, aptly, “Home.” Topped off with a sublime version of Cat Stevens’ “Moon Shadow.” 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; it’ll play perpetually through those thoughtful moments. Recorded in session at The Village Pump, “because we really like the acoustics in there,” explained Tamsin, here is a recording oozing with a quality which, despite predicting, still blew me for six. As I say, it’s the combination of these three fantastic artists in their own right, as opposed the jamming we’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 we’ve not heard before. The acapella beginning of the opening tune, “Hummingbird” glides into stripped back xylophone and acoustic guitar, and is so incredibly saccharine, it trickles like some beatniks performing on a seventies Children’s TV show. Yet, it works. In true Simon & Garfunkel manner, it’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. “Good Old Days,” then, screams Jamie at me, who leads. It has his stamp, ingenious narrative centred around thoughtful prose. “Wherever You Are,” likewise is a Tamsin classic, wildly romantic and wayfarer.

“Robots,” 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 it’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, we’ve returned to the unbroken circle. In full circle the final song, “Wait for my Boat,” is a sublimely cool track, casting a direction the trio are clearly heading. For although Jamie leads, there’s elements of all three middle tracks combined in this sea shanty sounding song. It’s metaphorical, romantic, with sentimental narrative. It wraps up the EP perfectly, leaving you hanging for the album they’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. It’s combination of talents is honest, bluegrass-inspired acoustic gorgeousness you need in your life.

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Devizes Wide Community Yard Sale; what a great idea!

The pandemic has pulled us into a time of change for everyone, we find methods and ways around restrictions to try to continue, best we can, the way of life we’re used to living. Historically eras like these see great innovations and ideas which now have become commonplace. Online meetings through Zoom, drive-in concerts and many new-fangled concepts are falling into place, but sometimes, the best ideas are the simpler ones. Devizes resident Laura Johns had such an idea, the kind that if she was a cartoon character it would be represented by a lightbulb above the head!

Laura has created a Facebook group dedicated to holding a town-wide, community yard sale and intends to run the first one on Sunday August 16th, running from 8am-5pm. Anyone is free to host a yard sale in their garden or close green space on that date, and the group are hoping it’ll turn the town into a whopping great car booty, without the cars; kinder on the environment too, Laura!

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I reckon this is a great idea, and something which has the potential to be a regular event. Many of us undoubtedly have been having a clear-out during lockdown, made some home improvements, and now have “stuff,” for want of a better word, clogging up space in their homes. The obvious banning of car boot and jumble sales means you’re restricted to donating to charity shops, dumping them at the recycling centre if you get a slot, but selling via Facebook pages is the only way you’re going to make a little money back. Of course, you could hold a yard sale at any time, but with this clever scheme, we will all know when and where.

All participates are invited to set their own yard sale up, freely, and they will be included on a map of the town, so buyers are free to roam the town and browse. Last count, 16 people wish to set up their own yard sale, and more are joining. My work is done notifying you and hoping you’ll join in on the day, setting up your own, or browsing the yard sales on offer. Laura and the team hope to extend the idea to neighbouring villages, where an alternative day will be set for each village. Who knows how far this idea will catch on?

So, join the group for more information and updates as they develop, and support this ingeniously simple idea. Oh, and there’s a Facebook event page you can respond to; great if you wish to attend as a buyer but not participate in the selling part. I like it so much it’s my pleasure to donated a little poster/header for the group, and you can be sure Devizine will be supporting the event as best we can, provided there’s not too many pubs en-route!!


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Atari Pilot’s Right Crew, Wrong Captain

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

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

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

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

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

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

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


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Ben Borrill Takes A Little Time

Bobbing around the St John’s corner of Long Street, trying to act important, and sober, I had a message for Ben Borrill, Pete was looking for him, he was on next; ah, gave me something to do. It was the fantastic Devizes Street Festival, made that much more fantastic by Vinyl Realm organising a second stage, showcasing local talent. You must’ve heard about it, even if you weren’t there, I’ve harked on about it enough!

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

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

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

While it doesn’t go off down a completely psychedelic sixties formula, it’s no Mammas & Papas, the riffs do lean heavily on all that’s golden about that golden era, of Kinks or Hollies, with a fresh tinge of modern acoustic. Here’s a smooth ride into an intelligently grafted, but easy-going song, reflecting Ben’s charismatic and breezy attitude. It is, blinking marvellous, and leaves you yearning for more… jump to it Ben, equably I’d imagine he would reply with an “oh, okay!” Spotify link here.


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Help Pewsey Mum on her Campaign to free her Children from Abduction

So, Devizine exists to highlight and promote local events and I try my best, apart from the odd bit of cheeky satire, to steer away from political matters. Yet I’m both heartbroken and at a loss for words this afternoon, chatting online to Pewsey mum, Tanya Borg. But within it, there is an event I need to let you know about, in this horrid mess, please read on….

Tanya’s two daughters, Angel and Maya were abducted by their father five years ago, and taken to Libya to live with his family. After being granted full custody in both nations, Tanya travelled to Libya to rescue them, but Tanya explains when they tried to get away, they were bundled in a car and driven away. She hasn’t seen or had contact with them since.

Red tape between the Crown Prosecution Service and Wiltshire Police has prevented further action from being taken, and under advice of the CPS, Wiltshire Police have closed the case. “The CPS are saying they don’t tell the police what to do,” Tanya explained, “But Wiltshire Police are saying the CPS don’t want to take the case.” I cannot imagine how distraught she must be. “You have no idea,” Tanya continued, “Angry. Frustrated. Sad. My daughters need help.”

In fear for the treatment of her daughters, Tanya went to explain how, after a court order for joint custody, their grandmother wouldn’t allow them to leave the house, so Tanya tried for full custody, but they ran away with the children. Angel is now twenty, and Maya just eight. A Daily Mail article exposes the issue, with a video of the father’s family driving them away. It is with hope the video will pressure British authorities to reopen the case.

This is where I asked if Tanya had or has any further contact with them, and the short answer was “no.” In England we complain about this, whinge about that, the bus being delayed etc, we really don’t understand how life is in Libya. “Because there is no authorities inside Libya, due to the situation, as Libya is at war with itself,” Tanya detailed, “it is dangerous, and that is their excuse, but now there has been a newly elected government, they could at least try, that is what is most upsetting, they haven’t even tried. I feel like my children don’t matter, because I am not of status.”

Firstly, Tanya has a GoFundMe campaign page, where you can contribute. “It’s a corrupt country, and money talks,” she explains, “I can’t do anything without it.” Tanya has spoken to Claire Perry, who passed it onto the Minister of the African Department, “which say,” Tanya claimed, “They cannot do anything.” MP Danny Kruger has been emailed, which was my first port-of-call, and we await a response.

Tanya plans to take a protest to Downing Street on the 8th August, but has also staged an event in Pewsey on the 25th July. Meeting at the Cooper’s Arms at 3pm, the protest will follow the eminent carnival route. “My eldest daughter,” Tanya explained, “was carnival princess back in 2011.” They will be chanting “Free Angel and Maya,” but ask protesters observe social distancing and wear facemasks. “I would love as many people to attend and support,” she hopes, “to help me bring my babies home.” Tanya will also be organising a local coach for the Downing Street protest.

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Sam Bishop and the Fallen Sky

Ex-Devizes boyband and half of Larkin, Sam Bishop is away studying music in Winchester. He posts about his latest single, Fallen Sky with the thought, “I really do think this is the best song I’ve ever made.” You do always say that, Sam, tee-hee, but it’s no bad thing! I think it was legendary underground cartoonist, Hunt Emerson, who once told me, “never put anything out you’re not confident to say it’s the best thing you’ve ever done.” It suggests Sam is always striving for better, but the proof is the pudding, and this is a Michelin star sundae. Yeah, I believe you’re deffo right with this one.

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

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

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

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


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The Big Yellow Bus Rocks The Gazebo

Two things former humble truck driver Gerry Watkins is a natural at, plucking an ingenious idea and putting it into action, and putting on a gig to fund it. In 2017 Gerry raised four-grand to buy a double-decker bus, which he converted into a homeless shelter in Cirencester. Since he’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 yesterday’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 there’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 Friday’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 Compère for the day, as Miss Lucy Luscious Lips, he’s certain to add a little bit of glamour and sparkle. There’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, it’s guaranteed to go off! Swindon’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 70’s British and American punk.

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Six Lives Left

Cirencester’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 SkA’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 Calne’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, it’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 it’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. “This 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.” I’m sure they will, Gerry. If anyone is heading off from Devizes, gimmie a lift, pal, because this sounds unmissable!

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Talk in Code Taste the Sun

Back in January 2019, I was dead impressed with Talk in Code’s debut album Resolve, and labelled it “sophisticated pop with modern sparkle.” I offered the track “Oxygen,” as best example of how, like classic pop anthems should, its instantaneous catchiness gets stuck in your head. To compare and contrast that favourite from the album with the upcoming release from this Swindon indie-pop four-piece, it’s clear they’ve come an incredibly long way to enhancing and refining that fashion.

Reflecting back, Resolve has the definite “indie” sound of the nineties, only dipping a toe in the pool of eighties synth-pop. I felt this coming, each track they release sounds more like an iconic mid-eighties sugary hit, and Taste the Sun dives right in. It supplements my “sophisticated pop with modern sparkle” label much more.

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Recorded just before lockdown at Studio 91 in Newbury, the band define the theme as “about waking up and smelling the coffee, a feeling that change is coming and the relief when that change is made for the greater good.” Nothing wrong with that inspiring concept, but perhaps nothing original; writing style they stick to a model template, but the sound is invigorating. In a word, it’s refreshing, like the zest of a sparkling iced fruit drink on a humid holiday afternoon, it encompasses all that is glorious about pop. Blooming with good time, summery vibes, Taste the Sun is the sort of lively “Wham” anthem a younger you would’ve retained from a holiday camp disco, and evermore evoke a fond memory of a fleeting romance.

That said in the best manner possible. Talk in Code is a well-oiled machine, refining that classic sound for a new generation and, most importantly, extracting and binning any cliché or cringeworthy elements. You know the sort, listen to any eighties pop now and wince at a particularly ill-thought out component, be it a castoff sample, badly grafted rap or, worse still, a “talky” part; “I thought I told you, Michael, I’m a lover not a fighter!”

Yet I find similar with today’s pop, and hold my daughter accountable! “Why they doing that bit?” I grumpily whinge. “What bit?” she retorts. It’s like a repetitive synthesised single word, or randomly placed high-hat making me shudder. Talk in Code use the acuteness of “indie” to eliminate said pop crime, use pop for catchiness and throw something back at you with universal appeal. It’s true, I concern myself at the prospect of taking my daughter to a pop festival, be it I’m cowering at her modern taste, or she’s dragging me away from something I like the sound of. Talk in Code is something we could both agree is great, and throughout reviewing their singles, Taste the Summer is perhaps the prime example of this notion.

Released on Monday 27th July, on digital download at http://www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms. Go on, you have a listen, and I challenge you to find something bad to say about this sparkling, uplifting nugget of pop; because I can’t!


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Eat Out to Help Out, Locally, Independently

I am listing local restaurants, cafes and pubs who are participating in the “eat out to help out,” scheme and encourage owners in the Wiltshire area to contact Devizine, to be listed freely. Although you know me, have to have a little rant beforehand, so scroll past my waffling if you wish to get direct to the list! Note the list will be updated, so check back in August.

For information on how to apply for the scheme, see here. Note the scheme comes with restrictions. Only available on Mondays, Tuesdays and Wednesdays from the 3rd to 31st August 2020, and offers a 50% discount, up to a maximum of £10 per person, for food or non-alcoholic drinks to eat or drink in.

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“I believe I dust my broom.” Robert Johnson sung that, the bluesman who sold his soul to the devil at the Mississippi Delta crossroads, in exchange for faultless musical flair, so he must know what he’s on about. Although, to dust your broom actually means to make change, derived from the expression “get up and dust,” or get out of town fast. I didn’t need to do that, just get out of B&Q!

Had my old outdoor broom for decades, but timeworn, it finally gave up the ghost. Sunday, I nipped into B&Q and returned home proud owner of a new broom with a screw-on handle. Too loose, one swipe and the head fell off, tighten it and it passes the thread and…. the head falls off. Time passed and my patience caved by numerous attempts to secure the handle on the head. I came to the forgone conclusion, it’s either fate; star alignment’s fault, since NASA claims I’ve moved from Pieces to Aquarius, or, more likely, it’s mass-produced shite.

After hand sanitising, queuing and following the one-way circuit around the entire store, I returned it, swung into town, parked dead outside Mainleys and picked up a far cheaper, better broom. By very design, glued and stapled, it’s old-fashioned, but a coupling method which has worked for centuries. If it’s not broke…. A lesson learned, then; should’ve shopped local.

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Make no mistake, I consider this soundbite “eat out to help out” nauseatingly haughty, coming from a government who had to be dragged kicking and screaming to provide basic meals for school children. Guaranteed, this is yet another move to line the pockets of big business, the mass-producing restaurant chains.

Never forget Boris’s bum-chum, Tim Martin and how he refused to close during lockdown, refused to pay his staff and suppliers. If a Frankie & Benny branch sadly closes, the staff will be the only ones to suffer; that’s sorrowful reality, I’m afraid. Note the variety you think you’re getting with a parade of Wagamama, Frankie & Benny’s, Chiquitito, et all, is false, they’re all the same company and will subside each other; different sauce, same old chicken, pal. If the government are going to open taxpayer’s wallets, I urge the small business and independent eateries, who would otherwise close, lock, stock and barrel, to dip in before the fat cats.

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Unfortunately, I’ve experienced the rubber chicken which bounced off the floor of Wetherspoons first hand, lost teeth on Hungry Horse waffles, and felt famished twenty seconds after eating an air-pumped big mac. Like my broom experience, I’m at my tether’s end; best to shop local.

Not that I’m trying to persuade you, the choice to eat out is your prerogative and risk; many pubs and restaurants are continuing to provide takeaway services, many established takeaways are delivering and continuing to provide an excellent service too. Sometimes though, it’s nice to be able to eat out, remember your mask. If you can, here’s a list, then, of local places participating in the 50% off “eat out to help out” scheme; let’s support them.


If you missed my social media requests for participating places to be included, do not worry, I can update this if you twist my arm with some love…. and remember the best way to a man’s heart! Ah, insert laughing emoji here; only kidding, cheeky blagger that I am. Just message me and I’ll get your café or restaurant added! Do take heed though, while we’re here, overflowing with banter, our foodie reviews are the most popular articles, and we’d love to do one for you.

You can find more participating eateries via postcode search on the Gov site here.  


Devizes

Massimo’s Ristorante

For twenty-seven years Francos was the finest Italian restaurant in Devizes, but with the departure of Sicilian chef, Massimo Pipitone things were never quite the same. Two years ago, Massimo returned to Old Swan Yard to recapture the restaurant’s reputation and with a name change, has succeeded in putting it back on top. Still operating the takeaway service, it begun during lockdown, they’ve now reopened the restaurant, excellently observing social distancing regulations. They serve traditional Italian and Sicilian cuisine, and the pizzas are awesome!

Take it from me, one who loves his tucker, you will not find better service, quality and tastier food this side of Roma!  Booking at weekends is essential. 

The Pelican:

Splendid inn situated at the Market Place, known best for its roast dinners, which can be takeaway too. The Pelican have various cuisine events and has a scrumptious bar menu. An example from this weekend’s roast option:  Slow Roasted Leg of Lamb. Chicken is always an alternative every week with a beautiful Home-Made Vegetarian Option. Vegan or Gluten Free diets also catered for with advance booking. £8.95 per person, £5.95 per child, £4.50 per Home Made Dessert. Please telephone 01380 723909 to book.

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New Society:

Sitting somewhere between glorious pub grub and restaurant, New Society in the Market Place was quickly established as one of our best eateries. Our review last September has always been one of our highest hitting articles, and they were glad to announce reopening on 3rd July. Breakfast, lunch and dinner, or perhaps a coffee stop, New Society is a comfortable setting and serves a large selection.  Operating usual daytime opening hours, but currently evenings are restricted to Thursday, Friday and Saturday. It is advisable to pre-book for these nights (01380 722288).

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1Spice

One of the newer establishments, it did not take long for 1 Spice in Maryport Street to earn the jewel in the crown of Indian restaurants in Devizes, and rightly so. It’s my chosen place for a knees-under, and is often cited top of majorities’ list. Conventionally, Indian restaurants convey an aptitude of exceptional customer service and etiquette, and 1Spice is of no exception. Expect to be welcomed, but what is more, expect a wide and gorgeous selection, mixing the flavours and spices of India with the finest seasonal ingredients the West Country can offer. It’s driving my appetite for a Ruby just typing this, and I’ve had my dinner already!

The Hourglass:

Tucked away at Devizes Marina, the Hourglass is a perfect location and serves a high-quality pub menu. Options have been restricted since reopening on 4th July, but expanding now, and takeaway service is available. Booking is advisable for food. Subject to change, opening hours are 11am-9pm every day, with food served between 5-8pm, Thursdays through to Sundays. Book online here.

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Tea Inc

A cup of Rosy-Lee for me, I’m not a coffee guy. Still, I’ve not been in Tea Inc in the Ginnel (just off the Market Place) and now in Marlborough, sovereign of tearoom towns. This must change, I’m coming for you guys, ensure you have some custard creams! This humble teashop throws off the doily and delicate fingertip-cup-hold stereotype of tea rooms and prides itself with an eclectic, quirky environment they affectionately call “The Shoppe.”

Serving crumpets (fnarr, yurkk, yurkk) sandwiches, salads and soup, this could just be the essential shopping stop-off for tea drinkers; get away from me with your X-L vanilla Nespresso dripping down your MacBook!

Times Square

Central to Devizes Market Place, Times Square is simply the perfect little coffee shop for a light lunch. Cakes and ice cream, say no more. As the name suggests it may have started by being inspired by American cuisine, yet only in the best possible taste. Times Square is no stranger to hosting the odd event, and is a welcomed shopping stop off.

  Brogans Café

Brogans Café in the Brittox is one I confess I’ve yet to try. Outside space, ice cream, cakes and milkshakes and smoothies, Brogans prides itself on its vegan options. “Vegan Jaffa Cake style cake” as pictured below, might just twist my arm!

Bengal Bite

Throughout my years here in Devizes, Bengal Bite in Sheep Street has always been the tandoori kitchen of choice. The Bengal Bite offers contemporary Indian and Bangladeshi food. It’s comfy and hospitable, a romantic place to woe a prospective love with a mild Korma, or equally a place for you and the lads to blow your pants off with a blistering Vindaloo! The Bengal Bite has been voted the best restaurant in Wiltshire by the readers of the Wiltshire Gazette & Herald, and 2014 finalist for Small Business of the Year in the Wiltshire Business Awards.

The Fox & Hound

A little out of town but worth the trek down Nursteed Road, The Fox & Hound is an inviting family pub, offering romantic carriage rides followed by lunch or candle-lit dinner, and successful horse-drawn ghost and historical tours of Devizes start and finish at the Fox.

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The most down-to-earth café you’ll find in Devizes, this is Monday Market Street’s gem; great service, gorgeous homecooked breakfasts and lunches at affordable prices, never had a bad fry-up there yet!

The Bell on the Green

Always a favourite for the location in its title, The Bell has reopened with times and obvious restrictions. Here’s their menu….

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Coffee Etc:

Marvellous little coffee shop in Lamb Yard, just off Kingston Road, serving hot and cold beverages, breakfast, lunch and afternoon teas with great homemade cakes, and vinyl records too. Comfy hideaway this place, perfect for a stop-off when strolling town. I reviewed it a long time ago for Index:Wiltshire, but the site has been taken down now, so you’ll have to take my word for it! Facebook page here.

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

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

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

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

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

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

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Perched in the doorway of the skittle alley, slighter of beard and longer of locks, Jamie was every bit the icing on the cake. Predictable, could be said, but welcoming to see the many faces admiring over his ambiance of acoustic goodness. In faith too, of the gradual phase-in for live music, the session wasn’t intended to be long; just a few songs from 4-6pm. Enough though to get a taste, and Jamie looked to be enjoying it as much as the crowd.

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

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

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


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NervEndings For The People

More clout than Ocean Colour Scene I’d expected after hearing frontman Mike Barham’s prior thrashing solo releases and drummer Luke Bartels previous band, but more roaring blues than Reef was an angle I didn’t see coming when I first checked our local purveyors of loud, NervEndings.

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

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“For The People”they’re calling it, then, out last week. It’s got the kick I now predicted, with that surprising blues element to boot, particularly in the opening track, Infectious Groove. Yet the Muddy Puddles single we’ve reviewed in the past follows, and sets the ball really rolling; it takes no prisoners, yet, for its catchiness, contains a slither of something very sixties; imagine pre-Zeppelin metal.

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

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With themes of non-pretentious indie, Chin up continues this ethos, forget the attempts to conform to expectances, it’s a be-yourself song. Best, in my humble opinion, though, is Dark Dance; as it says on the tin, teetering on crashing punk, it’s upbeat and danceable, in a throwing-your-head mosh-pit kind of way, which isn’t my way, usually, but it reaches a bridge of mellow romance-themed splendour. Here’s Jimi Hendrix covering Blur’s Song Two, as the blues is retained in all these contemporary rock tunes, and for a dude indifferent to the cliché indie sound, it works on my level too.

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

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

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


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Jon Amor is Cooking

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

A contemporary blues performer with an established diverse repertoire, I was surprised upon reviewing his 2018 album, Colour in the Sky, of a distinctive and quirky fashion akin to late-seventies pop-rock in the more beguiling tracks; a drainpipe-suited Elvis Costello, of type, and songs as good to match. I’m thinking of the tracks Red Telephone and Illuminous Girl in particular, they don’t follow the archetypical modern bluesman manner, they’re upbeat, zany and define a certain panache emerging with Jon. I’m pleased to say Peppercorn doesn’t just correspond with this notion, but expands upon it.

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

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


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From The Specials; Neville Staple Band in Lockdown

Photos by John Coles
Artwork by Sugary Staple

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

One thing our eighties counterparts didn’t have to contend with was the Covid19 pandemic, and musicians of every genre are reflecting on it. Ska is of no exception, we’ve seen many contemporary performers releasing new material on the subject, but here we have a legend doing his thing, topically.

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

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

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While I detect echoes of Ghost Town, this tune also breathes originality and present-day freshness, confirming progression of the genre rather than a frequently supposed nostalgia. Being a local site, some may recall his visit to Melksham’s ParkFest last year, where an unfortunately damp evening didn’t stop the revelling, and Neville stole the show with an assortment of Two-Tone classics. I was backstage with the wonderful support band Train to Skaville. A chance meeting with Neville, when he popped out of his tent for pizza, humourlessly failed to engage long enough to explain who I was, and ended with him pointing at his pizza-box and saying “yeah, I’m going off to eat this.” I should’ve known better than to harass a legend when their pizza is chilling in drizzle! I nodded my approval, knowing I’d have done the same thing.

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

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

7″ vinyl order https://bit.ly/2NeeoUA

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

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

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


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

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

Can you wonderful people please donate just £3 towards this project (which will also get you 2 signed exclusives pics), or any random amount, or check out the mega exclusive vinyl 45 & CD gift set offers (these are going really well, and are extremely rare limited edition items, so grab them while you can). You just click this link and choose your reward, to then register your donation.

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


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

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A Cracked Machine at the Gates of Keras

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

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 it’s not all despair, with a sound as rich and absorbing as Cracked Machine, it’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 DOCA’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 we’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 mate’s bedroom, listening to Hawkwind’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 Frome’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, it’s a refreshing notion to note newly released Gates of Keras bonds the two albums and sits between them perfectly.

Again, there’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 Floyd’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 we’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 Machine’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.

Brownie Dad in the Ring!

Yay, happy Father’s Day, Dads, we are number one, so why try harder?!

Received a photo-card from my son of my good self proudly showing off my moobs, and my daughter got me a fit-watch thingy to measure my steps, heart rate and all of that malarkey; a smidgen suspicious they’re trying to tell me something. Yet, by way of a complete turnaround, I’ve also bagged myself a box of brownies from the Gourmet Brownie Kitchen in Poulshot and now I’m staring at my fit-watch, eagerly awaiting brownie o’clock to come….

…. hold on…. Yeah, oh, mmmm, nice, yeah baby; these are the kiddy! I rest my case. Take this as my specialised technical food review; who do I look like, Mary Berry?

Now the deed is done. Amazingly, I did twenty-six steps going to the kitchen to get the brownies! It was worth the effort though, probably worth it if my kitchen was located on top of Mount Etna. Cos, like, cakes have trends, don’t they? A year or so ago it was all cup cakes this and cup cakes that; all in the icing and fancy decoration. Don’t get me wrong, nothing against the cup cake, but brownies are the new top dog, all the fancy ornamental stuff and icing begone, simple, stodgy little blessings they are, those brownies. Though, there was a variety in the box, particularly standing out visually was the fudge one with marshmallows and covered in white chocolate. I couldn’t single any out though, for all their subtle differences, I loved them all with impartiality and equality!

I tried my hand at baking them once upon a time, bought a tray especially, but they came out like squares of chocolate sponge a six-year old might make.

What’s the secret in making those beauties stodgy and so utterly gorgeous? I don’t know, put a book on them like pressed flowers? Ah, I don’t need Google, I don’t need to know, really. Jodie Perkins knows, might well be her secret, and that’s good enough; leave the brownie-making to the experts. I’m only professional in the eating part and telling you, because I know a good brownie when I taste a good brownie, and the brownies at The Gourmet Brownie Kitchen are somewhere between a brownie paradise and brownie heaven; about halfway.

Jodie founded the business in 2013 and in June last year she opened her shop at the Poulshot Lodge, which is a double-whammy as I picked myself up some wicked ribeye steaks while I was there! Now she’s shipping these beauties out nationally. Jodie makes cakes for celebrations, she offers vegan and gluten-free options, and she has a website for orders, you don’t need to wait for the next Father’s Day; any day should be a brownie day.

Virtuous Violence of a Clock Radio

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

Idiosyncratic irony and intellectual self-satire, isn’t it? Regulars at Devizes Southgate, Clock Radio threw their retrospective namesake to the wind a year ago, and joined the download generation, as far as distributing their wares. “Throw out your vinyl grandad,” they call ageistly called to order, “Clock Radio just went digital!”

Their enigmatic sound though is much the same proficient “new wave” formula you’ll hear live; if it ain’t broke. They brand themselves through posters using snippets from cringeworthy seventies catalogues or Gilliam’s Python animation-styled images; all very pop art. Their sound reflects such an epoch, so such ageist jests can be nothing more than the elemental tongue-in-cheek bravura which will aptly see them billed alongside Calne’s Real Cheesemakers.

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

For while I’ll flitter with the genre, a tune has to “pop,” for me to take hold of it, and Virtuous Violence transcends the boundaries of their previous releases for catchiness and in capturing the imagination. Don’t run away with the notion they achieved this with the ease of synth-pop, for that’s an element of new wave they steer away from, keeping it traditionally analogue. No, this is just, well, nice on the ears. Another one for post-lockdown “must do” hitlist.


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Have a Sophia’s Soul Rebels after-lockdown party!

If we’re all eager to consign this lockdown to the history books, none so more, perhaps, than our pub landlords/ladies and event organisers.

I’d hope and imagine they’re considering ways to make the return to normal a real celebration. Just a suggestion then, as nothing with such universal appeal would bring the party to an apex then some live soul and Motown; yeah, I know right, comes at price though. But there is an affordable option, and they sound great.

I’d advise you check out this Sophia’s Soul Rebels video, recorded at the Bug @ Spider the week before lockdown, and tell try tell me this wouldnt liven your evening up!

https://www.facebook.com/sophiaandthesoulbrothers/

Town Council raising £750 to support the Devizes Mayor’s Charities

We were all saddened to learn of the sudden and unexpected death of Cllr. Andy Johnson, the newly elected Town Mayor of Devizes, on the evening of 25th May, only ten days into his term of office.

Many people across the Town have already paid tribute to his kindness and generosity as both a neighbour and a worker for local charities.

One of the traditions of the Mayors of Devizes is to use their term of office to raise funds for charities which support the people of the Town. Andy had chosen three deserving charities to support, the Devizes Foodbank, Devizes Opportunity Centre, and the new St James Centre, but his untimely death occurred before he was able to turn that intention into reality.

Please join us in making a donation to this appeal, set up in Andy’s name, to raise much needed funds for his chosen charities in his memory. The Covid-19 crisis has affected all charities, but has been a particular blow for smaller, local, groups whose income has dropped substantially now that “lockdown” has prevented their normal fund raising activities from taking place. The need for their services remains as great, so many are in real crisis. Your contribution will not only allow you to honour the memory of a dedicated supporter of our local community, but will make a real difference to the lives of people within Devizes

The link is here: https://www.justgiving.com/crowdfunding/mayorandyjohnson thank you!

Father’s Day; Keeping Ideas Local

Whether he’s sofa slouching with his one hand down his pants the other clasping a beer, watching classic Euro finals and yelping like it’s happening now, or digging up weeds in the garden, proudly displaying his builder’s butt, don’t forget your Dad this Father’s Day…..

ON SUNDAY! I confess, I did one year, and live to regret it now he’s gone; insert sad emoji. Though it’s a man-thing for banter to ride over showing our emotion, if you’re not a dad yourself you’re excused for thinking it’s all a commercial con and your dad doesn’t want the attention, and all they did, after all, was the naughty bit. You are wrong though, I’m afraid. It does mean a lot to those dadas and father figures, believe me.

Remember we live to embarrass you in public, that’s why we have those sandals and oversized khaki shorts, but we do it because we care! So, you’ve a few more days to get it together, shops are reopening, I urge you keep it local, but what can you do to show him, through all his faults, you love and respect that balding misunderstood numpty?! Here’s some ideas….


Cards and Gifts!

Yep, easy one, innit? Top of the list though. Keeping it local, nip down the High Street, Devizes, and find Expressions Card Shop. They have reopened, and have all the cards, balloons and gifts you could ever want to shower your pops with.

Another cool place to check out, antiques and vintage shop Ele’s Emporium in Seend, they suggest some homemade beer coasters which would save your mum having to moan at him for beer rings on her bespoke coffee table; you know he’ll try to blame it on you otherwise!

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Or make something yourself, the Wiltshire Scrapstore & Resource Centre  have everything the creative need to construct something truly unique. The scrapstore is a wonderful, eco-friendly charity whose aim is to promote learning through creativity. And if it all fails and you’re covered head-to-toe in double-sided sticky tape, gifts can also be found in Barty’s next door at Bowden Hill, Lacock!


Buy him a Record or CD!

Nip to Vinyl Realm, even if you don’t know what music the old fellow is into; experts Pete and Jacki will be able to advise, and nab yourself a long player that’ll take your dear ol’ pops back to a far off time when he was young; just take a step back if he attempts to belt out Cracklin’ Rosie or show off his dad-dancing; it’s never a pretty sight!

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Beer and Snacks!

I admit some Batman socks once got me a tad excited, but usually socks are a cliché yawn. Beer, that’s what he wants, and snacks to go with it. The Vaults in Devizes and Piggy Bank in Calne offer Father’s Day boxes of such necessities, and they’ll deliver them on Saturday or Sunday. Order on their respective websites and you can benefit from the amusement of watching Dad get sloshed.

The Southgate is also available to get take-outs, might be a plan; check with your favourite boozer to see who’s also doing take-outs; Dads are raring to get back down the pub, so you could be onto a winner with this idea. Mathematically the equation is thus: Dad + Beer = Happy Dad.


Tea for Two!

I don’t know about you, but I’m happy with any food, and I’m a dad; must be something in that notion. The Happy Food Company of Devizes have put together a special afternoon tea for Father’s Day, fresh delivered to your door on the day.

Cake selection, Coffee and walnut cake, Guinness and chocolate cake, large pork sausage roll, scone, jam and cream, loose tea from teainc and at £20 for 2. Mum will love it too, even if it’s not her special day!


A Takeaway Roast Dinner!

Who’s got one of those Dads who is always in the kitchen? Yeah, thought not! Still, might benefit him if mum’s in a good mood; get a takeaway roast dinner from the Pelican in Devizes; wink, wink, nudge, nudge. Best way to a man’s heart. Roast pork, chicken or stuffed Portabello mushroom with blue cheese sauce and lovely home made desserts. Vouchers can be redeemed for up to one year, and they have Take Away Mid Week Specials from around the World!

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Sweeties!

While we’re on grub, Dads love ‘em, simple as. Savannah’s Sweets in Devizes have reopened, and still do takeaway orders for home delivery. It’s an idea, save him nicking your Haribo, after all.

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Picnic!

Every Dad is, in some way, like Yogi Bear, and love a pic-a-nic. Over at Lower Farm, home to Rowdey Cows and Spotty Dogs, they’re having a socially distancing picnic; the shop has everything you need to make it as swanky as you like, and the café is open for teas, coffees, and of course, it goes without saying; ice cream! The Spotty Dog also has a male grooming gift sets as a secondary idea. So, if your dad has adopted the Planet of the Apes look over the lockdown, this might be the very idea.


Have a BBQ!

Dad and barbeque, like horse and carriage. Butchers HF Stiles in Bromham have a mixed grill pack especially for Father’s Day

Avebury’s Gourmet Goat Farmer have some gift bags for a delicious goat-based barbeque. Complete with a goat-themed greetings card, and goat burgers, brioche rolls, goats’ cheese, and a selection of locally sourced salad items, the first 10 orders get a FREE bottle of Ramsbury Brewery beer thrown in too!

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Crafts!

Amelia-Rose Creations in Trowbridge has lots of nice ideas, including some brilliant framed worded pieces with Lego superheroes on, get in faster than a speeding brick train though.

Sugar & Spice Bows is another great online crafter with some idea for Father’s Day, their keyrings might not get to you on time, but would be make a great belated gift!

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And never forget our Naz at Cositas Bonitas, crazy little craft shop in Sidmouth Street, Devizes. While I cannot see they’ve anything specific for Dads, they’ll guaranteed to have endless ideas in there.


Get a book from a local author!

No point in doing this article without a shameless slice of self-promotion! Buy a paperback or Kindle version of the five-star rated sci-fi comedy, White Space Van Man by yours truly; it’s right up his street, lots of rude words, and it’ll keep him quiet for weeks, save for a perpetual bout of belly-laughs!

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Let him eat CAKE!

Devizes-based TrayCake will deliver a Father’s Day treat box to a five-mile radius and, mate, I’ve checked their website, only browsed the photos, but I’ll be dribbling for the foreseeable future.

Secretly though I know what I’m getting, thus is the plight of being father, the invoice was emailed to me! I wasn’t going to mention it, because within half-hour of going online they were sold out. The good news is though, The Gourmet Brownie Kitchen at Poulshot Lodge has a new batch of Father’s Day Treat boxes. OMG and other such exclamation abbreviations, had some of these at the Devizes Food Festival; see, my kids know how to push my buttons. Although I’ll probably have lock myself in the downstairs loo if I think I’ve any chance of stuffing them all!

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My work here is done. For the good of all Dad’s out there, the ones who deserve more than a Lynx deodorant set, but probably need one, have a great day! See you down the pub soon, alright?!


Paul Lappin; Awake in the Dark

“Lying Awake in the Dark,” the new single from Swindon’s indie soloist Paul Lappin, drives a breezier and more melodic sound than previous singles, taking me to something Jamie R Hawkins or Phil Cooper might conjure. As his third single to discover on Bandcamp since the upbeat “Life Was Good,” near on a year ago, here’s an indie-pop rock artist I’ve just discovered, worthy of lots of attention.

Though our friend Dave Franklin, over at Dancing About Architecture got there first, describing Paul’s sound thus, “it bridges a gap between the sweeter sounds of the pre-Britpop era and today’s indie creations. This is an infusion of past and present, a blend of indie, rock and pop which is at turns melodic, euphoric and soulful but always honest, relevant, reflective and passionately in love with life.”

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There’s a positively determine, tried and tested formula at work here, which may break no new ground, yet is beguiling nonetheless, and needs no experimentation. While the first two singles prompt me to suggest, though proficient, it’s all quite contemporary indie-pop, joyous and optimistic, Lappin reflects on the more melancholic theme a lost love with “Lying Awake in the Dark,” and to be honest, it suits. Backed by partial exerts of female vocals, provided harmoniously by Emily Sykes, whispering through the melody, the composition is exquisite.

Paul spent some time in rural isolation in France, polishing his song-writing skills, along with painting and sketching. Winning a song-writing competition with his debut single, the aforementioned “Life Was Good,” the story starts here. No stranger to this self-isolation era then, Paul says, “it feels familiar, all be it under very different circumstances. But now I’m confined to my parents’ house in England, where I’ll continue to draw, paint, and write songs. Might as well make the most of it.” Paul strives towards an album release shortly; something to watch out for from him, his handful of backing performers and Swindon’s celebrated Earthworm Studios.

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There’s a kind of rueful honesty and openness about Paul’s building discography, the sort after attending just the single gig I’d imagine you retire with the content notion you know this guy,  hence my comparison to our Jamie or Phil. Tracks are downloadable for a mere quid, for example; there’s no fleecing here. It wouldn’t surprise me to hear the cover art is a self-portrait, here you get the whole package of a person. It is, though, a watermark of a great acoustic musician, and Paul fits that bill.


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Blossom with Gail (from Devizes)

Phone memory bursting with text messages from Gail Foster the day I did my fundraising milk round in my Spiderman onesie. A keen photographer as well as accomplished local poet, Gail had cycled to the summit of Monument Hill and sat awaiting to capture the moment I returned triumphant.

I confess, I underestimated my ETA massively due to the media attention, Carmela and family arriving, and passers by stopping me to donate. I was also irritable and smelly by that point, but those are occupational hazards at the best of times, doubly so in a onesie in the sweltering August climate. Gail, though, was as dedicated as paparazzi to getting the snap she wanted, got me smiling just to see her there, and it’s the same commitment she shows through her expressions in poetry. Her shiny new book, Blossom is a prime example.

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Images by Gail Foster herself!

Perhaps its very title coveys Gail’s grouping of photography and poetry, natural elements crucial to her snaps, but her books bestow only the written word. We’ve reviewed Gail’s books in the past, never an easy task. Poetry not my bag, usually, so I cannot liken to similar creative outpourings. There’s also the fear that my own penmanship doesn’t compare and will not do justice to her creative writing. Poems are hard, something about bacon. Yet it is down to befriending Gail which has re-sparked an interest in poetry in me, and deflected my juvenile fear of a Ted Hughes book facing me on a school desk. That’s how universally appealing her words are.

While subjects chronologically stream from one poem to another, expect also, sudden changes in Gail’s train of thought. Blossom kicks off with a memorial forward and dark subjects follow, of wintery funerals and melancholic seasons. One may expect this, the platitude of poems often reveals a shadowy side of the poet. But, just a few poems in and though we’re still on the seasonal theme, winter cries a warning to Gail, to keep her knickers on.

Here is precisely why Gail got me into in poetry, a feat I never cared to assume would happen. The wittiness of the absurd, surreal, Pythoneske can crop up, without warning and provide actual laugh-out-loud observations. There’s a feeling of daring in Gail’s words, while acute and proficiently executed, nothing is off limits. Gail projects drollness, jocularity and just about every other emotion of the human psyche, in manner which though reflects poets of yore, breathes a fresh and unique approach to boot.

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In this, her new book Blossom doesn’t necessarily take us anywhere new in comparison to her previous collections, there’s even a pigeon reference, a running subject in Gail’s words, yet an improvement in skill and wordplay is clearly evident. Gail strives to advance and progress in her wordsmanship, dealing words like a croupier deals cards, snappy and expertly.

The introduction enlightens us to Gail’s motivation and reason for writing, “I write poems for all sorts of reasons. Sometimes an occasion demands it, in which case I stare at a sonnet on a screen for three days; at other times a poem might tickle me in my sleep, wake me up laughing.” Blossom then conveniently divides into sections, poems covering Seasons, poetry itself, “Binky Liked to Bitch a Bit,” Politics, Characters, Sorrow, Love and Prose, even local thoughts in a section titled, “a bit of old Devizes.”

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There are verses dedicated to friends, themes of celebrities, naughty royals and both Greta and Trump, odes to patronising old men, nosey neighbours, political sway, Brexit, current affairs and Nigel Farage depicted as a meerkat. As we pass through an era Gail documents them uniquely. There are unapologetic words of the sweary kind, bitterness at times, jollity in others; bugger, it’s tricky to nail this poet down; what does she want from me, trying to review a book so vastly sweeping with subject matter and prose?! I’m giving up, you have to read it yourself. You can bless your Kindle with one, or Gail favours that you nip to Devizes Books for a paperback, and I tend to agree. Devizes Books brilliantly supports local authors.

In this time of lockdown, you might need a good read, so too does the artists need some revenue. The advantage of holding Gail’s poems in your hand is that you can freely pursue them at your own leisure. We did once review a spoken word CD which Gail recorded, I like this approach and unsure if she will do it again.

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Proof it’s in Devizes Books, here’s owner Jo holding a copy!

I could, but don’t, motivate myself to attend local poetry slams and readings, in fear those poets I know, Gail, our own writer Andy, and Ian too, might encourage me to get up. Yeah right, “here’s one I wrote called ermm, ermm, and ermm!” Yet, I do love to hear Gail actually reading her poems herself, it’s a Jackanory thing, to hear the creator express their words is far more effective for a slow reader like me. But you, clever lot, will love Blossom.


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Win a £1000 and help Carmela

Who watched our Carmela and family on the telebox on Wednesday? Surely the most heart-breaking section of a documentary about life in lockdown and those taking the highest risks or making the worst sacrifices.

As her Dad, Darren said while driving his van around, delivery samples to hospitals, and unable to hug his daughter, the funding for muscular dystrophy research has dried up. But here’s a way you can help from home, and even win yourself a grand. The blind card advert can be found on Carmela’s Facebook page. You can help fill this lottery up. Pick a number from 1-150, pay £10 per number, so can have more than one if you so wish. Pay via PayPal.me/carmelasfund

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Once all the numbers are taken the winning number will be revealed and the winner receives £1000, Carmela gets £500 towards a safe garden access area to play. Yep, it is play, Carmela’s family say, but only in a form of. It is, in fact, crucial exercise for her at a time when swimming, and other activities have been restricted. It helps build her muscles, and rather than most of us, being for a healthier life and perhaps some abs for the opposite sex to swoon at, muscle building is essential for someone with a muscle-wasting disease. The lockdown is already taking its tow on Carmela’s health and wellbeing.

So, please, if you can, support this sweepstake and be in with a chance of winning. Thank you. x

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Don’t, Ryan!

Okay I confess, in my last article I did, didn’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. Swindon’s Ryan Webb, for instance, who’s just dropped a new single, “Don’t,” takes no prisoners.

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This is militantly metal, with spikes. It rocks with edge, it doesn’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 Metallica’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.

“Don’t” though, whoa there Ryan, I’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 I’m not usually one for all that; haven’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 “a 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, it’s important to talk to those around you.”

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

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

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

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Anyway, I digress. We’ve reached the part of the show where the artist mumbles “is this codger going to actually review my single?” Apologies for my Uncle Albert moment, ha, there was me thinking Boris had made arbitrary tangents trendy. There’s no telling some, he’s a bastard. However, we’ll never get going if I branch into politics.

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

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

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There is nothing about this Bath four-piece indie-pop-rock band here, I’ll be honest, which will act as their magnum opus, but an auspicious start dripping with potential. Here’s one to watch, with their debut EP ‘October’ in the pipeline, here’s hoping it’ll reach us before the month of its namesake.

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

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

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The Onus of Swindon’s Filmmakers

I’ve been invited to watch some horror! After the success of their debut film, Follow the Crows, Swindon filmmakers Alex Secker and Marc Starr have been busy with Onus; I know now what’s behind my sofa…..

Finding it hard to accept it’s been the best part of four years since I received my first “real” journalistic assignment for local news site Index:Wiltshire.

The editor, Craig couldn’t make the press screening for Swindon-made film, Follow the Crows, so with no experience I bumbled my way in with little expectations to find a birthday party-fashioned welcoming to view a compelling dystopian thriller.

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Comparing the team’s new film, Onus, with the latter is inevitable, though through Follow The Crows’ simplicity, this is visually better and more engaging. I’m glad to have been invited to review it and I’m free to assume this time, not just it’s quality, but eerie and divergent conception.

Writer and director, Alex Secker doesn’t settle with convention. For this it receives full marks. Where it differs is in setting and angle. If Follow the Crows goes for a survivalist circumstance within an imaginary post-apocalyptic realm, Onus follows the template of traditional Hammer House horrors of yore, in a sense. If you crave modern Hollywood’s hurtling imagery and non-stop action, this is not for you. Onus creeps up on you, increasingly setting a troubling notion in your psyche. It’s suspense reason for me not to reveal spoilers.

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It certainly achieves what I believe it set out to do; my fingernails are somewhat shorter. This is an unnerving masterpiece which abounds by twisting the cliché of classic horror. Starter for ten, the music, by Graeme Osbourne, assures you an uneasy sitting; I’m shivering before any visual. Yet when it does, despite unsettling sensations, we’re shown a female couple on a car journey through our acceptable local landscape. The driver, haughty Izzy (Erin Leighton) poses somewhat relaxed, taking her subordinate and shy dungaree-wearing girlfriend, Anna, (Daniella Faircloth) to meet her upper-class family. You may know yourself, meeting a lover’s parents can be unnerving at the best of times, with a class difference, doubly so. Izzy asserts her superiority, bantering the nervous Anna by joking her family are “not vampires;” a notion she drives a little too much.

“Onus creeps up on you, increasingly setting a troubling notion in your psyche.”

In true horror fashion the setting is solely the house, the protagonist’s suspicion they’re being deceived builds, and for such, Onus borrows extensively from the chestnut. Secker though is keen to raise social indifferences between classes, the notion of wealth meaning superiority; this only increases the gut-wrenching feeling Anna is out of her depth.

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Suspense drives you to want something to unveil, but it plods on its tension-building ambience for over the hour. Anna’s snowballing anxiety is portrayed perfectly by Daniella with some haunting expressions of despair. You? You’re looking for an escape clause, a knight in shining armour. But if the plot has strands of Little Red Riding Hood, there appears no character who will be Anna’s woodcutter. Izzy’s obnoxiously snobby brother (Alex Pitcher) is clearly in on it, pompously he sniggers at her misfortune; both sibling rivalry and homophonic attitudes abound in his arrogance. The Victorian mother (Karen Payne) is as stiff and a brush, and the ill father (Tony Manders) is shadily the reasoning for her presence at the house. This only leaves the clue-providing maid, (Shaniece Williams) who, treated as a slave of yore, is doubtfully going to heroically strive in. Here within lies the twist, dispelling the cliché horror ending.

So, what begins as a classic horror, ends unexpectedly; like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.

“Like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.”

Again, the production of Marcus Starr, the writing, directing and editing of Alex Secker and the acting is sublime. The temperament is undeniably spooky, the setting is dripping with realism, especially being based in the South West. The characters are vivid, Anna is somewhat free-willed rather than helpless, just trapped. The family are genuinely as snooty as you’d expect, and unnervingly mysterious; I feel driven to Facebook message my worries to Daniella, pleading she takes more time in choosing a partner next time, that’s how realistic it is!

And what is more, I think it’s easy to pass my review as flattery, that no locally-based film crew could hope to attain that of the mainstream movie industry, but Follow the Crows is award-winning, Onus deserves to follow suit. I don’t usually do star ratings, as I feel it’s restrictive, but if I did it’d get a four out five at least! You. Need. To. See. It.

The movie has a distributor, High Octane Pictures from LA. “We’re finalising the paperwork,” producer Marc informs me, “they’ll distribute direct in the US and Canada, then sell to the rest of the world.” So, it should be on DVD and blue ray in a couple of months. I’ll keep you in the loop.

“You. Need. To. See. It.”

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© 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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Keep on Running with Joe Edwards

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

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

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I’m going to be hard-pressed to find a different album of the year, as if this was a new Bob Dylan release the headline would be “Dylan Back on Form.” But it isn’t, and if one can rebuke Dylan as eaten by wealth and the machine he once repelled against, here, with freshness, is Highway 61 really revisited. The characters here can be akin to Dylan’s, questioning romance, bittersweet with humanity’s cruelty. Keep on Running never faulters nor diverts from its mellow method, if the tempo raises it’s only slight, and if it slips a toe under the door of rock, shards of both folk and blues roots are methodically preserved with finesse.

“…if this was a new Bob Dylan release the headline would be “Dylan Back on Form.”

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

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The writing is sublime, acute blues. Characters are often despondent, impecunious and dejected. Yet this is not Springsteen’s Nebraska, somewhere they’re thrown a curveball and the air of melancholy is introverted, altered to positivity in the face of all things terrible. You may be riding their train of pessimism, yet it’s not discouraging on the ear, rather selfless muse executed with such passion there’s an air uplifting, best compared with Tom Petty’s “Free Falling.”

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

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

After the title track, there’s a road ballad in true Americana style, the venerable symbolism for changing your life, which is never a negative notion. If the finale then spells the most adroit blues tune, “Mine oh Mine,” the beginnings, “Beth’s Song” and “Cross the Line” herald the better country-inspired ones, but between them, an insolvent blues tune, “Capital Blues,” as a beguiling teaser for what’s to come. In contrast the achingly poignant, “Gambler” is perhaps the most accomplished bluegrass, filled by a tormented soul pouring his heart out for want of an extra six dollars.

It flows so incredibly well, George Harrison well, though, like a concept album of the 1970s it’s a single unit to be heard complete. This doesn’t prove a problem; you’re engaged throughout and wouldn’t dare press pause.

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

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

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

Keep on Running is available now, here, and on Joe’s Bandcamp page, here.


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

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Bryony Cox Art on Sale and NHS Donated

Wondering where the time goes, it’s been near on a couple of years since we featured Devizes artist Bryony Cox, when she exhibited her paintings in Upstairs at Jacks. At the time Bryony had not long graduated from Falmouth Uni. Since completing her studies, she has travelled extensively throughout Asia.

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“I’m now doing an MA in actor musicianship at Rose Bruford College of Speech and Drama,” she informed me to minor surprise, aware Bryony has performed and sung in local dramatics such as the White Horse Opera and Devizes Musical Theatre in the past. “But I’ve kept my studio in Trowbridge and still produce artwork alongside. Sometimes I have been able to use my visual skills exploring theatre making and performance.”

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Personally, I’ve always been taken by her dramatic landscapes and fascination with mountains, yet I’ve always been a fan of Turner, and there’s something equally as expressive and unified in Bryony’s. There is, however, a variety in her enlarged portfolio since we last spoke, some figure and settings work inspired from her travels, sketched miniatures, and she has been using mixed-media, charcoal and pastel for example, and experimentation with college, even animation. And there’s no better time to browse Bryony’s website, as she offers 20% off and 50% on some of her older works, with 20% donated to the NHS. See for yourself on her website, here.

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These connections between art and performing arts captivates me, aside the name arts, and primary school drama class where I had to pretend to be a tree! So, I asked Bryony if she thinks there are similar work practices in theatre to art, and in what ways.

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“I’m quite interested in the crossover between theatre and performance art,” she explained. “I have started bringing film back into my work and my research on my MA has been about performing alongside film projections of drawings, animations and audio overlays. But I have always kept drawing and painting Wiltshire alongside because of the beautiful countryside and still keep drawing portraits from any travels that I have been on as I love to document different people and cultures.”

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We are lucky to live in an area where artists feel their home is an equally inspiring subject as their travels. In this much I see a likeness to Clifton Powell’s work, another well-travelled local artist who documents his journeys through his art, yet returning to Wiltshire often produces some equally outstanding pieces.

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It’s worthwhile bookmarking Bryony’s site as she frequently updates it with new work. “More recently I have been to Vietnam and Indonesia,” she told me, “so some of my more recent portraits that I am going to put up today are from that trip.” We look forward to seeing them!

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© 2017-2020 Devizine (Darren Worrow) Images Copyright of Bryony Cox.
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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Rowde Artist Alan Watter’s NHS Portraits

Rowde artist Alan Watters has finished a portrait in the ‘Free Portraits for NHS Heroes’ initiative as featured on BBC news recently. The subject is Christina Whicker, an IAC nurse at Boston Pilgrim Hospital. Alan says he’s about to start another, “as I find it difficult to say no!”

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Alan is also a part time support worker confined to 12 weeks self-isolation and wishing to still do something to help the fight against the Coronavirus. “I thought I could produce limited edition pencil signed and numbered prints from some of my recently created original artworks and sell them at a modest price but with 100% of the profit going to causes fighting the virus, the major benefactor being ‘NHS Charities Together.”

So, he’s knocked up a website where you can view the prints, here. “I have a little way to go to reach my target of £1000,” Alan explained, “so please have a look and help if you can.” There’s a wide-range of fine art on show here, some life sketches, celebrity portraits, cute animals and also some thought-provoking imagery. Most prints are £25, for a limited period it’ll also include a pencil signed greetings card featuring the image of your choice.


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Talking Gravity, and other things, with Daydream Runaways

With some images used by Nick Padmore

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

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

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

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

So, I’m wondering, if the recording was done at a distance, or prior to the lockdown. Drummer, Brad Kinsey informed, “it was done in February, in Swindon, with an engineer from Westbury.”

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

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

It certainly does. “It doesn’t hang around,” I pointed out, “and the vocals are more powerful than before. Seems like a natural progression, a maturity. Not that I’m calling you immature, you understand?!”

Bradley responded, “nah, I get that. I think we gained confidence and are more unified about this sound.”

Cameron interjected, “I think it’s important to all of us to keep pushing ourselves with each release and not churn out the same number. I’m not saying we’re the Beatles or anything, but you know give it some time. We’re still young!”

Bradley bantered, “are you, Cam?!”

Cameron added, “well, some of us are still young…” Laughing emojis are added, but I’m getting paranoid.

“Okay,” I opposed, “spring chickens; don’t rub it in!” But even with any such change, such as the edgier component of Gravity, there’s a distinct signature maintained in all their tunes and this, I feel, sets them apart from many a local band. I could have guessed it was them before knowing it. “Is that important,” I questioned, “to be instantly recognisable?”

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

Brad covered this shot too, “I would say so, yeah. It’s good to build a sonic trademark, all the greats have that! It’s a good thing when people can still recognise you, even when you change things. Shows that you’re using that style but without losing the integrity of what you are.”

At this early stage, Daydream Runaways call a good compromise between them, witnessed when they tuned for our Waiblingen Way Fire fundraiser. “There’s always going to be differing opinions,” I pondered, “Bit like marriage!”

Cameron replied, “no relationship comes without some disagreements, a band included. But we’re all good at finding a compromise, which is good!”
Throughout the interview I’m concerned if I should bring the idea of a possible album up, as when we did the fundraiser I asked, and it met with varying opinions between them. However, with the topic running on compromise, it’s now or never! “I wasn’t sure, though wanting to ask, if I should bring it up again!”

Cameron delegated, “Bradley…over to you on the album talk!”

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

Bradley answered, “there was a plan. However, the coronavirus has impacted that. Not going to say it’s completely gone but we’ll wait and see what happens. You can’t really make any plans at the moment.”

Cameron expressed, “it’s not a matter of if but a matter of when is probably all we’ll say for now!”

Brad added, “I’d say doing an album is all dependent on what genre you’re doing. Rock music fans are still very defiant and keeping the album alive. So maybe with this Gravity sound we’ll go down that route.”

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

I couldn’t argue with Brad’s comment, “some bands I follow have rejected the idea and directed people to supporting more pressing causes.”

Meanwhile, Cam elucidated his feelings about the lockdown. “Whilst you really miss that immediate response from a crowd, and the fact you’re in a room where you can play loud and really get into it, they’re still fun to do! We were lucky enough to do one right before the lockdown was enforced. Probably one of the first bands to do it, then Chris Martin came along after with his solidarity sessions. We still haven’t forgiven him for that!”

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

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

Cameron agreed with a feel-good quote, “definitely, but now is also the time to look out for each other, even though we’re all apart. If we can reach out to people with our music or it helps them get through their day, then that’s amazing.”

Bradley approved too, “yeah, and there’s never been a better time to write. Technology’s made it so accessible now to bounce ideas. Who knows, we could even release a song in lockdown without even meeting up.”

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

Bradley replied, “well, if the band records the parts individually themselves and lays off the editing it’s possible to get that organic feel. I wouldn’t be surprise if we start seeing artists jump on this idea and release original tracks.”

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

I see Ben’s clarification reflected in the cover art too. With a kind of “stairway to heaven concept,” an impressionist character is looking lost, pondering which road to take. It’s apt for the song.”

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

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

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

Ben reacted, “I’d say our choices are not miles apart, but to pin a group favourite would be impossible as we all have our firm favourite influences.”

Cam agreed, “yeah, I don’t think there was a particular band or artist that inspired the track as such but we all agreed what the sound was we were aiming for. Making sure that each of us brought our own thing to it.”

Laughing emojis made a reappearance, when I teased, “Ed Sheeran it is then!”

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

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

Ben suggested in five years’ time he would like them to have a steady schedule, “playing to crowds who know our words, filling sold out venues as well as intimate gigs, which we can always remember.”

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

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


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

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Falling with Tone and Cutsmith

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

When my daughter is in the car it’s paramount, she controls the stereo, at least it is to her. I’m indifferent, the bulk of contemporary pop irritates my senior ears, but occasionally there’s a something interesting hidden. There was one, once, don’t expect me to root through her playlist to tell you what one, pop, but with the backbeat undeniably inspired from drum n bass.

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

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

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

I wanted to probe the mind of producer Tone, about this concept, as what he’s got here is something very marketable, as opposed to something which would only appease the drum n bass fans. I asked him if this was the intention with this tune, yet I didn’t want him getting the wrong idea; I meant this in the best possible way. Even if, Bohemian Rhapsody, for example, is timeworn and cliché, it’s popular because it’s a bloody amazing song. Pop doesn’t necessarily have to be a sell-out, cast yourself away from Stock, Aitken Waterman.

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

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

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

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

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


© 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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Two Fundraising Heroes, Slightly Younger Than Captain Tom!

As the nation embraces the 100th birthday of Captain Thomas Moore, who famously raised over £30 million of NHS Charities Together, I too tip my hat to this war hero, but I also wanted to highlight and thank two very much younger local heroes this week.

Firstly, a huge congratulations goes to 13-year-old Will Foulstone. Yes, the pianist prodigy from Bishops Cannings/Chirton who kindly played the first slot at our Waiblingen Way Fire Fundraiser at the Cellar Bar, and set that bar high for our following acts, Daydream Runaways, Chloe Jordan, The Celtic Roots Collective and Ben Borrill. Oh yeah, and who played with the Script and London’s O2 arena too, mind!

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Will

Father, Stuart, live streamed this grand effort last Monday, which, as part of a Facebook virtual festival, the International online music festival for PPE fundraiser, managed to raise over £1,500 for this worthy cause. Well done Will, a brilliant job!

Our second local hero slightly younger than Captain Tom is our wonderful, six-year-old heroine Carmela Chillery-Watson, who, since her dad Darren couldn’t run the London marathon this year, replaced the 26.2 miles of a marathon with 26 laps of her therapy assault course. This gruelling challenge was also streamed live on 26th April, where Carmela was in high spirits and played to camera while completing this mini marathon. Carmela raised a staggering £1953.00 for Muscular Dystrophy UK. You can still donate to Carmela here for her amazing achievement if you missed it.

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Carmela

“Carmela is sore and tired as expected,” Carmela’s mum said, “and will probably be wiped out tomorrow too, but she certainly did us proud and more today.”

Well done to both our heroes this week, if you know of anyone else we should add please let us know!


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Courage (Leave it Behind) New Single from Talk in Code

As predicted, the void where live music reviews used to sit will be filled with an abundance of releases from our local music circuit. I’ve a backlog building at Devizine Tower; here’s the first this week, from Swindon’s indie-pop four-piece Talk in Code, and much as we’ve enjoyed watching streams of Chris in his car, yeah, this is more like it, cool.

Some pensive prose swathed in the upbeat eighties-fashioned synth-pop we know Talk in Code have mastered. Courage (Leave it Behind) offers a “wake-up call,” as the press release defines, yet does so with all the hallmarks of another catchy anthem. This lockdown-themed leitmotif hails what you’re probably questioning yourself, “it’s that feeling of realising something is not right and has to be changed. But, knowing what needs to happen and taking action are two very different things…”

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The world will undoubtedly be the different after this pandemic, the unity binding us could potentially tear us apart; did Joy Division predict this?! If not, there’s a ghost, least an inspiration from those early eighties new romantics fused into this contemporary tune, and again, just like the previous singles, while Talk in Code songs sound as if they’d slot into the background of a John Hughes coming-of-age movie, listen again, they also ring modernism in both production and subject.

From its inaugural piano, through its beguiling beat to this cliff-hanging finale which leaves the question open to interpretation, this is an uplifting song; I expected no less though. “Finding the strength to make a change and every bit relevant to these challenging times,” as the blurb continues, is surely up to us, pop doesn’t preach as it once did, rather stages the dilemma for you to solve, and that, in a way makes it that bit up-to-date, rather than a retrospective eighties tribute.

For that reason, Talk in Code are pushing boundaries rather than dwelling, and the reason which found them on BBC Introducing In The West, on The OFI Monday Show, The Premium Blend Radio Show, Swindon 105.5 and Frome FM. It is the reason why the Ocelot, Dave Franklyn of Dancing About Architecture, The Big Takeover, and oh yeah, us, are singing their praises.

Providing optimism as a theme to this single is a biting reality, and Talk In Code still hope to play some of the fifteen festivals that were booked into this year, including M for, Daxtonbury, Concert at the Kings and Newbury Beer Festival along with a showcase for Fierce Panda/Club Fandango, to be rescheduled for later in 2020; hygienically rinsed fingers crossed, and toes.

COURAGE (Leave It Behind) will be released tomorrow, 30th April, on digital download at www.talkincode.co.uk and on iTunes, Spotify, Amazon Music and all digital platforms.


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

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The New Local Blues

Had a nice chat with Sheer Music’s Kieran about acts, live streaming, future plans, and gardening this week… what am I on about? It’s always nice to chat with Mr Moore….

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

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Joe Edwards

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

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

I replied with a question, “Like the gardening?!”

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

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

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

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

I gave mention to a stream-festival by Swindon Shuffle, it doesn’t have to be geographically grounded, organisers said people attended as far away as Mexico, and this increases the fandom of the performers to international levels.

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

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

“Be prepared for an avalanche of Coronavirus and lockdown blues songs,” Kieran suggested, and yep, seen a few emerging myself and played the “Corona Blues” by The Ragamuffin All-stars on my radio show last week.

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Little Geneva

Talking local blues, though, on top of Joe Edwards, who after a listen to I’m liking to a raw George Harrison or Clapton, what else has Kieran got for me? “Jon Amor likens Joe to JJ Cale, which is nice,” he compliments. “Then we have Little Geneva, who actually do covers, but they’re so obscure, people don’t know them. I actually like that slant.” Ticked that box some time ago, Little Geneva playing the Cellar Bar was knockout, and I’ve nothing but praise for their authentic blues sound.

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

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Will Blake

“Then we have Will Blake in Bromham, a honky-tonk 12-bar type of guy,” but I’ve recently bookmarked Will too, sharing this soul cover multi-instrumentalist’s Isolation Sessions, which see him on piano in the middle of a Bromham field giving us a marvellous rendition of Man in the Mirror et all.

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

Hosting a “Devizes Music Festival” is said idea, when the lock down is over, and to do a multi-stage bill, across the whole venue. Kieran’s dream team would consist of Jon Amor, Sober Son, Little Geneva, Joe Edwards, Will Blake and The Lost Trades, “etc.” I’m saying no more, not to get over-excited too soon, we’ve a long way to go with the lockdown; I could be a pensioner by then and only wishing to listen to Pat Boone!

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


© 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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Rural Wiltshire’s Sensational Soul Food with Sujay’s Jerk Pan Kitchen

When you live in a market town such as Devizes it’s inevitable when driving through any city to become overwhelmed and perhaps a smidgen envious at the variety of cuisine on offer; look, Nepalese dal-bhat-tarkari street food, outside a lacto-vegetarian Mongolian bistro, next door to a vegan Venezuelan arepas snack bar! You name it, a metropolitan milieu will probably have it. Here, while it’s hailed as some of the best; Italian, Chinese and Indian are about our limitations, unless you chance a kebab.

So nice then, that Sujay’s Jerk Pan Kitchen has gifted us an addition, if variety is the spice of life, it’s high time we had a taste of the Caribbean. Sporadically shacked up in the Shambles prior to the lockdown, Pauline and the team has never been busier since introducing a drop box delivery service; perhaps she doesn’t need me to hype it up as word travels fast; this is an authentically tasty treat.

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Through my love of reggae, I’m rivetted by all things Caribbean, the easy-going culture, the colours and sweetness of those exotic islands in the sun, the sounds, linguistics, the art, and of course the food. And that’s before I even went there! The only member of my family lucky enough to have taken the once-in-a-lifetime trip, I wondered if Sujay could return my taste-buds to the West Indies in the same way as a jouvert jam would for my ears, but I was unsure if the family would take to the idea. Surprised then I was when the better-half suggested we ordered, arm twisted, and before I could recite a verse of Three Little Birds our drop box was ordered for Saturday afternoon.

Caribbean food is not customarily a Michelin star a-la-carte affair, rather the traditional roots rest in amazing street food and home cooking, therefore styles and recipes can vary, and this is precisely what you get. You should note I’m no Jay Rayner, I’ll hoof the loot without coming up for air, and if it’s tasty I’m going to tell you, and if it’s not I believe honest criticism is virtuous; it’s all unpretentious evaluation rather than vernacular condemnation. This though, arrived at our door on time with a smile, and was everything it’s been rated as being.

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So good I didn’t contemplate taking a photo for use here, sorry, but I simply didn’t have the will power to resist getting stuck straight in!

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Me, I went for the goat curry as I’ve never tried it. Sticking to custom it is as it should be, a quite humble green paste curry, spices, with chunks of goat. But served with traditional rice and peas (peas being a black bean rather than European green peas) the simpler formula is often the preferred and I loved every bite, as did the wife. I added a side dish of plantains, imagine a fried banana that thinks it’s a potato and you’re somewhere near the mark.

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For the daughter, and of course with portions so generous some of it naturally found its way onto my plate, the classic jerk chicken with a side of chicken wings, and another colossal portion of rice and peas. Perhaps no other dish so popular varies from handed down home recipe as much as this one in Caribbean food, but I’ve tasted a variety. If Levi Roots has marketed a certain blistering style and tailored his own methods, Sujay’s is closer to what I’ve tried in Barbados. Much more subtle with the hotness, but nice on the spice. I also reserve at Caribbean street chicken disguising cheap meat with a high dosage of hot paste but this is not the case here, the untainted wings would’ve revealed, but these too were exceptionally scrumptious and clear that the quality of the ingredients were not skipped on.

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If Sujay’s Jerk Pan Kitchen doesn’t deserve enough kudos with you for providing fifty meals earlier this week for the NHS staff with the organisation of Tailor-Made Events, or serving brown stew chicken and stew pork with rice and peas to the homeless and vulnerable on the streets of Swindon this evening, maybe its time you sampled some of their sensational soul food yourself?

Tams off to Sujay’s then, the perfect meal with a difference for our rurally repressed palate. Irie, as they say in the JA, gurt lush as we might say here! I’m not ganderflanking yer mucker, this is the soul food of Wiltshire and will whisk your taste buds to a tropical paradise faster than Beenie Man can wax lyrical a monostich; pass the rum punch!

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© 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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Wiltshire Girl Goes LIVE for Muscular Dystrophy

It was a sunny afternoon when we arranged a photoshoot for our Spider-milk-man fundraiser last spring, so the playpark outside my house was an ideal location. Carmela played on the climbing frame while I got to know her mum, Lucy. It was sadly evident then how restricted her muscular dystrophy limited her ability to do what so many other children love to do, run and jump and play.

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The lovable part to this six-year-old is her optimism and endearing personality, but the inspirational is her zest for life and determination to overcome. For Carmela’s family life is a constant fundraising campaign and together they strive to find new ways to promote it. If Muscular Dystrophy UK, like many other charities is feeling the effects of Covid-19, for the family personally it hasn’t been easy either. In a heart-melting film for Points West last month, we saw Carmela’s Dad Darren unable to see his daughter as he’s a key worker and communicating with sign-language with her through the garden’s patio doors.

Alongside the many fundraisers for ‘Carmela’s Stand Up To Muscular Dystrophy,’ and for MDUK in general, Darren was due to run the London Marathon on the 26th April for MDUK, but this event has now been rescheduled for October. MDUK needs our help now though, for those with a progressive muscle wasting disease, at high-risk from the pandemic and the usual systems for coping vastly restricted.

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Save the UK’s Charities General fundraising has been hit very hard by COVID-19. Thousands of fundraising events have been cancelled and many charities, particularly smaller ones, are struggling to maintain services because of this huge reduction of income. This impacts all sectors of society from children to the elderly as well as the vital work in areas such as palliative care, serious diseases, mental health, housing support, food supplies and countless others that charities support.

Step in our six-year-old heroine, to replace the 26.2 miles of a Marathon, Carmela is going to attempt to do 26 laps of her therapy assault course LIVE via her Facebook page on 26th April at 2pm. Carmela would normally only do two to three laps. “This is going to be a very tough challenge,” Carmela’s mum Lucy explains, “we may have to take out certain high equipment during the challenge as she is not meant to over exert her exercises as damaging her muscles is permanent and won’t repair.”

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We wish her all the best and support for this enduring challenge, she will be going LIVE on her Facebook page ‘Carmela’s Stand Up To Muscular Dystrophy’ on 26th April at 2.06pm. You can also donate to MDUK. Text MDUK3 to 70660 and donate £5. Or directly to this link: https://www.justgiving.com/fundraising/my-2-6-challenge-d92bda3f-a95b-4a87-a64d-6dcb4b39491d

Go Carmela!


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Phil Cooper is Without a Sound

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

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

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

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

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

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

“Static” Shuffle; Swindon Shuffle Live Streams This Saturday

If you rarely venture into Swindon, July is the month in which to make the journey. Swindon Shuffle celebrates and backs local music, since 2007 hosting a weeklong town music festival at its hottest venues; namely The Victoria, The Beehive, The Hop, The Tuppenny and Baila Coffee & Vinyl. In association with Swindon Link and the West Berkshire Brewery, last year they presented forty-four bands over the weekend, all free, and supported mental health charity MIND.

I was forgiven in thinking this year would be virtual, saving some petrol money at least, but the organisers inform me this weekend’s Virtual Shuffle is only to breeze over this gloomy, Groundhog Day isolation period, and they cross their fingers for the real thing on the 16th-19th July; crossing my toes too!

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So, yeah, but yeah, whoop-whoop, Swindon Shuffle will indeed fill this gap with plentiful live streams this Saturday 11th April, kicking off at 3:15pm. Streamed direct from their Facebook page, expect to catch all local acts; Jim Blair of Hip Route, the bearer of Devizine’s heart Miss Tamsin Quin, Mr Love & Justice himself, Steve Cox, jazz pianist, singer-songwriter Will Lawton, Harry Leigh, frontman of indie-pop outfit Stay Lunar, experimental Karda Estra project runner Richard Wileman, Onze from Atari Pilot, Joe Rose and Nash.

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Mr Love & Justice, Steve Cox

Our favourite Swindonian music journalist, the one and only Dave Franklin, if there’s another he’s a phoney, is all over helping organise this sofa bash. He states “obviously there’s more important things going on in the world right now than worrying about a local music festival, but it is also at times like these that music, art, creativity in general, helps get us through or at least offers an oasis of calm where we can retreat to and forget the day-to-day worries for a bit.”

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Karda Estra

For me personally, I’m continuing to toil with the worth of the live stream against a real gig, ponder it’s currently all we have, worry either punter or musician are forced onto the ropes when it comes to how they should be arranged and financed and have even encountered and engaged in heated debates as we scramble in the dark trying to make this work best for everyone. This said, if anyone can I’m reckoning the Shuffle team will make an amazing job of it. If there is an upside to it, it is that one can check these artists out for when the gig scene does take off, and boy, I’m predicting it’ll go off like an atomic blast, and it will encourage many to take the journey to festivals such as Swindon Shuffle, in this example.

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In the meantime, enjoy the streams and not let it miff us too much at missing the real thing. I tell myself the scene is dormant; it will erupt again. It should go without saying, but I’m going to spell it out; B, for BUY, U for Yourself (sort of,) Y for some local music, (okay, that didn’t work) Look, just support the artists and buy their music from their websites and Bandcamp sites!

The Lost Trades; Debut at the Village Pump

By Helen Robertson

Images by Abbie Asadi

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

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

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Tamsin confessed she was nervous, hoping the new three-part harmony adventure would start well. She needn’t have worried. The sell-out crowd were on their side right from the start.

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

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 I’m glad Phil took the time to introduce his original, the Groom of the Stools – a little context went a long way to explaining this rollicking, foot stomping number where “every day I take a look at the Crown jewels”. Google it, trust me it’s that job that you’ve never dreamed about.

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

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 My favourite song wasn’t an original – sorry guys – but a traditional American spiritual, Down in the River to Pray. The harmonies, wow. Just wow. As it soared and rolled around me, I’m not ashamed to say I might have had something in my eye….

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

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Shout out to Jamie’s fiancé Janey for the cakes – a vote saw the chocolate cake coming out the clear winner with the consolation prize going to Tamsin’s flapjacks. I tried a few, for research purposes. Perhaps more than a few. Yum!

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

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© 2017-2020 Devizine (Helen Robertson)
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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